Hello everyone, I am Dr. Michelle Villagran, Chair of the San Jose State University School of Information Diversity Committee. And we want to welcome all of you to our 2020 Diversity Webinar Series. This is our fourth webinar in an eight-part series, and it is the final one for Spring 2020. Now, all of our presenters, if you've attended past ones, and even this one and the future ones, are fostering discussion around content and topics related to diversity, inclusive excellence, equity and inclusion, and ones that you can apply within your profession and in your positions. You will see or be able to see a full list of our sessions, our topics, our presenters on the upcoming webcast page, which I will place in the chat shortly. You all are also on mute, so this is for recording purposes. Each session is recorded, and we do make it available on our on-demand page afterwards for future use. And they are generally posted within two to four weeks, so you can review this later or share it with others afterwards. Now if you have any questions throughout today's webinar, please place them in the chat box. And Yago will be addressing those at the end of the presentation. And so with that, I would like to introduce today's session, The Publishing Librarian, becoming a publisher, starting a printing press and creating content presented by Yago Cura. So Yago, I'm turning it over to you. Cool. Hi. Thank you so much, Professor. Thank you so much for joining in and finding this topic of interest. As Professor said, my name is Yago Cura. This is The Publishing Librarian, or becoming a publisher, starting a print and press and creating content. Now, a disclaimer before we start, I don't have all the answers. And I'm hoping that you're willing to find some of the really, really kind of poignant questions, because I think they're a little more important than the answers. So with that, I'd like to talk to you a little bit about who I am in the context of what I do. So who is Yago Cura? So I studied at Queens College, CUNY, Burke and Mortar, shout out to all my beautiful people in New York, all over the country, Oregon, places like that. So I was very lucky in that I was able to study something before. So from 99 to 02, I was able to get my MFA in poetry in the Poets and Writers program at UMass Amherst, very competitive, kind of caddy, high-school-y, kind of like program, but a very good one. Two years worked as an adjunct for CUNY at Kingsborough Community College, in Chiefshead Bay, which was nice for me. I was born in Brooklyn, so it was great to kind of go back. I joined the Teaching Fellows program, became English teacher for about 10 years. And I've been a zinster since undergrad days. I grew up in Miami and went to FIU. And the scene there was kind of like in the art department, like in every kind of college and university all over the country. I am a sometimes poet, and I like to write things about art. And I like to learn about art history and stuff like that. This year I served as the Reformer LA President. I am the proprietor of Inch as Press, which just means that I pay like all the bills. I also see all the revenue or share it with the endeavors that I'm doing as projects with collaborations and stuff with other people. Bilingual by Coastal, I've been five years with the Los Angeles Public Library. I'm very proud of my work with the LAPL. I'm very proud of LAPL as an organization. Shout out to all the beautiful people in LAPL. So for the past three years, I've been a bilingual outreach librarian. Here's a picture of me at Placita signing up this beautiful dog in the 2-2 with a library card. So that's kind of who I am. What is Inch as Press? So it's a micro press, and that's basically just a fancy way of saying like my reach is super small in terms of distribution, very little. So it's a handy moniker, you know? But I'm trying to kind of outgrow it. The Inch as Press comes from Inch as the Poesia, which is an online literary journal. And I was very concerned, very sorry, very interested in the idea that Jose Martí was really the first one to talk about, which is that there's really like one America, right? There's North America and South America. And, you know, their interests may be competing at times, but their history is shared, right? So Inch as a Poesia is a place for Latino writers, artists, metiches, people who are kind of like in the, you know, in the world of writing, want to translate stuff like that. There's no ads, no revenue, all fun. I kind of publish what I want when I want, which is limiting for sure. And there's challenges there as well, but I'm not beholden to anybody. And I kind of do stuff all because of the love. So there's the URL for the journal. In terms of Inch as Press, it was something I started to work on the first book, which was Huzzles for Foley. I went to grad school with James Foley, and we published this book in honor of the work he had done as an American combat journalist. And so this, you know, Inch as Press starts later than the journal. And Inch as Press is responsible for librarians with spines, but it's Max Macias, Autumn Anglin. These are people without which I, Jace Olson, I can do, like, we can do what we do without them. So sure, I paid the bills, but they were the ones that built it. And what I suggest is that you find people that you can trust that you can kind of work with and collaborate with because Max Macias, Autumn Anglin, Jace Olson, and the list goes on and on, have been fundamental to the success of librarians with spines. We're working on volume three. Shout out. Please send us an abstract chapter. I will say this. There's many hats, many masters. What that means is that I am writing the press release and paying the bills and kind of working with the web designer and taking pictures for, you know, the zines that we're going to sell on the website. So I do a lot of the work myself. But that's okay. I don't make a living doing this. And that's something that I really suggest to everyone here. I mean, I imagine that the predominately there's librarians out here. So we all have day jobs, right? But, you know, one of my things is like, I don't, people who make a living off of this, I find it really, really hard, you know what I mean? And that's just my experience. So what I suggest is you have keep your day job, you know, and just kind of do this because of the love. What pray tell is an Inche just to give you a background. This is in Buenos Aires. These are Inchas de Oca. My dad's soccer team, he's from Buenos Aires. So that's his soccer team, Boca Juniors. And these are what Inchas are. They're kind of like a homicidal football Agilent, right? Some people see him as a scourge. Some people see them as mafiosos. They're basically, they belong to that football club. The football club belongs to them. It's like a symbiotic and a beautiful relationship. Please don't call an Incha a fan. The fan ideology is like in this country is very, very different than like what Incha is in Latin America. Like imagine the Incha is kind of like a Borg but even more unpredictable, right? And they're kind of like mindless rabble, but beautiful. It's like football, football, football. This is what they want. So I thought, how could I translate that into experimental lit, into literature, into, you know, biblical stuff, right? And this is where the idea of kind of becoming your own creator of content comes in. So let me talk to you what the business model really was. You know, we all understand as a professional information kind of people that like the e-books is growing and will continue to grow. So what was the old model like, right? So in the old model, the old model is like you send the manuscript to an agent or, you know, an office of a publisher and then they publish it and do all the stuff. Authors receive about 10% of the sales, right? So if you're writing that great American novel and hoping to buy your first yacht with it, right? Unless it's Gerald then like you gotta move a lot of volume. And it's not just about selling 30, right? So it's not even selling 3,000 or 30,000. It's like selling, how do I sell 300,000 of this thing? Right? So copywriters, publicists that are hired by printing, you know, by publishing houses and publishers, they're not cheap and they don't come cheap, right? And there's also associated costs that we don't see because we're typically not in that world. So mailing ads, like ads is a huge thing. And then even press, you know, like the kind of relationship and rapport that you have to build with media to kind of move something at that volume, right? 90% of the sales, if you, you know, with the old publishing model, it goes back to the publishing house to cover costs, right? But, you know, as an author, you're coddled and coaxed.  And for sure, that's how it works. The authors take advantage of the publisher's network, right? So the publisher does all the work and they see very little of what's coming to them. But if they sell a lot, then the share gets bigger. Authors are protected, but also bound by contract, right? So then you have the instances where, you know, author signs to write four or five books and they can only come out with two.  So it's like a double-edged sword, right? So the e-book business model, right? So if you're selling e-books or if you're self-publishing and doing that, dealing with, you know, Amazon and those kind of people and getting your book out there, you typically see about 60 to 70% of sales, right? So what I mean is, so like a book maybe costs $19.95, right? And then the author sees 10% in the old model. But an e-book costs like $6.  So there's more money that you see as an author coming back to you. But if you're self-publishing, you're wearing all the hats again, right? Like you're the press release writer, you're the this thing, you're the mommy, you're the daddy, you're wearing all the hats, right? There's no hand-holding. You make a lot of mistakes. You will make a lot of mistakes. You are your favorite intern. Like you are just doing all the work, right? Social media, those kind of platforms and applications definitely help.  Mailchimp is great. Man, we have the interest presses on Square website, which paired with Weebly. There's all these great tools you can take advantage of, right? But it's basically in design and desire, right? Like the ability to know the software and then to execute it to produce something, right? You have to build an audience. It's typically starts with your family. So you're gonna definitely ignore your family and friends first and then hopefully build upon that audience. And it's really about networking, networking, networking, right? Like how many pans can you get this book into by yourself without a distributor, right? Let's talk about ISBNs. We all know what they are. We know what kind of purpose they serve, but let's talk a little more in depth about them and like how they actually work, what they cost, which is what I'm more interested in. So we all know they're unique book identifiers, right? So the specs, it gives like the format, the edition, the publisher, it gives bibliographic information that people can look up in the Balker database, right? So it's like if I have, theoretically, if I have this ISBN 13 number, it'll lead me back to the publisher, like an enormous breadcrumb, right? Balker administers the, I think it's called My Digital Identifiers, the website. And then you get listed in books and print, which is like a book and print that they make and has 40 million titles that's yearly, comes out every year and your title will be there and people can look it up and look on and off.  They look at the ISBN 13 and it leads them back to, gives them all this bibliographic information, including publisher and from there it's a little easier. Essential info, the one thing I'll say is that like an audio book has a different ISBN number than a print book. And the hardcover is gonna have a different one than the softcover. You know what I mean? So every iteration has its own ISBN, which can be costly. It's like you start, so I think about to have one book in all formats, including print and e-media, it's about four to five ISBNs, right? So just to give you an idea what kind of math you're looking at, this is the Inch as Press, like ISBN My Identifier, like home page, like you see here that in that column where the numbers are, that's all the ISBN 13 numbers and they correspond to the title and they've all been assigned. There's one that's incomplete, I'm still working on it. And when I say working on it, what I'm entering is all that information, like the dimensions, you know, if it's pamphlet, if it's what, how is it bound? Is it printed in what way? So typically you upload the cover, image, barcode, and it gives you a status. And once it's assigned, then it's done, it's kind of like set in stone and anyone can check it out and verify it. Again, just to give you an idea, the type of specs that you're dealing with when you do have an ISBN number at the top, you see ISBN 9781, you know, so you have that sequence of number, that's the identifier. But then really you're gonna need four, I guess categories, a schemas of information to enter the bibliographic information for this particular book, right? So title and cover, you can upload a JPEG, you can talk about if it's a full color, black and white, stuff like that, right? Then the second part is obviously contributors. And so something like Librarians with Spines has many, many contributors. I think the first one was like 11 authors, the second one was something like 17, 18. So you can imagine you're gonna spend a couple of minutes entering all the contributors, right? But that's, again, what tells people that this particular author has a particular chapter, right? We all know how it works, format and size. And so a lot of these questions, if you're not designing the book, you're gonna have to talk to your designer about, right? So you're gonna have to work in tandem with them, right? And then the last one is sales and pricing. And like, how are we selling this or does, what's the list price, what's the manufacturer price? What's it cost for this? What's it cost for the electronic version?  But just to give you an idea of what it looks like and the kind of options that you have, I guess really to kind of just really stress how not easy, but it's something that anyone can do. Like I am no one special and I can enter this information and have an ISBN number and use it the way that big publishers do. I buy 10 at a time, they may buy 500 at a time, but that's really, we have both of us, the huge publishing house and me, the MicroPress, we both take advantage of the ISBN and Bowker and the service that they provide. I also would advise if you are thinking about starting a press and publishing a book and doing this, obviously ISBN number, but also a Library of Congress control number. And the Library of Congress started this program called the Preassigned Control Number Program a couple of years ago. You apply for a Library of Congress control number and they magically, they send it to you. There's a person that takes your request and processes it and you get an email from the Library of Congress, which is super rad. And it's kind of a great way as well. The caveat is obviously you have to send them a copy of the title, right? And it's within a couple of months. So ISBN is through Bowker, which is a commercial thing, but this is through the Library of Congress and has a different kind of ring to it and a different type of process and kind of beauty, right? So the LOC runs a PCMP, they assign the numbers. The number corresponds to the record created for each book in the Library of Congress catalog collections. You apply for the number, you mail them a copy of the title and you add the Library of Congress control number to the colophone in the front and there you go. You have another identifier to go with your book. So when we talked about this, Professor Villagran and I, we talked about like how, you know, this idea of diversity in publishing is nothing new. Lately we've seen a lot of, what's the word I'm looking for, a lot of them talk, discussion, dialogue concerning like a book like American Dirt and the Oprah Reading Club and amazing writers like Miriam Gerba and like how they have really kind of talked to us about inconvenient thing. Like a lot of people don't want to hear what they're saying, but I think they have a very valid point. Another valid point is that the history of literature is rife with self-publishing. What that means is that there's this idea that authors are born, right? So it's like, no, you know, this person sends the manuscript and everyone at the publishing house is so wowed and then they publish it right away. You can hear the printing presses rolling and then they become a millionaire and that's just not at all how it works with the history of literature if you look. So for example, you know, you look at someone like Blake, right? So like his marriage of heaven and hell, his songs, they're all written, designed and printed by him. I mean, he actually did the plates and stuff. So, you know, the idea that there was this like publishing house behind him is completely erroneous and BS, I mean, so from there to jump to Walt Whitman, it's really not much of a jump, you know what I mean? But again, you have someone who's designing just everything. And I think towards, he wrote like what, 11 or 12 editions of it, you know? And I think in the first one is with the letter that he has from Emerson. I think because Emerson wrote him a letter, a glowing letter about how beautiful leaves of grass was because he'd seen this first edition. So there's like a beautiful kind of story behind that. Marcel Proust, Swan's Way, Remembers of Things Past, completely self-published. Well, not completely, but mostly. Let's not forget Hogarth Press, started by Virginia Woolf, right? Who wrote that amazing essay, Room of One's Own, talking about the challenges and limitations that the publishing world literature history has put on women.  And Sylvia Beach was the owner of Shakespeare and Company, famous bookstore in Paris, right? And so he goes in there crying and, you know, about no one wanting to publish Ulysses. And she's the first one that actually publishes it in mass. And then eventually in the end, he kind of sells her out. And, you know, because Ulysses is Ulysses, right? It's like the pinnacle of the canon, right? But, you know, even in 2000, you had someone like Stephen King saying to himself, you know what, I wrote these books and I made a lot of money, but I could have made a lot more money if I had done them myself. And so like the novel, The Plant, right? Publishes himself in installments. I think his son now is writing, you know, that same kind of way. They're like a publishing house themselves, almost, right? And then let's not forget Andy Weir as the Martian that, you know, sold for a million dollars to movie rights, right? Because he actually published the novel himself and was giving it away free. So, you know what I mean? The idea that self-publishing is somehow not a part of just publishing, publishing is kind of BS. And it's more like a cased and social kind of class thing than anything. But hey, I may be wrong, you let me know. I'd love to hear what you think. Another kind of real kind of elephant in the room is the publishing world is almost exclusively white. And the first inkling that this was going on is in 1994. On the article, Houses with No Doors in Publishers Weekly, right? This graph is from 1994, right? And you can tell overall in the industry about 80% of personnel, staff, right? Are of particular ethnicity. And there's lots of reasons for that. Maybe one of them could be like who can afford to live on 18 and a half grand a year, another might be like, well, if I have to pay my own rent, like if, you know what I mean? How do I do that, right? Like it's, so it brings up a lot of the challenges, right? And so the one thing I wanna point out is this whole issue comes up again in October 2015. And what they find is that 90% of respondents identify themselves as white, right? So here we have this idea that like there are certain sectors in our society that are unwilling almost, it seems, to kind of desegregate and kind of offer challenges equanimously, right? Not just to like a select few or to the, you know, those born into capital and with these means, right? But I think there's more and more talk about this. There's more and more movement about this. For example, we cannot forget we need diverse books and the great, great, great lobbying kind of work that they have done. But, you know, just to give you an idea, like in 2015, five interns like were placed like at presses that are predominantly people of color, right? So there's still a lot of work that needs to kind of get done. There's a lot of, there's a lot of work and reflection that needs to get done. My point is not much has changed in 20 years, right? So if you're a person of color and you've been trying to get a book published and it's not working, I'm not saying it's because you're a person of color, but I'm saying that there are particular interests that may not be what you're trying to sell, right? And so there's lots of reasons they will say no and maybe you should strike out on your own. This is kind of that thing, right? Where you strike out on your own and you see what's out there. Very, very importantly, the whole publishing racket like really hinges on buying ISBNs in bulk. Let me show you something that not a lot of people know about. I'm so glad I see there's 63 people here. I'm really appreciative and grateful for you guys showing up. Let me show you something that not a lot of people know and that I would love for you to spread. So like you can see all the way on the right. So like one ISBN and one barcode, right? It's gonna cost you $150, right? So I'm thinking, okay, if I wanna buy 10, I'm looking at like at least $1,150, right? But that's not the case at all. 10 ISBNs and one barcode will cost you 320. So a third of what the projection would be, right? If they were just charging us per ISBN, right? So you buy one and it's 130 or 150 depending on whether you get the barcode. You buy 10 and it's 295, right? 320 with one barcode, right? So I'm looking at one ISBN as 150. I'm thinking 10 is gonna cost me that much and it's really not. It costs you a third of what you think. So always the idea is to buy more ISBNs, buy more unique identifiers, right? To have them kind of in cash, right? Just to give you an idea, 10 ISBNs, five barcodes are 395, right? So then they give you kind of different combinations, right? I saw 100 ISBNs the other day on Bowker for a little over $500, okay? So obviously you buy 10, each ISBN is 30 something dollars. If you buy 100, each ISBN costs you about $5, right? The majority of people don't understand that and they don't know that, especially people that work with books, but don't sell them or don't kind of publish them. This is kind of like that moment in a punch-drunk love, you know what I mean? Where you realize that you can buy all these like yogurt cups and get all these miles, right? I'm telling you, this is the way to beat them at their game. You buy ISBNs in bulk and you wait for the projects to come to you, right? So this is basically what I just kind of said, you know? Buy more than you can handle, you know? Like I suggest you start with friends, families, peers. What I mean by that is think of the stories in your families. Think of the stories that you've lived, right? Like think of the things you've seen. Guys, we all work in libraries, you know?  Like we all understand we have stories galore, right? So what I'm suggesting is create the content. Like, you know, we've all written papers and had to edit them before we turn them in. That's exactly what a publisher does to a manuscript, right? So the idea that it's something that you can't do because you didn't get your MFA is ludicrous. In fact, I think getting my MFA actually worked against me in certain ways, right? What I suggest is start small. Like a chat book and then work your way up to collaborations, anthologies. For example, you know, here that will librarians with spines is an anthology of, you know, library and information science articles and chapters, right? But I've published Huzzles for Foley, which is a book, you know, it's like a book of hustles for an American combat journalist and we're working on other stuff.  So like, you know, working on that as well. So if you have, if you buy 10 ISBNs, which is little, it's just $300, let's say, right? You get to have two books in all of the formats that you may come to need, right? That's what I mean by kind of do the math and always buy more than what you need. The stories will come to you. This kind of brings me to the end and really what we're talking about. And I wanna make sure that I emphasize this though. The means of production for making books has become very bargain basement, like super, not cheap, but, you know, it costs money but it's not prohibitive, right? Back in the 90s, I mean, you know, it was expensive to make booklets and have them booklet stapled and have all these weird things that the photocopy machines would do. This is not the case anymore. You can imagine there's maybe less people doing that but it's become very, very, very cheap. So making, being a person of color, becoming a publisher and publishing books is challenging but not really difficult. The real struggle, the real Gordian knot is distribution. And what I mean by that is how do I sell the most amount of books that I can without being a huge publishing house that has millions of dollars, you know, that it can command, right? And what I'm trying to tell you is that distribution is a key to moving volume because when you work with a distributor, they do the hard work for you of contacting the bookstores and doing all that kind of work that is super tedious and just really is gonna frustrate you, you know, like chasing money, chasing payments, stuff like that. They have to, you kind of shift that, you know, the onus of that responsibility onto the distributor. They charge you, you know, money for that. It's not like they do it for free or are the benevolence of their heart. However, I will say this as well. Even with the small distributors, okay? There's this idea that self-publishing that if you put together a book and you're not a person of renown or you haven't been on the scene or in the industry for very long, then, you know, you're kind of ghosted and pushed to the margins, which is, it is what it is, right? What I'm trying to advocate for you if you decide to become a creator of content is that you possibly work with a distributor to see if they can help you to kind of get the books into as many hands as possible, right? What I mean by that is if you check on worldcat.org, librarians with spines is in about 83 libraries, right? So like getting from 83 libraries to 8,335 libraries, you know, I don't even know if there's that many in the country, right? But getting them into like way more libraries, exponentially more, is really what a distributor can help you to do.  And to say that they wouldn't be of assistance is silly. The problem is how do you get their attention? The problem is how do you introduce yourself when you're a very important nobody? That's really the question, right? So you're still gonna have to go bookstore to bookstore and that's kind of like hand-to-hand combat, okay? So like for example, in Los Angeles, if I was just concerned with getting a book out, right? I'd have to call Romans, I'd have to call Skylight, I'd have to set up a Gatsby's in Long Beach. There's like a whole litany, there's a whole protocol of bookstores that I would have to engage with. You know what I mean? I haven't even mentioned other books or la librería. So there's a whole like list of books that you have to engage with. And what I mean by that engage is consignment and there are challenges there as well.  But consignment does require what I call funds custodianship, right? Like you're the janitor of that check and you got to like make sure that it's going to come to you. I will also just make sure we understand that self-publishing carries a stigma. What is meant by self-publishing most times is when you publish yourself, right? But that's not always the case. Let me give you an example. Volume Moment for Librarians with Spines has no work by me. I don't have a chapter in there, but volume two does, right?  Because a lot of times people haven't even looked at the book, they'll just pass judgment on it before they even kind of open it up. So really, you know, I want you to ask yourself something like, like who gets to publish books, right? And who gets final say over what gets published, right? Like you may have a story to tell and many people don't want to hear it. That doesn't mean your story is not of worth, right? Let's not forget, especially when we're talking about publishing, someone like J.K. Rowling, I think she had six or seven rejection letters from big publishing houses.  Because most of the times, you know, if you just send it, it goes into a slush pile and not a lot of people engage with it. And imagine all of the J.K. Rowlings that have been kind of passed over by publishing houses. You know what I mean?  She took five rejection letters and was like, screw this, I'm gonna go enter like data for a living, right? So, you know, who gets to publish?  Who gets to say what gets published, right? How many zip codes get to hear your story, right? If you keep it within your zip code and another, that's great, but kind of limiting and challenging, right? So you definitely want to spread wings and kind of have your story, have a life of its own. And I think it's also an opportunity for you to kind of ask yourself, if you know of a publisher that's a person of color or you know, a publishing house, a small press that predominantly publishes writers of color, collaborate with them, ask them, how are you doing this, please? Like it doesn't hurt to reach out. I am available if you guys, you know, like if you have a question, I would love to kind of, you know, answer them. These are some of the sources that I use to kind of talk about the things we talked about. And you know, like I said, I don't have all the answers, but I'm hoping that you were able to kind of generate some really great questions. And if it's okay, I would love to kind of hear some or maybe we could kind of, you know, do it with the chat or something. So, Yago, I'm going to pop on here. Hi, everyone. Thank you. There have been some questions come in, but first I want to really thank you for your time with this presentation and your expertise. I think it's an area that, you know, even library students, when we go to library school, we don't, we might not even consider or once we become a librarian, we don't consider this as, you know, whether it's an interest, a hobby or something we do, eventually want to try to get into full-time. And I heard two real key takeaways myself about sharing our stories. I think we each have so much to contribute and it's getting it out there and being able to share it and be on just our local, like our backyard. And then secondly, I was going to ask this, but you touched on it, the ways in which we can help, we can impact, we can influence the culture of self-publishing as a person of color and what we can each do to contribute and get our voices out there. So I really, I really do appreciate this talk and I'm gonna go to the chat. I don't know if you can see it, but there were a few questions and go ahead, anyone place your questions in the chat if you do have comments and questions. There we go. The first one, this is from Jim. He said, hi, Yago, thanks for your talk. I thought this might be a good thing to think if things get bad, employment or job wise, but it looks like it's not a full-time gig and I appreciate your candor on this. The questions Jim has are, what do you think of print on demand and your business model? And print on demand in general, any insights on this from your perspective? Totally, thanks so much Jim for that question and just so we're clear, we've mostly done print on demand. I've dealt with one printer, McNaughton Gun in Lansing, Michigan, and we used them to publish some puzzles for Foley and they were great, but on the whole, yeah, you're gonna pay more money to have it printed at a press and the print on demand, the great thing about that is that it requires no capital from you or actually very little capital. For example, let's say you upload a book there, you as a publisher, they give you a special price to publish, so you can print those books and have them and that's what we do, we print those books out at a special price and we use square up to distribute them to all points in the country, right? But a lot of people view print on demand again as like this kind of like stepchild, you know what I mean, where it doesn't really get the importance that it should and the reality is a lot of these prohibitive costs, like they go away when you do print on demand, right? And really what it's about is, getting you to put on all those hats, right? So getting them into people's hands becomes more your job, not going out and trying to figure out how you're gonna get $600 to print out 250 books, right? So that's a great question and you know, I swear by the print on demand stuff, again, a lot of people are turned off by it, I get it, but for me it works. Great, and Jim, I hope that answers your question. There was a question, this was about the houses with no doors that you referenced and the, how white the profession or that aspect is. And Arianna Kale asked, is that for North America or is it all the Americas? So I believe in 1994, that study, it was a, I don't know exactly who administered it, right? But the printing presses, the houses were all sent to this survey and it was optional to take it. Some people took it, some people didn't. Of those that reported, this is what they were able to kind of tally up. But having, like after I got my MFA, I moved to New York because duh, that's like as a writer, that's where you go. Those were all the publishing houses are. So you're kind of like closer to all that. You know, there's a lot of ins and outs and a lot of those places, you can't even get through the front door. You know what I mean? So it can get really interesting. So the main reason I use that slide is just to illustrate that, we talk about these things, but if actually nothing is done, then the things remain the same. So like we were made aware of this in 1994 and like, I know a lot of companies like say that diversity is important to them and that's the truth, right? But how do we provide for that? If we just say diversity is important and that's how we improve it or do we actually build the architecture of something that is going to improve it? And my point is that for the last 20, from 1994 to 2015, there was absolutely no architecture made in terms of trying to better the problem. It was all kind of like, you know, it was all spoken and nothing was actually built, right? And so what I'm talking about is these are the conditions in which people of color find themselves. And these are the invisible kind of challenges. These are the invisible sensors that a lot of people of color have to deal with. Many like myself, like I don't have an important last name. I don't have a bunch of capital, but that doesn't mean I don't have stories to tell and that doesn't mean I can't work with people to get them to kind of coax the stories out of them that they have. And that's what this is about. So yeah, I hope that kind of answers the question. And again, it's not to, you know, it's not to, man, I really am just kind of looking at the data and saying, look, this is what I see. You know, I remember a really great interview with James Baldwin where they asked him, you know, why is he living in Paris? And he's like, look, I make decisions based upon like how people behave with me. And I can't, in this country, it's just not happening. People's behavior tells me that I'm unwanted here. And that's kind of, I'm massacring Mr. Baldwin's like, you know, interview, but like what I'm trying to say is something very similar to, right? I feel for in many instances that we're kind of, our stories are a little unwanted or there are stories that they think they know how to tell and they don't. We've seen that with like a lot of the television shows that are on Netflix now and this whole idea, you know. So thank you for your question. That's a great question. Excellent. I know Max had a few comments about, this is also directly related to information literacy and that information comes through a very small lens, which I agree with both of those. And then Max had a question, will he just be branching out into non-print publishing? That's a really good question. You know, I think we're all seeing, we're all seeing now that whether you like it or not, it's a good idea. Like I think before this pandemic, you know, I do outreach a lot where I used to get from people, like, oh, and I'm the same way I would prefer a physical print book, but I will use an e-book in a jam. Like if I need to get the info, I don't care. I can, I'll look at it on an iPod. I really don't care, right? But if you're talking about preference, I always prefer the book. It's just like how we as humans, our hands, it's almost like perfect for the tactile kind of experience. So to say that, any publisher to say, it's like, you know, it's lying in the dirt, we're not doing anything electronically is like, it's like a Monty Python skit. Like there's no one would do that right now. So most definitely we're looking to kind of do that. And maybe that's the way that we get into more libraries maybe not having a print book, but, you know, because the print book involves the library sending me an invoice.  And again, I'm not bad-mouthing the hand that feeds me all that stuff, but I am saying, again, what I call funds custodianship. I'm just not down. Like I have a regular job and a family and a wife and I don't know what chinchilla form I need to tend to. I don't have time for, you know, I mean, to kind of run after money that people owe me. So it's really just a practical thing. But thanks for that question, Max. That's a great question as well. Definitely. And you have many other questions. So I'll continue here. Cool. Thank you. You're welcome. Angel had a question. Do you have any resources for persons of color publishers to collaborate with? Is there a list? And I'll add onto that. If there isn't a list, can we start one or do some research and put together a list? Most definitely. There are so many resources online. Like it's really dizzying to be fair. So, you know, five years ago there was, we need diverse books.  There's like myriad, myriad, myriad Facebook groups and stuff like that. You know, what I would suggest is really, you know, you create the list and it's gonna be Angel's list, right? It's gonna be like the things that you might see important or might find important. And I would love for people to be drawn to that list, right? Because you're seeing it with like new eyes, right? So I guess a person who may be getting more into this, you know, I'd be interested in seeing like your list and what you think is kind of like important, right? So I don't know, there's definitely a room for that. Let's not forget that, you know, like even some like fact sheet five, you know, which was started was like a review of zines, right? That a dude published. And he was just an independent publisher, you know? Like you, Angel, hopefully one day will be, right? So thank you for that question. Great question. Christopher had a question, well, statement and a question. I want to republish public domain technical books that's utterly out of circulation. Any advice for publishing things that aren't literature or that are out of circulation? Yeah, yeah, for sure. And thanks for talking about circulation and that whole thing, you know, there's a lot of like pitfalls and snares and you gotta be careful. And, you know, we're all, we're all working libraries. So we know, you know, these things come out of copyright and you can use them. They come into the public domain and I completely, so here's what I suggest, man. Let's say it's a manual for carpentry that was a hundred years ago, right? I would work with a graphic designer or someone that would make an interesting cover. I would reach out to someone at a technical college or that owns a business in which, you know, they do a lot of that work and ask them to write an intro or a preface. I guess what I'm saying is, man, if that's your thing, reach out to people who know about it and who aren't afraid to put pen to paper. There's lots of expert guys, but there's not too many people who are unabashed, who are not bashful. Like a lot of experts are really, they really are very careful with their words and what they say and there's very few people who are just gonna be very generous and open with you. I guess what I'm saying is, go the generous and open route. If it's about woodwork you're talking about, talk to woodworkers, talk to people in the profession, talk to professors and people who study that history, you know what I mean? And then go from there. And the book kind of writes itself. The content is already there. I guess what I'm saying is, make sure you build a really sweet house for this book. And how are you gonna do that, right? Again, work with a graphic designer, have them build something that's really nice. Maybe you're thinking about a wood print, right? It's obvious for a woodworking manual, a wood print would be super, super appropriate and really aesthetically pleasing, right? So these are all things we know.  Thank you for that question. That was a great question, great ideas and suggestions. Here's a question from, I can't see the full name. It says, L-O-R-E, but it says, hi, thanks for your talk. I have a question about contracts with the authors at many presses. How much percentage do authors get paid and do you recommend a website with good examples of contracts or rather what would be the best way to deal with that? Sure, so I'm gonna be completely open and honest. We do not pay the authors that collaborate on librarians with spines. And the reason is because the money that we make is just not enough. And so that's a great question. I'm going to be very honest in terms of contract.  Just so it stipulates what people should expect and you're very transparent. For example, with us, they sign a contract saying that they're gonna appear in this publication that we cannot pay them but that they are getting two copies of the publication like in payment and they sign their name to it and that's pretty much it. In terms of bigger projects and like what those things are worth, you're not gonna find something on the internet. It's gonna be really hard to find something on the internet. For example, if someone wants you is contracting you to write their biography, right? It's gonna be really hard to find a contract for that on the internet that is very transparent with you. So you're gonna have to figure out how many hours it's gonna take you to work on this project and then come up with like a per hour number, right?  So that's basically what you would charge them, you know? So think about how many hours a project's gonna entail and think about what your worth is hourly and then that's what you put in that contract. You know what I mean? Which again, you can just kind of get off the internet but again, this is a great question. Now, with other publishing, with other print houses and stuff like that, you can guarantee that the contracts are way more complex, way more, they stipulate way more and they're very, very, very direct. You know, like there's certain things that you cannot do. If they pay you to write two books, man, you gotta give them two books. You can't give them a book and a half. I mean, you can give them a book and a half but your career's over, right? So it's like, you know, I'm actually reading a book The Last Taxi Driver by Lee Durkey and the main character is actually a person who wrote a book and then just couldn't write the second one and so it has to drive cabs, you know what I mean? They used to work at a college and stuff. So I guess what I'm saying is as a self-publisher, you know what I mean? It's a lot easier, a lot less complex.  As a self-publisher, most don't and they know that too. The big publishers know that and so do a lot of the people. So, you know, you have to tread lightly. That's a great question. I hope I've answered it like, you know, it's like I said, this is not a day job.  Like this shouldn't be your day job. Like this takes years to really kind of cultivate. You could strike out, like, you know, let's not forget, Paul Beatty's a sellout, Marlon James, that novel, those both were small presses and, you know, one won the Pulitzer and, you know, Man Booker. So it's like, it can happen, you know what I mean? It's not about that but, you know, it's like a gambling thing, right? So it's like when you go to Vegas, you know, you may win $4,000, but the house is gonna win always, you know, so you have to be careful and tread lightly. The contracts are great for that and small presses typically pay their contributors and copies. So thank you for that question. That was a great question as well. And Max did point out that money does go back into creating and promoting more volumes. So let's remember that too. For sure, and then let's not forget, like especially with librarians with spines, like we sell it for $22.95, right? But then I'm responsible for mailing it out and each book is about $2.75. Like if I get a carrier that's like cool and like we're chill and I can get the media rate, that's like $2.75. If not, if they kind of hassle me and they're like whatever and they start asking a lot of questions, it's like $3.25 or something like that. So you gotta realize that's $3 off of every book. So the book that, you know, we're not really making that, we're making that minus the postage and minus this.  So like, you know, it's a, we're a pain.  Cause there's like boxes of books and crap. You know, I can't speak for Max. Max's wife, Rani's beautiful and she's great. I can speak for my wife and I drive her crazy. I can attest to that for sure. She's amazing and so humble and so beautiful and so amazing and she tolerates me. And that's all you can ask. Here's a great question about any books or resources, I guess specifically books, you would recommend to get started or get more in depth on self publishing and becoming a small press. Is there one title that you would recommend? Let me tell you why that might be fraught with a little, not danger, but like the books that are published, teaching people how to publish are there to sell. And that's obvious, right? I guess my point is, is I would trust more, I would stick to Library of Congress, like what I can learn from the pre-assigned control number thing. I would stick with Bowker and like the commercial stuff that they tell me about that stuff and like how to think about it. In terms of books, it's kind of like self-help, you know what I mean? Like self-help is I feel always trying to sell you something, right? So they're trying to sell you this way. I guess what I'm saying is eventually I get to the point where they try to sell me something if it's a book about publishing and I'm completely against that. Like the whole point of this is a DIY kind of ethic and it is this idea that like look, the thing that separates me from Penguin House is millions of dollars of capital for sure. They have staff of thousands, they have millions in terms of capital and a publishing history, I have none of that. But there's certain things that put me on par with them. And I guess what I'm saying is I stick to those things because those things are the things that I can touch. Those are the real things. Like the real thing is Penguin has a Bowker account and they have hundreds of ISBNs and they have a person who's sold job is to, to shepherd those ISBNs, right? I don't, I have maybe 20, okay? And so I can do it on my own. So the scale is much smaller. I'm so sorry, it's not that, if you gave me like a day or so, I could probably find like a book or two that's a little better, you know what I mean? What I would recommend actually, it's from my work as a poet, like you have the poet's market. So depending on what genre, buy the market book for that year. And actually that's how I would do my research and that's how I would kind of emulate the things that I would like to do is I would check the websites and the aesthetics and the business plans, you know, like how they do things of presses, websites, journals that I like and admire, you know, that's really, so don't get a book, but get the, like if you're thinking about starting a poetry press, get the poet's market at 2020 and just kind of leaf through it, you know, look at places that accept contests and stuff like that and see how they do things and how they run things. And that's where you'll get a better idea.  But again, you know, maybe look around too, right? Using self publishing or, you know, keywords like that, you know what I mean? That'll get you something. That's just my two cents, you know, but that's a great question and thank you for allowing me to express it like that. You know, I appreciate it. And also, Yaga, and I think you mentioned this before, too, looking at those Facebook groups or other locations that social media to see if there are any networking groups that might have conversations about this that address that specific genre. Oh, no, no, for sure.  And the books they put out are great, but they've also done programming. They did this program a couple of years, a couple of summers ago called 90 for 90 and they did 90 programs in 90 days. And let me tell you, man, they're not making millions of dollars. That was all love and connections and rapport that they were able to build with people. Again, what I'm saying is we don't have the capital, we don't have that money, but what we do have is time and what we can build is rapport. And once you build rapport and make those connections, people will actually probably do the work for free. If there's that rapport, if that's that general feeling that we're in this together and we can do this together and you're collaborative, I guarantee you money is not gonna be an issue and everyone just kind of throws our defenses down. So that's just one example. You know, like I haven't worked with them much just because my, you guys can hear my babies in the back, my life is somewhere different and I don't know when I can work sometimes. You know what I mean? It's just kind of a little harder for me, but there are presses owned by minorities that are minority run and mostly published minorities. There are bookstores out there that are really taking the charge and really trying to, like other books in LA. I mean, phenomenal, phenomenal in terms of like who they're trying to reach, the programming they offer. Like I think better than libraries. You know, they're doing programming that is way more. Look at Libertal Mobile in Santa Ana.  Like it's there, but you do have to reach out. You do have to come with open palms and just like really in a spirit of trying to learn how to do this.  You will not have to look for opportunities to publish things. You will talk to people, you will mingle, you'll network and all of a sudden they'll be writing to you and asking you what you think and if you can help them with this. So, you know, it's a great opportunity to kind of, you know, be humble and just kind of learn. And that's what I've been trying to do for the past 10 years. And I still have maybe scratched the surface, you know? I think we're at the top of the hour and I want to be really cognizant of that because our time is critical. So there are several questions, Yago, and some great resources that individuals have asked and shared. So what I'm gonna do is I will send those to you after this and if you can respond to those and just an award document and then we will post those answers and those resources with the recording on our website. So everybody can get those answers afterwards. That's super rad. No worries. I did want to say one last thing. Guys, you know, even though there are a lot of obstacles to publishing and you know, you're definitely gonna be learning a lot. I did also want to make the case for there are lots of public library systems and academic ones that are really trying to ensure that minorities are publishing and that there is a hail and hearty and almost kind of like just a very vibrant ecosystem of publishing. So just, you know, in terms like LAPL has resources. LAPL, you know, collaborates with independent authors in English and in Spanish. And I'm not just talking about telling them titles recommending. I'm talking about working with the California Center for the Book and a bunch of other entities. So you don't have to reach out to public library systems or libraries. There are nonprofits, organizations that are there to help you. California Center for the Book, California Arts Council. There are myriad, myriad, myriad people out there willing to help you if you can write a cogent proposal. So please reach out, but don't forget. A lot of these resources have been under your nose. You just haven't been looking for them. And your work as a librarian that always happens to me as a librarian. I'm always like, oh man, it was right there. You know, but I just, I wasn't looking for it. And so I wasn't able to find it. So maybe now that you're looking for these things, recheck the, you know, the kind of home pages of your public library. And I guarantee you, man, you're talking about Austin. You're talking about Los Angeles. You're talking about New York. You're talking about like Portland, Seattle. I guarantee you those public libraries have collaborations with independent publishers and organizations at the state level that you can take advantage of. You are not in this alone. It is not your problem to solve alone. That's the one thing I want to leave you with. Reach out, be humble, learn as much as you can. And you know what? Ask for help. And people respond. They always respond, you know? So, you know, with that, I really appreciate it. I don't want to take more time than, you know, you guys are lying. So I really appreciate the time and the patience. And I'll definitely get back to all your questions. And please, inchespress.com. We're selling zines. We're selling copies of librarians with spines. I'd love to put one in your hand. Thank you so much, Yago. This, again, was so informative. And I really appreciate everyone that's attended, as well as your time for putting this together and sharing your expertise with us. So with that, thank you, everyone. And we will be back in touch, and you will be able to see the recording and those answers to those questions we need to get to and the resources on our website within two to four weeks. So thank you again. Gracias. Y un abrazo gigante para todos la gente en internet. Okay, thank you in a big hug and for everyone on the internet. Let me know if you have any questions. I'd love to answer them. Thank you so much, guys.


The governor of Russia's Voronezh region said on June 24 that emergency services were trying to put out a burning fuel tank at an oil depot. More than 100 firefighters and 30 units of equipment were working at the site, Alexander Duzov, the governor said on Telegram. There was decompression of two tanks with oil products, five tons each, at an oil depot on Dmitrov Street. Firefighting is proceeding normally, he said. He later said that only one reservoir was damaged. Video footage obtained by Reuters showed a ball of fire erupting after a helicopter flew near a residential area. The Voronezh location was verified by Reuters by buildings and road characteristics that matched satellite imagery.


find someone to talk to that can relate to you about this and also make sure that you are documenting your own journey because it'll be really special to you in the long run. And the last thing here I really wanna talk about which I think is the most important part of this is to make sure that you're not denying yourself in this experience. A spiritual awakening is very fluid.


The event of 9-11 really kind of pushed me to that way. I just knew I had to do something. And what better way than surfing in our military? I was a medic in the AV-6 Air Force. I was actually running to help another soldier they get injured in their firefight. He took a round in the helmet and I got hit running to help him because I didn't know how bad it was.  Yeah, but I really don't like that because I was just doing my job. I don't see why anybody should get special recognition for doing what they were supposed to be doing. This year has been great. It brought me closer to the people around me. Not just my mother and father, which I'm thankful for, but like other veterans as well. It's real comforting to know that you're not the only one that went through something. All I can say is thank you. Thank you for being there. And not only for me, but the hundreds, the millions of other veterans. You can't go in the path and change that. We've been trying to do that for years and no possible way. So why don't you make your future a little better than it is now? And you can do that by coming to the winter sports clinic. I don't know what inspires me. I just know I can have a certain point and an ending point. And the end is where I want to be. I just want to be the alternative. And it takes more muscles to frown than just to smile. Besides, I paid a lot for these activities. So I'm gonna show them off.


Welcome. This is Jenkins documentation office hours. It is the 29th of April, Asia time. Thanks very much for being here topics I've got on the agenda for today include news. Google summer of code she code Africa contribute on we should probably also include Jenkins to dot 332.3 LTS change log and upgrade guide. Let's see. ongoing prep for June LTS discussing baseline selection. rough draft or review of changes. Since 2.332.33.x. Any other topics. Chris, were there topics that were specific for you though we should maybe we should talk about localization, localization, internationalization and localization meetup. May 12. And crowd in is the thing. Okay, good. Great. All right, so by way of news we've got a weekly 2.345 has been released. And let's see other other items that's, I think that's the big one. Google summer of code. So we are in the proposal evaluation. By potential by potential mentors. And that is due by end of this week is that right Chris. Org admin. Oh, go ahead. Excuse me. Thanks. Then org admins do further further review prior petition and submit to Google. And then Google selection selected projects are announced in May right. Yes. We wish everyone all the best. We look forward to that and hope we have several selected for Jenkins. Chris anything else you wanted to mention on Google summer of code. Um, no. Okay. She called Africa contributon is ongoing so the inclusive naming project has found several places that need updates. This is the word master be needs to be changed to controller word slave needs to be changed to agent. Blacklist to a better phrase where the better phrase depends on the context, and likewise for whitelist whitelist. They were in those two were never particularly helpful phrases we use them as secret keywords to describe the meaning of something that's been banned or not banned, or a specifically allowed. Then the, the screenshot updates project has found many screenshot many screenshots that need updating. And they're using Jenkins weekly to create the screenshot so that they are close to what June LTS will look like. That means they're actually a little different than what the current LTS looks like. Yeah, and I'm I that was a we've had fun with doing that one because finding the pictures and then taking them. I did a demonstration today and in the demonstration today, promptly showed why it's difficult to create screenshots correctly by taking exactly the wrong screenshot and creating a pull request with it. So, fix that. That's a good teacher mark right sacrifices you make for your students are showing showing by total hypocrisy complete failure this is how you fail to do the task and then let's let's fix the damage. The pipeline help project was somewhat of a struggle today. Because we picked a plug in that was difficult to add help. And so I've got we've got more work to do to find places and examples there. And I'm going to go on the chicode Africa contribute on it ends ends mid May. Then two weeks of two weeks of wrap up of conclusion and final reports. How are the participants going doing though are they having fun or they. I think I think they are. It's a little slower than it was last year. But I think there we've had everyone's plans and ideas reset as necessary to be sure look, we're here to learn about open source together. We're going to show you some things that may surprise you you're going to learn some things we're going to learn some things and that's those have turned out to be positive. Good, good. The next topic then was the Jenkins LTS change log an upgrade guide the PR has been submitted reviews are encouraged. And the PR is at. I should put it pasted in here just so that everybody's got it if it helps me. Yeah, here it is. And if I remember correctly you have to look at the screenshot the preview doesn't work because previews are only available for weeklies not for the LTS previews. So look at the picture but the picture is included. Any questions on that LTS change log an upgrade guide. Okay, so next topic is the ongoing prep for the June LTS and this is a big one because there are significant UI changes. I'm grateful to to Jan Farachik and to Tim Jacome for their work for buzzle crow's work for Alex Brandes for three or four other contributors who've all been involved in UI improvements in since 2.332 dot x. Oh, we've got one more item, which is require Java 11. Java 11 is now planned for the September 2022 LTS. Right. So Java eight end of support by the Jenkins project. Any questions or concerns there. I think most of the African people while they're looking at screenshots watching I think most of the Java eight stuff is gone but are they watching for it. They are not it's been it's been that's a good suggestion. I'll, I don't know that they are, they would be able to detect which things would be would be Java eight specific and which wouldn't. So you said Java eight. So for text we can always do get grep to find any. But it misses the screenshots. Yeah, good point. Although that seems likely that if it's got something that's Java specific in a screenshot. It's probably. Yeah, I suspect it'll be detected but I'll remind them good suggestion. Thanks. Thanks flag them for now is suspicious or. Right exactly just adding them because what I've got is we've created a sheet of screenshots that we have pages. And then as we as they visit a page they mark does it need a screenshot update or not. Okay, yeah. The pages will use that list, even if they don't get through all the pages themselves that list could be used for others to do screenshot updates. Oh yeah. Okay. Any other questions on the Java 11 Java eight end of support that require Java 11 project. Okay so last topic then for me is internationalization and localization I've got to show you this one.  Oh yeah. Okay so then you are an interesting candidate for this one. If you would be willing to help us with the experiment so this is crowded in Jenkins.io. What it is is a localization facilitation service that submits pull requests to Jenkins plugins with translations. So so what what we've done here this is okay admittedly this is not a very popular plugin we intentionally use one that was not popular so that so that no one would be dismayed. Or if you want a popular and very interesting plugin design library plugin. What it allows is it allows a contributor to contribute translations in through a web user interface, instead of contributing them through heroic efforts that they have to do by editing property files now I don't. It doesn't offer any machine generated translations into Chinese traditional and I'm not sure why, because for example, if I do the same thing in Italian. It actually offers me. Come on, come on. It will offer me machine generated translations. I'm not sure if they just don't do multi bite really well, or, or what it is but we're certainly interested in feedback from people. How does this feel how does it work for them for for people who are native language speakers. Do we have anything in a different alphabet. Well, Russian. That's a good question let's see what else we've got so we don't have any. Let me look to see if maybe, maybe design library plugin has some multi bite translation, just a minute, because I'm not sure that I know there's none in. I know there's none in the. No none none have been translated yet. So there's nothing multi bite here. And we're doing it with just plugins for now just to get an understanding of. Yeah, what, what does it mean. Oh no look, there it is it's offering a translation okay. Okay, now Chris, while you're here. Can I have you look at these machine generated translations. Do either of those look reasonable to you. The first one is okay the second one looks kind of weird. Okay, alright interesting. So, so this one didn't look unreasonable to you. Yeah, it looks okay. Interesting. Okay, well so that's, that's, I'm going to dare to save that because. Now this one. Oh hey they got it right here when we did a German translation earlier today, the, the code L colon main panel and code thing was incorrectly translated into local language. Now do any of those look reasonable Chris. Similar except. Let me see which was the best one. I think the third and fourth ones are quite similar. Yeah, and as I look at three and four I the only difference I see now I don't have. I certainly don't read multi by main dash packer versus main dash panel and main dash panel is the correct one. At least for the non translated string. I think the second one is the best second one okay. So, I'm just going to go ahead and save this because now this gives a chance if you're interested later Chris you could register with this site and I think you may be able to make yourself a proofreader. And then come in, come in and say hey look it did it. And then within 12 hours a poll request will be submitted to the plug in proposing that localization. Okay, okay. And it comes by GitHub poll requests which mean, which means we then we just use standard poll request processes to, to manage it so I can show you one that I just processed today from schedule build plug in. It came in looking like this new crowd in translations. Okay. And here's what changed the section title I kept it schedule build plug in and then horario pre definite to the construction and panification, which is some sort of Italian. And zone or area is actually pretty close, at least for the limited Italian that I do. So I'm, I've been really impressed we're going to do a session on this May 12 and show, show people one how do you internationalize. And then to how do you use crowd in to encourage others to help you translate into local language. Yeah, I am, I am really impressed and thanks to crowd in enterprise they've given us the license for free. So we, we get all sorts of benefits from what they're willing to let us use their hosting the service. All we do is is hook it up to our repositories and they'll submit full requests. So we'll have a time when say simplified Chinese will be partially, you'll look at it and some will be in English and some will be translated. We already have that right so they're, there are plenty of cases where we have, we have actually and I can go ahead and proofread this I'm going to say yes to both of them because Chris was here. So, so we already have that kind of partial experience today, what this will do is allow people to help us make more and more of the strings translated into local language. Right. So what if one of the ones that isn't well translated can you, can they go in and change it. Can they be word or edit it or something. I think so I think that this gives them a facility to say, hey, I'd like to alter something here. So whoops, I clicked the wrong thing I need to click. Instead of proofreading if I click crowdsource here, then I could change this to be. Piano. And it does allow corrections now in my case I definitely don't want to correct that, at least as far as I can tell it does now we're, we're still learning. This was first introduced to me by a student in Germany, Alexander Brandus who's been actively involved in UI improvements and it's, I'm quite impressed. Any other topics we should review today. Okay, well that was that's pretty simple. We could look at some old PRs. Unfortunately, Meg, I'm not. I've not got capacity right now to make any progress on old PR so I'm hesitant to bring them again. We've certainly got lots. There are 38 open. We've proposed blog posts, etc. Actually, I guess there is one do any are any of you Mac OS users. Not willingly. Okay. Chris, did you say you are or was that a no. Oh, okay. So, so Chris, if you'd be willing. I need somebody who's got access to Mac OS, who can see if, if this proposed phrasing makes sense. I'm not a Mac OS user and me approving it feels feels like I could make things worse rather than better by saying yes. So what they're describing is something about how to make user local bin accessible to a Docker image. And that surprises me in all sorts of ways so I don't quite know what to think of it. If you were would be willing to review that do you mind if I tag you in this just to ask hey could you help me. Yeah, sure. Oh, thank you. Okay. Thanks very much. All right, any other topics for today. Okay, then I'm going to go ahead and stop the recording. Thanks all terrific thanks everybody.


Hi, it's Bridget. At Above Life Channel, I have a question for you. Who do you love? What afterlife celebrity do you want me to channel for? Valentine's Day! Go ahead and put it in the comments below and I will check it out. I will choose one and I will channel on February 14th, which is Valentine's Day. It can be anybody that is well-known celebrity, famous in the afterlife. It can be a world leader, an artist, a musician, a rock star. It can be a writer, an author. Just you just put your love below in the comments and then I'll pick one to do. It can also be somebody we've already talked to. Totally fine with that. So this is your chance. Who do you love? From the afterlife. Again, it has to be a celebrity, a well-known, famous, or influential person. This is Bridget at Above Life Channel. I so love doing these videos for you. I hope you love them as well. Thank you so much for watching and be sure to check the channel on Valentine's Day, February 14th, to see who I channel based on your comments. Thanks for watching.


Oh, yeah, we're back from Thanksgiving. Another, feels like it's been forever since we had a full week in the office. Forever. Cause you were gone the week before Thanksgiving. Jake's been gone for two years basically. Jake dressed up. The week before the beach. Sweats. Yeah. Turtleneck, vest, little popper boy hat. Black and white, red and blue. I think that dress looks good on you. Hope you all had a fantastic Thanksgiving. Chili and pepper sack.  Keep going. We're gonna talk something about that. It's tricky. Stop lights. You ever seen the video of the guy heckling the guy who's trying to run for mayor of the town, Ben Knaub? I haven't seen the Ben Knaub video. It's hilarious. This mayor is running for mayor.   I'm trying to film a 30 second spot. And this guy in the background just keep going. Boo, Ben Knaub. Boo, Ben Knaub.   And they're like, no. It's really funny. But it's just very. Boo. Every time we talk. Boo, Ben Knaub. Tough break today. A reminder. Ben. Boo, Ben Knaub. Yeah, that was the name. Go Googling. All right, let's do talking next. I mean, that's wild. Look how orange. It looks up there and just straight red on your body. And everyone's like, no, it's like very red. It's like, I think it's orangey. And they're like, you're colorblind. But you're seeing these two straight up? Yes. OK. Which now has me questioning a lot of things. Yeah. John Boy Gaps galore, stat lines, steaming hot takes. And Jake, rank our thanksgivings. One through three. Oh, golly. I'm three. OK, wow. Jeff's fired at Jess's family. Yeah.  Sess is the longest tenured Yankee. People forget that. That's a lie. 2015? I think he made his debut with the Yankees in 2015. Am I wrong there? So you're going to pull a card out of the hat. You're going to write your answer on the back. Don't put your name on it. And then at the end, we're going to put them back in the hat. Then you're going to draw someone else's answer. And then we'll go around and take turns.  So you have to read it aloud and guess who it belongs to. If you guess wrong, you have to choose between a bug or a warhead. I'm not reading a bug. I'll take a warhead. Name a co-worker and share your favorite thing about them. Somebody said Anthony's low-key humor and giggle. Thanks. That's the giggle. And if I get it wrong, I have to eat one of those? Yeah. I guess Jimmy. No. No? I don't really know what spicy cayenne is, so I'm going with that. All right. Yeah, these are weird. How bad are they? Yeah. They taste like seeds or something. Do you have a party trick? If so, what is it? If not, what do you wish it was? Answer, no. But if I did, it would be to be able to make noises like the guy from police academy. I think this is cayenne. No. Oh, I forgot you're kind of big. I only have had the cayenne. Ooh, it's a spicy low-key. Yeah, that's probably better than the barbecue. Cayenne, Peppa, where do you want to retire? This person put down New Orleans. Oh, that's interesting. Party. Luckily, I know BBD is from there, spiritually. I'm going to go with Katie. Yeah. I went a little bit on the handwriting. You kind of have girl handwriting. Yes. Have some of the bugs. What do you mean? You like them. You made the game. I know, but I didn't know that that was going to be. I didn't even know if I was going to participate in the game. No, no, no, I'm celebrating crickets. What if one's still alive? I don't care. They're dead. It would feel so bad if one was still alive. No, no, no, no, I can't do it. I can't do it. No, I can't. I don't want to look at it. Stop, stop, stop.  You crick it. You crick it. I know. How do you make sure it's dead? They're dead. They're agreed upon rules. No, I can't even touch it. It's so gross. It doesn't taste like anything. It's good. It's disgusting. The question is, share an embarrassing thing you've done. The answer is all of it. I'm going to guess it's BBD. Is it because I was the last one to click a card? Is that all I got? Mine? Yeah. Absolutely. Eat a bun. Eat a bun. Yeah, you guys zoom in on that. What's the strangest gift you've given and received? Given a box filled with nothing and received the tape holder. I'm going to guess this one's Kyle. No. Wow. So we just got to eat one, right? Yeah, but it's best if you eat 10. I'm good. If you could speak another language, which would it be? The answer is sign language. I'm going to guess. Don't answer. Kyle. No. I've never had a yellow before. It's just the least. It's just really sour. It's sour. Yeah, it is. It's more sour than the bugs. Couple crickets. There you go. Yeah, that's dust. Yeah, see? Bug dust. Dust of bugs. It's kicking. Hey, what was your answer? Sign language. Did you know I know sign language? I could teach you sign language. You guys don't know sign language. I know sign language. I know sign language. Say stop to each other. What she say makes sense. Have you seen that news scary? See, I'm jealous. Who said they like dampening? Oh, that was you. That was you. Come on about it, ma'am. That concludes Team Building Tuesday. Can I nail the lens? No, no, no. Let's see. Got it. Thanks for joining us. Today's cold in New York. Today I was walking around and it was freezing. What's cold for you down there, 40? Man, when we go for spring training, it's cold in like the Starbucks because they blast the AC. We're doing hot sauce. Jake is sort of insisting that we put it on something.  That's not really a choice. I don't think we have a neutral chip. Yeah. We've got to have a neutral chip. Let's vote. You're not going to like what I've got. Do you kind of believe? He was like such a Brooklyn guy. Christ! We have nothing. We have nothing. You want us to put hot sauce on beer chips? Don't we have those waffle chips? How did that not get pretty over there? You don't tell me where they are. I thought we were going to get the chips. We don't have chips. We don't have chips, Zach. That's not true. They're in the cabinets. They're those little wafer chip things. Bring everything in that cabinet. Bring the other stuff. That's just coffee. They're already flavored. This isn't going to go over well. These are the only chips. Yeah! They're already cheddar. That's okay. Hey, Cameron's in the chat right now. Thanks, Cameron. Jake doesn't like spicy, so don't be upset with what he says. I'm about to have a bad time. I'll do the habanero mustard. Do you want to get the shots? Do it over the new laptop. Is that too much, you think? Cameron, the one who sent us this very hot sauce, is saying to do the opposite of what we're doing. We're pretty in. We'll make the rules. We're pretty in at this point. Mahalo! That's got to kick right away. Oh, boy. This is going to get you hot. The mustard... Hot. It's going to get you bad. I need a water.  The mustard was good. The mustard was good. That's hot. You got to like hot. If I had a friend... It's a building heat, says Cam. If I had a friend of hot sauce and they gave me that hot sauce, I'd be like, I get it. Like, okay, if that's how you get your rocks off... I don't think I shook it, which Cam said to shake it. Okay, next up. Orange ginger. These are going to be less than that one. Yeah, yeah, yeah. I mean, this one looks like barbecue sauce, so I'm just interested in it that way. Everyone good. I haven't gotten a kick yet. That's just a lot of good flavor. That's flavor. That's good. Like, I get that. There's people that just put hot sauce on to be hot, disregarding flavor and those people drive me insane. It's almost anti-eating. Well, their level is different. Everyone's level of different. Someone could maybe have this and be like, I taste flavor, I don't taste heat. Because they just have different tongues than us. Our lizards. That's fine. Next up, alapeno garlic. Jalapeno. You like jalapenos? You know, it's a no, but... Tough start. So say, if I ordered a hot dog and they put jalapeños on it and I was like, I'd leave like two. I leave Tester jalapeños. I like that one. Yeah. These are flavorful. I put this on nachos. Yeah. That kind of tasted like nachos. Yeah. Well, we'll have cheese chips. Right. That was good. I connected that, Doc. I might snack on this throughout the show. That was good. Are we doing the quadfecta? You think we're going to do three and out the fourth? I thought there was a chance. What? I gave you a good amount. From me saying I liked it. That it looked like barbecue sauce. It was up your alley. Yeah. You know what I might do, Cam? How much is this? I need... Thanks, Cam. I need two thirds. That one had a little spicy kick at the end. I'll probably do it with one third. I use a spicy barbecue on my meatloaf. And I'm making meatloaf Christmas season. But I do a spicy barbecue when I put it in the oven.  I'm going to make my meatloaf with this barbecue. Congrats, Cam. You got the best chips? Usually I do Kinder spicy. I'll do Osso uroho umami bomb spicy. Thank you, Cam. Thanks, Cam. It might be a problem because they're drilling for Middle Earth behind him. That noise you hear I think it's coming from him. I don't know. I'm about to hit the button. It comes through very loudly. You guys hearing that? About to... It's very loud. About to do Wake and Jake. They're just drilling out the window. It's really loud. It could be for anything. Loud. I don't know why they've been drilling that much. What were they doing up there? I think they're sawing off like metal bars. Should we just every time it kicks in just freeze up. About to do Wake and Jake. They're just drilling away. So I think every time... Right out the window. Every time it picks up I think you just... Never address it. And then when it goes away... I don't know.  Last night Steelers was...


Singer Stacey Ferguson, who you might know better as Fergie, recently sold a charming California vineyard she had custom built in 2013 for $3.7 million. Located in the town of Solvang, this sprawling home was created by the singer to share with her family, considering her father always dreamt of having his own vineyard and making his own wine. This stunning 6.2-acre estate offered a single-level home with most rooms offering a peek at the panoramic views. While Fergie let go of this property, she continues to live in her long-time home situated in the Brentwood Hills area of Los Angeles that's designed in more of a contemporary style and offers about 8,000 square feet of space throughout. In June 2023, Fergie sold a property she owned in a northern area of California for $3.7 million. Located in the picturesque town of Solvang, California, this enchanting home holds a special place in the singer's heart. Custom constructed in 2013 by Fergie, the vineyard property was used as a retreat for her and her family and served as a platform for her father's winemaking, which he had always dreamt of doing. After a decade of cherished memories, Fergie recently sold the sprawling 6.2-acre estate to a non-famous couple from Phoenix. Solvang, California is a charming town that transports visitors to a slice of Danish culture in the heart of Santa Barbara County, known for its enchanting Danish-style architecture, windmills, and vibrant flowerline streets. Solvang offers a unique and picturesque experience. Strolling through the town, one can explore a variety of Danish bakeries, boutique shops, and traditional craft stores. Immerse yourself in the Danish heritage by indulging in delicious pastries, browsing intricate wooden clogs, or enjoying a traditional Danish meal at one of the local restaurants. With its idyllic setting in the San Inés Valley, Solvang also serves as a gateway to the region's renowned wineries, where visitors can savor wine amidst vineyard views. Solvang provides a memorable destination that blends Danish charm with Californian warmth, which it seems Fergie's property also managed to do in its own way. Tucked away at the end of a private cul-de-sac, her former Mediterranean-style residence exudes elegance and seclusion. Beyond the gated entrance and the long driveway, the house stands proud, with well-maintained landscaping surrounding it. Its single story design is enhanced by intricate exterior stonework, as well as a grand flight of stairs that leads to the front door. Inside, you'll find over 5,400 square feet of space, as well as four generously-sized bedrooms and 4.5 bathrooms throughout. An inviting flay opens up to a living room boasting a stone fireplace. The kitchen is located right next door and features walnut cabinets, a top-of-the-line wolf range, and a convenient breakfast bar. Additional highlights in Fergie's former house include a temperature-controlled wine room, a butler's pantry, and a formal dining area. The interior is made even nicer with its stone floors and dark brown ceiling beams, but the folding glass door is still the show, considering they offer amazing views of the home's surroundings. The masteretry here is carpeted for comfort and offers panoramic views, a kitchenette, and a spacious bathroom. Two more bedrooms in the home enjoy ensuite bathrooms, while the fourth bedroom, located in a separate wing, is ideal for a housekeeper or guests who'd like some privacy, tucked away behind the kitchen and laundry room. Moving outside, additional amenities include a fully-equipped outdoor kitchen, a fire pit, and expansive wrap-round patios that provide views of the valley and mountains. While there's no swimming pool here, the property does feature a built-in hot tub and several charming fountains, while the hillside vineyard produces a considerable quantity of wine annually. Despite the property's seclusion, it's still conveniently located, and only a five-minute drive from downtown Solvang, where one can admire the delightful Danish-style architecture that characterizes the area. When it comes to where Fergie lives full-time, she still calls her longtime property in Los Angeles home. So let's check that out next. Fergie primarily lives high up in the Brentwood Hills area of LA, where she's owned a modern mansion since 2007. While she isn't with her ex-husband and father to her son, Josh Duomo, anymore, this one was purchased by the one-time couple when they were still together, and it was remodeled in 2006, just a year prior to purchase. The contemporary estate boasts over 8,200 square feet of space, along with eight bedrooms and nine bathrooms, in a location that can make you feel on top of the world with its amazing views that even reach the coastline. The home was listed back then for just over $5.2 million, so it's assumed that's what Fergie and her ex-husband paid. Property offers plenty of privacy for the star, including gated driveways, and the spacious home features three floors of living space inside, all of which boast stunning views. Exterior views of Fergie's home don't showcase much more, but there are sleek modern touches that give the structure style, such as the stainless steel front door and opaque glass garage doors, which resemble illuminated light boxes at night. Inside, there are a handful of impressive amenities, such as two kitchens, a spacious master suite, a media room, and two family rooms, which are divided into two separate wings, while outside, there's more, including a pool and spa. While this house might not be everyone's taste, there's plenty to appreciate. Fergie's kitchen stands out for its modern yet timeless design. It's a clean and elegantly simple space that would remain stylish to this day, even though we can only see photos from back when she purchased it. The double height family room offered a large sectional sofa, but by now the furnishings have likely been updated, or at least we can assume. Here, there are also windows and an open plan layout. Fergie's property boasts an array of patios and decks, seamlessly blending indoor and outdoor living to embrace the easygoing LA lifestyle. On the third floor, there's a covered patio as well, which offers views to the west, and serves as an ideal spot to watch the sunsets, or a kickback with a friend. Giving the substantial size of this property and the two separate wings, there is a risk of the place feeling cold and vast, but it seems like Fergie doesn't mind at all. The home has served her for well over a decade, even following her divorce from her ex. Outback, the large and modern pool and spa also offer a tanning deck and a covered cabana to one side, making for a private oasis. After looking at where singer Fergie of Black Eyed Peas fame calls home, that's gonna wrap up today's tour, but before we go, answer this question for me. Would you live in a massive home with two separate wings if it was just you and one other person, or would you downsize? Let me know in the comments below and don't forget to like, subscribe, and follow me on Instagram to chat. I'm Cara the Vampire Slayer and if you want to check out another tour before you go, then stay tuned because next we'll look at the homes of Rihanna. Bye! After working her butt off to secure a wildly high net worth, estimated at $1.4 billion, superstar Rihanna is said to have quite a stacked real estate portfolio. While she owns multiple properties in Los Angeles and even a spawner native Barbados, it seems most recently, Riri has splurged on a glamorous $21 million condo. While she already is called the luxury building the century in Los Angeles home since 2014, with her second baby on the way it was time to upgrade to a bigger, better residence in the same structure, this time a penthouse covering the entire 40th floor. Rihanna and her family's new spread offers over 9,000 square feet of space, jaw-dropping views and features like floor-to-ceiling walls of glass and a personal movie theater. Back in 2014, Rihanna moved on into her stunning condo located in the Century Building, a 42-storey condominium skyscraper in Century City, Los Angeles, about 10 miles from downtown. Other residents who live in the stylish Robert A. M. Stern design tower have often spotted the high-profile singer coming and going from the building and, according to several sources, Rihanna has long been using this condo as her primary residence. She sought her first condo here for safety purposes after an intense break-in incident occurred at one of her former homes. At the Century, there are private elevators and what's described as three layers of anti-Paparazzi security. Not to mention, the building is also famed for its 24-hour valet and 75-foot luxury pool with private cabanas. Riri's first unit was said to boast three beds and four baths and cost her 5.45 million dollars. So comparing to the price tag of her latest purchase here, this condo was definitely much smaller. According to reports, it's spanned a total of 3,500 square feet. The Century boasts 140 units and other reasons for a high price tag to live here, including amenities like a movie theater, spa, wine storage, fitness center, four acres of landscape gardens, and more. Most recently, in April 2023, it was reported that Riri had added on to her already large property portfolio with the purchase of a sprawling penthouse in the exact same building. Only this time, it cost the billionaire a whopping 21 million dollars. The Century might be one of the most prestigious and pricey residential buildings in all of LA, but we know Rihanna can afford it. Considering she not only has a new baby, but also another on the way, it would seem that she and her partner ASAP Rocky needed a larger space for the growing brood. Riri's new condo is one of the largest in all of the building. It's a massive penthouse covering the full 40th floor and boasting 9,920 square feet of space throughout. Aside from all of the designer details and amazing views of the city lights below, her new crib comes with four bedrooms and 6.5 bathrooms throughout. Plenty of room for the soon-to-be family of four. Another billionaire, Nick Molnar, co-founder of Afterpay, sold the residence to Rihanna and while he wanted 28 million dollars for it, she was able to negotiate a nice little discount. This could have worked out because the deal closed only one day before the new Los Angeles mansion tax came into play. And if they waited one more day, the former seller would have owed an additional 1.1 million dollars in taxes. Still, Nick lost out on $600,000, considering he bought the penthouse two years prior from friend star Matthew Perry. While Perry lived here for four years, he seriously customized the property, getting help from architect Scott Joyce as well as interior designer L.M. Pagano. Stepping into Rihanna's new luxury crib, a private elevator landing transports you directly to the home's entranceway where the grand living room has soaring ceilings and full walls of curvy glass showing views of the city skyline. Also here are dark hardwood floors underfoot that continue into the formal dining room. Nearby, the modern all-white kitchen has topped the line appliances, double islands, snack bar style seating, and plenty of marble counters. Other stunning features in Rihanna's new family home include a plush soundproof theater with velvet couches and a cozy vibe as well as a massive master suite that comes with not only a curved bedroom with walls of floor to ceiling glass but also double walk-in closets, double ensuite bathrooms, and its very own private sitting lounge. Finally, the unit also justifies its hefty price tag with it's not one but four separate outdoor terraces from which you can view the ocean, Catalina Island, downtown Los Angeles, the San Gabriel Mountains, and even Mount Baldy. Rihanna's penthouse also comes with a jaw-dropping monthly fee of $8,814 which gives the wealthy residents like her access to all of the amenities like four parking spots in the underground, a 24-hour concierge and outdoor swimming pool and gardens, an in-house restaurant, and much more. Other famous neighbors at the century include the likes of reality stars, Terry and Heather Dubrow, as well as Denzel Washington, and even Candy Spelling, who owns the famous two-level penthouse just above Rihanna's. While Rihanna also owns two next door mansions in Beverly Hills, she reportedly rents them out, but let's check those out next. In December 2020, Rihanna purchased a home in Beverly Hills, more specifically in the Beverly Hills Post Office area on the same star studded in Posh Street as legends like Paul McCartney own properties. Her contemporary crib is nearly invisible from the street due to imposing privacy gates and hedges, and it has undergone massive renovations to blend both traditional and modern design elements. Meanwhile, Inside the Home features 7,628 square feet of space with five beds and seven baths throughout. The home was built in the 1930s, but it had been completely torn down and rebuilt in recent years, making the new style very modern. Curved stairs out front lead you to the house's exterior, which these days features white paints with a black metal roof and trim. Interiors resemble a modern farmhouse design with French white oak hardwood floors and an open plan layout.  An open-air courtyard with terrace, swimming pool, spa, and fire pit. Most of the lower level in this home surrounds the courtyard which is accessible through walls of glass sliders.  Another, also with fireplace, is fitted with shades of gray from the walls to the bookcases and even the wet bar. Rihanna's kitchen in this residence has plenty of space to cook up a meal or entertain since it's bright and airy and features gold hardware, two white marble islands, and access to another slim terrace. Not to mention a cozy breakfast naquir was made glamorous with black leather seats. The master suite has tropical vacation vibes and looks like it's straight out of a resort. Also including a custom closet with black cabinets, well the ensuite bath opens up to an outdoor lounge area too. Also on the upper level of the home you'll find a home gym with full wall of windows overlooking the central courtyard as well as the guest and family bedrooms. Throughout the home there are plenty of open spaces to socialize such as an intimate lounge area, a luxury wet bar, and the alfresco courtyard. The half acre property is on a slope overlooking the canyon but the courtyard was a creative way to get the most out of this space. And because of its position on the hill, the entire property is surrounded by tall walls for extra security. Then in April 2021 it was reported that Rihanna added on to that property and bought the house next door for $10 million. This home was never on the open market but the gated property includes a large home originally built in the late 30s spanning 3,000 to 500 square feet of space with four beds and 4.5 baths. The Tudor style home is designed with a mostly traditional vibe offering up formal living and dining areas along with an Eden kitchen on the main floor which opens up to the family room. There are also some cozy fireplaces throughout the home too. That family room has glass sliders out to the backyard while the upstairs master suite boasts its own private balcony. While the homey look a little bit basic for Rihanna and Asap Rocky, since they likely rented out to tenants it was an investment. Now they own over an acre of land total with both of these Beverly Hills post office properties combined as well as over 11,000 square feet of living space between them two pools and tons of parking. Out back there's a brick patio with room for eating in the fresh air as well as a built-in barbecue and oversized swimming pool while on top of the garage you'll find a separate guest house with full bedroom suite. Now that we've checked out the homes of Rihanna including her latest century city purchase that's gonna bring this house tour to a close. Before you go answer this question for me, would you prefer living high up in a penthouse or in a private home with a big yard? Let me know in the comments below. For me, I'm gonna pick the yard and full on house every time. Don't forget to like, subscribe and follow me on Instagram to chat.