Live from Las Vegas, Nevada, extracting the signal from the noise. It's theCUBE, covering Informatica World 2015. Brought to you by Informatica World. Okay, welcome back everyone. We are live in Las Vegas for theCUBE, SiliconANGLE's flagship program. We go out to the events and extract the signal from the noise. I'm John Furrier, the founder of SiliconANGLE. I'm joined by co-host for the segment, George Gilbert, Wikibon analyst, covering the big data space. And our next guest is Amit Walia, SVP GM of the data integration security group. I'm Amit from Atica, welcome to theCUBE. Thank you, well, good to be here. So, SVP GM, data integration and security. So you've got big data, big data analytics, and security, I know they're tied together, but let's start with big data analytics. This show here, you guys have a nice platform. You're not database dependent. So you have a large customer base. What is the key thing that you're seeing on the big data side of it, in terms of being put into use for the analytics and for your customers? That's a great question. So much is happening in the world of big data, right? I mean, in some ways I would say we just got started because so far the big data story has just been, can I just experiment? Can I get started? Can I just put it into some use to use cheaper processing? But the real value of big data is how do you do more predictive real-time analytics, right? We talked about this this morning when I demoed Project Sonoma. And our story there is, look, we have this intelligent data platform that first of all, as you said, is database agnostic. In fact, I would say in the new world, data agnostic, whether it's structured data, unstructured data, machine data, streaming data, social data, whatever data, we can bring it into any kind of big data lake, as we call it, lake, hub, reservoir, whatever terms customer like to use, lake is a very commonly used term. So you can bring any kind of data into the lake. But that's just the first step. Then you want to do analytics. But just to stop you at that point, machine readable or machine extracting structure from the data lake is tough, generally. Data, so far we've used a lot of data wrangling tools to do that. And then once they're structured, the machine takes over. How do you manage that doing it the other way around? Well, see, that's the power of Informatica. We take data from, let's take any sensor. Let's take, when you're using this laptop to watch any streaming movie. We take that machine data, which is completely unstructured, semi-structured. And then we can parse the logs to see, locate the name, the time, the location. And we can convert that unstructured, a semi-structured data to a structured data, which once you then put it into any kind of lake, it's easier to do SQL queries, easier to bring it together, join it with existing customer data. So then you can do meaningful analytics. That's what we do with machine data. So you're leveraging the earlier Informatica technology for extracting structure out of the data? Yeah. I mean, we are actually extending our technology. So when we announce the intelligent data platform, that's what it does. So to us, any kind of data, we're agnostic. We pick any kind of data and we, so customers don't have to worry about the type of data. We can bring that data, put structure to it, and then put it in any place they want to put it, to then do analytics. And then we take it a step forward. The concern we hear from a lot of business users today is that there is so much data, petabytes, zettabytes of data. How do I even look for the right data? And that's where we talked about Project Sonoma today, that we can bring all the data in. But then your ability then to truly search, and we, you know, enterprise-wide, not just a direct search, a semantic search, where we are inferring what the user wants to do in a very Amazonian way, recommending data to those customers. Bringing that to the data analyst is powerful. Talk about the real-time piece, because you know, there's two challenges. You just mentioned one. What to look for. And again, if you know, we were saying earlier on theCUBE that the thesis, if you believe that everything's connected together now, then everything in thesis, in theory, could be measured. If that's the case, then there's going to be a five-nines reliability of data available, so there should be 100% accountability for all actions. Now that's kind of a dream state, but that means for managers to know what to look for. So knowing what to look for is one thing. But then actually having real-time value is another challenge. How do companies balance that? Because they are moving fast to real-time with the apps, there's more data, geo data coming in. And how do they move their infrastructure and transform it fast to get access to the data and make it real-time? Yeah, I think that's a great question.  So with the ability for us to bring all kinds of data within the lake, then with the ability of our project, Sonoma, where we have the library of map technology, we can bring the power of all that data. We can have the analyst or the scientist be able to search that data to do some real-time analysis. So if you're worried about, gee, what is my best customers doing today this week? So I can give them certain offer going forward so I don't lose them. You can bring real-time data and bring all the data together in the lake and allow an analyst to kind of then search for it, bring it together, do some real meaningful analytics, and then you can put the next best offer in front of your customers, whether it's defensive or it's often. I mean, whichever kind of offer you want to put in, but that's real-time. But that's in the iterative cycle because you're always bringing more data in for richer context, and then you're presumably operationalizing it by putting it into that model, which then works with your application without human intervention. Meaning, your analyst is always finding new data and new structure in the data, and then that improves the model, and the model works automatically. That's the real context. So after the analyst has done something, then we can operationalize that, because then you can put it in real cadence, and then the power of machine learning comes into play. Then basically, as you put those models in, they keep learning by all data that we have already connected to it coming in, and you learn, and you keep getting better, and then you can throw recommendations back to the data scientists or the data analysts, things that human mind cannot do, but computing power can take over. That's where machine learning comes in. Talk about context and contextual relevance. I mean, go back to the old internet infrastructure search days. You got behavioral and contextual. We're always the two killer variables. But now you got context. Talk about engagement, age of engagement. So those are the new concepts we're hearing here. Age of engagement is now ushering in the new era from productivity to engagement. What is engagement data, and what does it mean towards context? Because that threatens the real time piece. That's a great question. Think about it this way.  But in the world of engagement, there is a lot more about you that they would like to know. You're in Las Vegas today. You are hanging out today. You want to do something today evening.  All that data is social data, the world of engagement, engagement data, that if they had access to, then they can say, gee, I know John. I know his spending trends. What if I put him in offer and say, look, if you're a pick your favorite bank, a customer, here is a great offer for you to go to the Steakhouse. Or the Steakhouse can leverage that data and say, how do I draw those customers in? So in the world of engagement, context is a lot, there is a lot more to context, where you are, what you're doing, what you're saying. If you marry that with transactional data, you just had a lot more richer analytics. But you never, you never stop adding context. You never do, you're right. But the thing is, that's where the power of also a data platform comes into play, right? We all want to add a lot more context, which means a lot more volume of data, which means a lot more variety of data. So you need to have a platform that allows you to do that without worrying about, gee, what if my skill sets go away? What if a new data set comes into play? You don't have to worry about that. We provide that abstraction layer so that bring in anything. Worry about the business, don't worry about the data. So I've got to ask you about the industry because we love this moment in time, it's so much change. I mean, we're talking about data like, it's like the computer revolution. When you go back 10 years, only the data geeks would go crazy like us. But it's a great opportunity. Talk about from your experience, why is this moment in time so important? Why is the shift and inflection point happening? And why is the cloud, mobile, social, where now we're talking about engagement data that's just going to be game changing? What is it about this time? So a lot of people haven't had the industry experience that you've had and seen the cycles. Why is it so powerful right now? So you made a good point. We are in the middle of the biggest change in the world of IT. So not only computing is changing from on-prem to cloud, but then there is social and mobile data that's available for you, again in the cloud. Then you also have machine and sensor data available to you. So much different types of data, on-prem and in the cloud available to you. And that what is calling the two things that are happening. First of all, a computing change is happening. Number two, data change is happening. Those two changes didn't happen at the same time ever before. This is the first time that those two changes are happening at the same time. Now, the third one is, the business value creation timeline has shrunk. Businesses are very much just in time. So with these two changes, and businesses wanting to drive value on a real-time basis, it's a massive inflation point. Every theater of innovation is exploding. You've got the technical theaters, you've got the business theater, you've got the social theater. And so like this is like the management side is also changing too. So transformation, that's the big buzzword, digital transformation. I love the buzzword, I mean I love everything digital, but like, what does it mean? I mean what does a food customer, I mean they don't say, hey I'm transforming digitally, they just are kind of doing it. But what does that mean from your perspective and from Informaticus? So look at this, we need to talk to customers. Customers are living in this world where while they have the traditional computing on-prem, it's not going away, but they are moving to cloud at the same time, right? Whether it's SaaS, PASS, or infrastructure as a service, they are all leveraging all kinds of social media and mobile platforms as well. So in that world, customers need some level of what I call sanity. So they're looking to us to provide the data platform. So one is having a data platform that can provide them the abstraction any kind of data and provide them, make data available for them to the analytics. Second thing is worried about security. I mean, traditional security is getting totally disrupted. I mean, we've had all kinds of security for the last so many years, but if you see the number of attacks have just kept going up. And the thing is what I would argue is that what customers really want to do is secure the data. But unfortunately today, the approach is indirect, going from the network to the device to get to data, but they cannot still get to data. The other change that we are obviously bringing to customers is that focus on the data from a security point of view. And that's why we're bringing security source. I got to ask about security because this is big. So we always, it's now ratified on the cube multiple times by many execs. I'll just say it, security's a do-over. What is that do-over right now? Because you perimeter, talk about that going away and cloud APIs, you know, real time, new CMSs, how people are interacting on apps, asynchronous, all this stuff's happening. Great, what does it mean for security? What's the do-over? And what do you guys see? Because there's going to be breakthroughs in security. Obviously big data will be part of identifying patterns, predictive analytics, but how do we protect the data? How do we protect the environments? It's a huge problem on a lot of our customers' mind. So I would just echo what you just said that traditional security is being turned upside down. The thing is that 10 years ago, the size of data was very limited. So you had one perimeter, you had one network, you can put all the data in a wall then you can protect it, right? Data wasn't proliferated. You did not have dispersed geographies, outsourced environments, you did not have the whole insider attack situation, right? And the data privacy and governance laws have exploded. None of those things existed five, 10 years ago. They're all the most important things today. So I would argue security is going through its biggest transformation ever in the 25-year history. And how can you layer your management of the data structures and the integration over a new security model? How do you leverage the two together? So we can, we have a data security intelligence platform. The idea is that from this vast pool of data that a customer has, we can identify the true sensitive data that they actually want to protect. That to me is first we find the haystack and then find the needle in the haystack. Because you understand the medium of structure. Because we understand data, we understand, we profile data, we classify data, but then is you're interested in where is this data going? The proliferation of data. Who is accessing it? Who's touching it? Where is it going? Those are all very important things to know. That our data platform is able to give to customers that no infrastructure security platform can provide you. So governance falls out of the management of sort of the structure of the data. Exactly. You need to know about your data first before you can do something about your data. Whether you want to govern data, protect data, mask, encrypt, but unless you know something, you're kind of blindfolded. So we kind of almost taking the blindfold away from our customers. Okay, I mean, we're running out of time, but I want to get you to final word and get you a comment on a phrase. I said, what's the hottest thing last week as the emcee world and we were talking about, you know, the hottest things in big data and extreme IO guy said, what are the top three conversations that you're involved in? He goes metadata, metadata and metadata. Why this metadata focus and what's, and why is it so important now? I mean, metadata is great, it tells you about data, but if you have to know your data, that brings up the point. Describe that the importance of metadata and how that will impact the future of intelligence of data. So I would repeat those three words again, metadata, metadata, metadata. And that's what is, metadata is data about data and with live data map and a metadata technologies, that is the secret sauce behind the new data-centric security, the new data, big data analytics, any data intelligence. When you have the context about the data, who is touching it? Where it's going? Which device it sits on? Which reports it touches? When you have that context, you are a lot richer and intelligent. Final question, I want to just do a follow-up on that because I want to just quickly follow-up. For the folks that aren't in the data space who kind of understand the value of the data, explain to them the order of magnitude of breakthroughs that we'll see, new breakthroughs, securities to do over, new stuff's going to enable there, you guys have an enabling platform, metadata, metadata, what kind of order of magnitude, kinds of breakthroughs, just in terms of volume, will we see in the next few years? For the folks who don't know. Significant, it's exponential. So we see exponential changes right now. Analytics is going through an exponential change. Security is going through a fundamental transformational change. The whole fragmentation of data storage stack, application stack, just look at that fundamental change that's happening. So again, computing, analytics, security, the number of transformational changes that are happening at the same time, which is why I was talking to this large customer, they said in this world of insanity, the only sanity they have is Informatica. So that's what we want to provide our customers. Okay, we've got to break it there, metadata, a lot of breakthroughs coming, we'll be right back into this short break. More data from theCUBE here at Informatica World 2015.


Well, I didn't expect to see this today. Maybe I should have, but Nintendo's kind of weird when they talk about gaming anniversaries. They focus a lot on like Mario and Zelda. I mean, the Metroid, last time Metroid had an anniversary, kind of just came and went without Nintendo even talking about it. So Nintendo doesn't really celebrate the anniversary of all of their IPs that much. But they're doing something. They're actually doing something that's very interesting right now on the 30th anniversary of Fire Emblem. And maybe it's just because Fire Emblems now become a much bigger deal to Nintendo since Awakening, back on 3DS, all the way up through Three Houses here on Switch, which is a fantastic game, by the way. I really enjoy it. So maybe Nintendo is trying to give, you know, basically Fire Emblem, it's Day in the Sun. Because they did a couple interesting things. First off, they announced that the Fire Emblem Shadow Dragon and the Blade of Light is coming to Nintendo Switch fully localized for the first time on 12.4. So December 4th. This has never come to the United States. I don't believe it's come anywhere west. It's never been fully localized officially. There's been fans translations, of course. They announced it's out there. You've been seeing the trailer here, all that jazz.  All right, so they're doing this 30th anniversary collector's pack, which I need to get my hands on.  Comes with, I think, five items. So it comes with a Nintendo Switch download code for Fire Emblem, Shadow Dragon, and the Blade of Light game. Which, it's an NES game, guys.  It's just localized, a localized NES game. A legend of Ark Aenea deluxe art book. I hope I pronounced that right. I might have butchered it. I don't know, but it comes with an art book. I love art books for collector things. It's great. You get a lot of official art that often has not been released publicly. So that's really cool. You get Fire Emblem, Shadow Dragon, and the Blade of Light replica game pack art piece. It looks like a glass replica NES cartridge. See, it's not an actual cartridge, but it's in the shape of a NES cartridge with the original logo on there and the original sticker. That looks really, really cool. That is a very nice art piece that I would love to have on my back wall collection, you guys see in some of my videos and live streams. You get a replica game box as well, including an instruction booklet, which is really cool. The Protective Sleeve and a World Map. So basically, just like you would back in the day with the actual game, it's like bringing it back to its original form. However, obviously download code versus a real cart. You also get a mini Nintendo Power retro collectible. So this is something that was included, or would have been included with Nintendo Power back in the day. Obviously Nintendo Power right now doesn't exist as a magazine. It has been brought back as a podcast for those that aren't aware that happens pretty randomly at this point. But it is a podcast that is something that Nintendo employees go on here and there. It's been a bit wonky this year in 2020, but yeah dude, this Fire Emblem Shadow Dragon and the Blade of Light 30th anniversary collection pack is amazing. Now, in terms of cost, these collector's packs are always fairly pricey. So they have this listed on their website. The actual game is only gonna be $6. So you'll be able to get it on the eShop, $6. This is not something they're throwing out for free on the NES app, unfortunately, for those people that have the NES app on the Nintendo Switch Online. It does feel like something that maybe should be thrown on there because it is an NES game, but they're trying to do something special with it. I also find it interesting that they're releasing it on the eShop because this is what Virtual Console was. Like you got old school games for a set price. So you can actually own this game, not just get it through a service. Is this a sign that Nintendo's rethinking this whole Nintendo Switch Online subscription thing? Is this a sign in the future? We're going to get more Virtual Console. I don't know, but this is something that they're doing and it's $6 and it's never been available in the West. So yeah, I don't know how much the collection pack costs right now because it's not listing. They don't have a price listed at the moment. You know, when they link to it officially, it just goes to the Fire Emblem Shadow Dragon and the Blade of Light Switch thing, which is $6. They don't have anything listed physically yet. Obviously, we'll have to wait to see this pop up on retailers. If it is up at the time of me putting this video up like on Amazon or something, I'll put an affiliate link down in the description for you guys to pre-order it because gosh knows I would love this as well. I mean this, between this and the Ori stuff coming out in December, man, there's a lot of cool physical stuff coming out for these games. But I'm happy that Nintendo is recognizing the 30th anniversary of Fire Emblem. I just find it curious how Nintendo decides to make these choices on which anniversaries and which games they're going to celebrate anniversaries for. You know, it's just, they don't always do stuff like this. So I'm glad they are. And I'm glad that they did choose to localize a game that's never been localized before. Obviously, it is something easier for Nintendo to do, especially during the pandemic, instead of creating like a collection pack or a new Fire Emblem game. Obviously, I think there is some thought process that they could have done like a Fire Emblem collection pack. And that might have sold well as well, but you know, it's good to have every Fire Emblem game actually playable in English in the West officially. And I believe Fire Emblem Shadow Dragon and the Blade of Light is technically the first Fire Emblem game to come out that just never came out West. So, you know, it says play the Famicom Classic that started the Fire Emblem Legacy localized for the first time. You get to meet Marth and recruit some of the most beloved Fire Emblem characters in 8-bit glory as you play through 25 chapters of the Classic Famicom tactical role-playing game localized and released for the first time in North America. And this is a limited time release, apparently. I don't know what it is with Nintendo and their limited time releases, but they're continuing that trend. I don't know how long this is released for because it just says it comes out on 12-4. They don't really tell you how long it's gonna be limited. So, we're not sure how long it's gonna be available, so get it while you can. gosh knows, I'll probably at least pick up the digital copy if I can't get my hands on that collector's edition, which is what I really want. So, yeah, it's pretty cool. I'm excited that we get to do it. There's over 50 playable characters. Yes, 50 playable characters back in the NES days, believe it or not. You know, you get to pick units and class units to the missions at hand and approach characters on the battlefield to forge relationships and even add to your army. I mean, this stuff was happening back on the, like stuff that's a staple with Fire Emblem started back on the NES. Make a mistake or lose a favorite unit, new features, like save states and rewind let you tailor the challenge to your playstyle. So, back in the day, how Fire Emblem originally worked, there wasn't like this classic mode or there wasn't an easier mode. Like characters, when they died in the game, they died and that was it. Now, they didn't add a new mode that, they didn't add like a new friendly mode or something so your characters don't die, but what they did do is add save states, which is something they've done to all the NES games and the NES classic and a rewind feature.  So, the game still plays the way it always has. They've just made it play like it does on emulation and I'm like 99.9% sure this game is being emulated on Switch. Like there's no reason for them to actually run it locally on Switch hardware when an emulator can give the job done and it's something that they could reuse for other games and have used for other games already. So, yeah, this is cool. You know, it's a one player game, no multiplayer here. It's only 30 megabytes in size, which is, I mean, all of us I think can squeeze that on our Switches if we, even if you only have the 32 gig internal, I'm sure we could find our free 30 megs to get it in there. I mean, they're save files for games that are larger than that. But yeah, the only languages that are supported are English and Japanese. So, this doesn't seem to be something that's been localized to a whole bunch of different languages, specifically targeted obviously for North America, United States. Thankfully, the Switch is region free so if this isn't coming to certain countries but you do happen to speak English, the Switch is region free. So you could just hop on the North American eShop or get someone, get a friend to buy it for you, all that jazz. This is just really cool. I like that Nintendo's doing this and who knows? Maybe on the launch day of December 4th, maybe we'll give away a few copies of it just because we can, it's cheap and it's easy and there's gonna be people that are gonna wanna play it. And in fact, you know, maybe on the December 4th, let me check the date here. December 4th lands on, let's see, lands on our Friday. Maybe on that Friday, we'll do a special live stream of this game or other, or Fire Land 3 Houses as well. Kind of like maybe we'll start with Shadow dragging on the Blade of Light and then we'll go over to Fire Land 3 Houses and kind of show where the series began and where the series is now. I think that might be a really cool thing to do for the 30th anniversary and doing it on release date of that game would be, I think, make a lot of sense. So yeah, I guess we'll plan a game live stream for that. If you want to enjoy that live stream, be sure to head over to Twitch at Twitch.tv slash Nintendo Prime TV because that is where the 30th anniversary live stream will be taking place. I do all my gameplay live streams over there so there's extra live streams. Like you might enjoy the streams we do on YouTube. We have extra live streams over there that are gameplay only. So be sure to go check that out. Anyways, thank you guys so much for checking this out. This was a really cool announcement. I did not plan to have this happen this morning. So thank you guys so much for tuning in and I'll catch you in the next video.


This is Chris Pike. My friends come a big see. I'm back in action today I want to show you how to take footage video you shot during the day and make it look like you shot it at night Why am I showing you this? Well, I'm showing it first off using HitFilm. It's free software to download So this is how you can do it for free if you're a videographer or if you're a student and you want a night shot Here's how you can do it for free. You don't have to pay for anything Secondly, a lot of people like to shoot shots at night because they want footage That looks like it was recorded at night, but the problem with that is it looks well You can get a lot of grain and noise and artifacting and depending on the type of camera and lenses you're running Sometimes you won't pick up all the details So it's sometimes better to actually shoot it during the day when you can get everything And then apply some special effects it to it and make it look like you shot it at night Which is what I've done here. This is using free software. Don't mind you So uh, there's a little bit more blue in this than I would probably like But uh, this is just to give you an idea and on the left side here You'll see that this was shot during the day here. She is this with her head out the window So let me show you how I did this and we'll actually take out some of the blue to make it a little more believable So let's just start from scratch like I like to do. Okay. The first step Drag and drop in some footage on a video track one like I've done here I'm going to click no on this because I'm using 4k footage and HitFilm Express Applies a watermark if you use 4k Footage and you don't uh have a paid version. So I just keep that in mind So I just transformed it so that it fits the frame Okay, now we want to go ahead and start making some adjustments to make this day shot look like it was shot at night We're going into the effects now. I'm going to tell you right now. They've got a Color grading option that's called day for night when I apply it. I'll be honest with you It's just not that good and you can't really make the level of adjustments that you would need To make this look believable. So I'm going to go ahead and Command Zed or Control Zed And undo that but I do want you guys to know that it's there if you really want to try it and I have considered it Okay, all of that aside Let's get cracking. The first step is we're going to apply a curves Adjustment layer to the video like I'm doing here Excuse me. I'm going to drag and drop that on there and you're going to see that it has a whole bunch of different options Including the standard rgb curve, which is red green blue And then of course you can break it down into individual channels Which we may have to do because again the blue tends to get a little bit over Done in this type of video. Um, that said, let's go ahead. We're using the rgb curve Here we'll look at the curve here and then this is what you basically need to do the the curve has Shadows on the left side You know in the middle it's um and then it's highlights at the top So, you know, it's kind of like your mids you got your shadows your mids and your Your highlights generally speaking You want to take the you want to take your shadows down because you want it to look darker at night And we're just going to slowly bend this curve a little bit But we're leaving the highlights Not too much adjustment there because we want the bright We want to have that nice contrast where you can see her colors and you can see her nice bright look However, you can tell that it was shot at night. So that's how I would adjust the curve to start Let's go ahead and start adding in some more effects The second one we're going to apply is called color temperature. This is the this gives it the dark scary Shot at night look and generally all night footage has a blue Cast to it. So it applies we get a blue look So i'm going to go ahead and i'm going to apply that and then we're going to adjust the temperature to give it that Neat little blue look now watch as I do this You'll see here if I go left this means it's basically shot in daylight And this is we're basically just changing the color temperature in kelvin's But if you move it to the right, you'll see that it begins to take on a bluish cast or a bluish tinge That means it was shot at night time generally So the bluer the look the more night time it tends to be so just keep that in the back of your head So we've gone ahead now and adjusted it for us. We're going to go with 66 60 kelvin Okay, good. So those are the first two effects now. Let's keep thinking about what we want to do here I want to go ahead and adjust a huge saturation and lightness a little bit as well So this is not a requirement. You can see that we're pretty much already there But again, if you want to go a little bit deeper down the rabbit hole We can if we apply that nothing happens right off the bat But what I like to do is I like to go into the blue And in the blue we can adjust it to get a little bit of more blue or less blue That's not the one part of me We can desaturate it a little bit or we can super saturated I prefer to desaturate a little as you can see here because it's just taking away a little bit of that Too much of the blue look and again, you can also adjust the shift here, but we're not going to do that So basically what I like to do like I said is we're just going to basically take down the saturation a little bit And that is how you go ahead and create a day shot to make it look like you shot it Not in the middle of the night, but getting close to evening suns out that type of look guys Thanks for watching And remember you can adjust this to if you need it to be darker or lighter adjusted as you see fit But those are the variables you can adjust. Thanks for watching ton more stuff coming up. Stay tuned


And I'm going to go ahead and open the meeting room up, John, you can hit record. Hi friends. Welcome YouTube viewers. We appreciate you being here tonight with us. We'll get started momentarily. Hello everyone. Welcome everyone. Welcome welcome. All right, let's jump in. First off, we want to thank you all for being here tonight and we want to, I want to thank our poets for taking part in this one city, one book campaign. I know it's not an easy topic and I know it's could be heavy for us and I know it could be triggering for all of our friends out in the audience and in YouTube land and for us as, as participants. So I do want to let you all know that SF war.  And throughout this campaign, they do know that we're having programs and are extra staffed up. So if you need any assistance, please do, do reach out to them and I will put all sorts of info in the chat box after I'm done doing the talking and turn it over. And we want to just one more shout out for them and there's the, the graphic if you want to write their number down, but I will put it in chat and they have been amazing partners throughout this campaign. So we want to welcome you to the unseeded land of the Eloni tribal people and acknowledge the many raw mutish Eloni tribal groups and families as the rightful stewards of the lands on which we reside and work here in the Bay Area. Our library is committed to uplifting the names of these families and these community members with whom we live together. We encourage you to learn more about first person rights, and we have lots of programs and lots of reading lists because we love making reading lists, and I'll share those with you momentarily. And we just want to read a quick, a quick statement from our racial equity about the recent violence against AAPI communities, and we condemn this attacks against our communities. And we stand in solidarity with our Asian communities, neighbors and colleagues distressed and hurt by these attacks. We also acknowledge that these events are complicated by the entanglement of anti-black and anti-Asian stereotypes and reporting of these acts of violence. We believe everyone has a stake in dismantling white supremacy, and both anti-black and anti-Asian racism both uphold white supremacy. We at the library work very hard and have been working very hard on our racial equity commitments and work, and so I encourage you to check that out as well, and I'll put a link in the chat box. Thank you very much. For the upcoming events, we are still celebrating one city, one book. And for those of you who don't know what I'm talking about, it is our yearly, well, sort of yearly, largest literary campaign. This year we've chosen Chanel Miller for her book, Know My Name, which is the story of her sexual assault on the Stanford campus and the judicial system, the media, and all that she went through to survive and become this amazing author and this amazing artist and how she is still an amazing activist and advocate for sexual violence awareness and for survivors. So we get to, with our one city, one book campaigns, we get to book amazing folks and amazing poets and amazing artists and all aligned with the topics of the book. So next Monday, you do not want to miss Aisha Shahida Simmons and her revolutionary documentary, Know the Rape Documentary, and she will be in Convo and Q&A following the event. It is going to be a little bit of a long night, so come get your dinner, bring your dinner and join us, and she is outstanding. The next Monday we have artist Ali Bloom, so we're going to come do some art. Every Monday through March and April, we did a Know Your Name workshops, healing survivors, healing poetry, art, writing, all kinds of amazing stuff, and we're going to conclude that series with graphic novelist, Tyler Cohen. Some other events coming up, the amazing one and only notorious Dr. Carol Queen, who will be talking about healthy sexual relationships and a virtual healing circle with the amazing Mayor Memoirs folk who are just outstanding and compassionate and powerful advocates. So come to the healing circle if you need to be at the healing circle. We don't do any of this alone for sure, by no means. Our friends of the San Francisco Public Library sponsor all of these amazing events, and I would like to pay you all like 5,000 each. I would love to. A couple more zeros, so we appreciate your time and your energy in being here, poets. Kim, you are invaluable to us. We will never let you go. And to all of our partners who worked on this campaign, we want to thank them. And just one more shout out for SF war, and I will put this in the chat box after we get going. And then without further ado, all of these amazing poets that joined us tonight. Kim Shuck, I am going to turn it over to you. Natasha dinner steam Molly Fisk, Kelly Grace Thomas, Kelly and Parker, and Mona web. I appreciate you all for being here. Kim. Thank you. This particular. This particular event was difficult to. Well, not because there aren't fabulous people. Who are perfect to speak at such a thing. Who have worked at this for years. Who have had this as a topic for a very long time. But because there are too many fabulous poets. Who have the qualifications to be part of this. I have to say. I have to say that. Between the people who have written about this before. And the people who've never spoken about this. The fact is, is that I don't know. A poet. Who doesn't have. Material on this subject. I said this at the last event. For the rest of time. The people who have written about this or. The poets. And that is really upsetting. And part of it is that the system that we went in. Is essentially. Perhaps people. For. Not reporting. Things that happen to them. The system guards people. search around this, I just got angry and angry and angrier, which is, I guess, part of the problem too, because I should probably think about it a little more often. We have the enormous pleasure this evening, maybe pleasure's the long word. A lot of this, a lot of tonight is going to be, you know, a swift kick. So just put your seatbelt on. Probably one of these women was very carefully chosen. Part of the problem is how cultures that are in charge see women, women of different origins, women of different cultures. And during the last event, Avace said that she had a good poem to read, and I thought, there is never a bad time to involve Avace in a poetry movie. So we're going to start out with Avace. Thank you so much for being here, lady. For those who don't know Epic Organizer of Poetry, phenomenal poet and musician, I could go on. I will not go through the press, we should go through it. Welcome Avace. I am so honored to be here tonight and to be able to do this poem. It's from my book. And by the way, it's called Screening Silence, or Every Teacher's Greatest Nightmare. Little Liliana sat in the back of the class, such a pretty girl, smart as she was pretty and as distant as the planet Mars. She'd never look into my eyes and I never knew quite what to say. I mean, what do you say when all you can see is what remained in the pain and the years drowned by tears and the secrecy, the secret, her secret? Frankie. He was just a little boy, an almost perfect little boy, strangely beautiful, quiet and shy. He wore a silence so loud at screen, Frankie never seemed to laugh or play and even though he never let me get too close, he'd sort of always sneak up on me and rub his face up against my arm, then run away when I tried to touch his shoulder and hide behind his terrible secret, that secret, and it hurt. It hurt because I never knew what to say, what to do, what do you do, how do you take the pain away from a silence so loud you could hear the hidden tears, how do you expose the unspoken, the unspeakable, invisible, ever-present hidden monsters, stolen innocents hidden.  Time to teach sometimes can be a frightening thing when all you can feel is all the feeling these children have learned to this own.  Well, it hurts, it hurts. It hurts so bad because I still don't know what to say, what to do. How do you take the pain away from a silence so loud you can hear the hidden tears? How do we expose the unspoken, the unspeakable and pull off their invisibility? They're pretty mass, the pretty mass that cover whatever we don't want to see. Why can we call these hidden monsters by their names and stop playing games? It's time to free up old little boys and girls before they get forever lost in the cesspool, before they've been completely destroyed, it's time we tear down the walls and let these children know they're not alone that what happened was not their fault. I say what happened was not their fault. The only crime was a beauty so powerful that the evil and the beast could not sleep till the beauty was reduced to a horrible level of filth and ugliness.  I say it's time. It's time for this emotional prison to fall and expose this insanity for just what it is. A sickness that's older than dirt or madness that causes nothing but hurt and throw some very, very, very serious light on the world's most violent and most damaging and most well hidden secret. Thanks for listening to my words. Thank you so much for participating in the auction. Our next poet. Well, there you are. Kelly Grace Thomas is somebody who's worked out for a while. We know that she has material on this. She was asked to present some things to sent me, which were spectacular. Please welcome. Hi, good evening, everyone. Thank you so much, Kim, for organizing this really important event. Thank you to the San Francisco Public Library for this important campaign. What an amazing city in terms of combating violence against women. And thank you to the other readers. So I have a few poems for you tonight from my book. It's called Vote Burned by Yes, Yes. And I'm going to start with When the War Comes.  He affects you on a mattress without sheets. You run from hands, wish for arms. When the war comes, you lose your wine in a bottle of names. When the war comes, you're only 16. You have not learned the word combat. The word the war is here inside this room. And you think that love is locking the door. You empty yourself of mouth, crawl from him a smudge of body. When the war comes, you are unarmed in the soupi dark. There is blood on the mattress in this room. Pass through the hands of many generals. They never speak of bodies. They only blame the war. Thanks. Um, this next poem is called Naked. He takes me in tiny bites of bedroom. He is always there. Feeds until I grow sick. My stomach ripened. He doesn't need a face or a name. I give back the garden of blood. Bone, the book that named me. He licks his lips as he watches. I don't believe in sin or the many men.  Every night I take apart my breasts, clean my weapons, cross them.  I spelled my name with this war, carried this body, targeted and tender. Woman, wear your blood on the outside. So my whole, my whole book deals with violence against women, both by men and also violence against women, against themselves, against women who continue to perpetuate the violence against men. I think that so many times there's a lot of different parts of the conversation. And when I started this book, you know, I thought about all the things that had happened to me that had given a message about who I was and who I thought I was and what I was apologizing for and how I wanted to leave that behind. This is called burn the boats because I believed somehow it was my fault. I never told anyone how great grandmother used to pinch the extra chub around my waist and ask, who will keep you now? Pointed to every empty man not at our table told me I'm only as good as what I can please hunger my only harbor. I carry this, a body full of broken boards and boundaries. Never told anyone how my first love dropped threats like an anchor warned me what would happen if I took on water, sinking, always slipped between his speech. I believed being boarded equal to boat. So I floated for seven years, subtracting what I had for another body. The parts of me that couldn't fit inside his hands. My first love never let me use the front door. Instead, gave me a dark portal to climb through. I only remember this in bed. He used to measure the circumference of my thighs and then ask for less. I became the smallest vessel I could steer every day. He climbed through my story until I gathered enough distance to choose another name I can't turn back. I strike a single match, burn myself brighter. The boats that built me smoke on shore. All right, and I just have two more poems for you all tonight. This next one is called and the women said and thinking a lot about, you know, the collective conversation, the collective voices, the collective cries for help that seem to, you know, not always be heard in many more ways than one. And this is called and the women said, watch as men call us lottery tickets. Watch as they cash register us into gamble into into played out combinations of sweaty bills and pocket one.  Watch as they pout when we don't pay out when the bling of our breasts don't make them Cheshire cat the same. When we got our own debts that have to be paid to mirrors to mothers to the way our hearts traffic light in the closet after we sold ourselves whole. And the women said, feel the way we became campfire. How we go storied into this dangerous beauty. How those men can't scrub out our smoke, our blue. Learn to burn slow. Stand still like the moment between begging. And maybe feel the way that we soil into shovel. How we let ourselves be held even after a matchbox tongue misspoke our flames, even after we told Flint, you don't live here anymore. And the women said. Feel how we are not open fields waiting for their strike. They cannot bury us deep. Call us things of war and be surprised when we land mine. And thank you again so much for having me in for this amazing night. I can't wait to hear everyone's work. This is the last poem. I think whenever, you know, I'm talking about this, I want to always lift up women, their beauty, their strength, their resilience. So this is called Boat Body. There is not enough distance between us and the body. I beg the women, build an ocean, turn on tongue and territory. Bargain, fire, tease, flames into family, taunt each island into telling these stories, still birthed in our bellies. A sensory apologizes for someone else's hands. I cradle my grandmother, ghosted into guilt. Can't forgive this landscape. I will not kneel for a man's affection. Women keep this world bloom dizzy. Teach these teeth to tender. We are swollen with tomorrow. It's time to holy one another. Instead, saltwater saints crowned and seafoam the blue of each majesty. They cannot sink us if we name ourselves sea. Thank you so much. Thanks for listening. Thank you so much. Thank you so much. Tell me a part of a similar poetry about people. I'm about to go. I think you're actually after me. Please welcome... Hello everybody. So I'm gonna talk a little bit about what the book meant to me. And I'm also just gonna talk about a couple things that really drive my work. So people that are familiar with my work know that I talk mostly about trauma and dissociation. And there are a lot of things that we don't talk about in terms of what it means to survive violence, whether it's sexual violence or generalized violence. And a lot of it obviously comes from my own personal experience. According to the World Health Organization, 25% of the global population experiences addiction and mental illness. And the number one cause of these problems is trauma. So just let that sink in. I'm not telling anybody in this room something that they don't know. But the reality is we don't talk about it. That we could have something terrible happen to us and yet we keep the secrets for the perpetrators because we've been shamed and blamed into silence, which is exactly what I'm not going to do. So survivors often deal with dissociation, which I'll talk about in a moment. Auditory, visual and somatic flashbacks, insomnia, anxiety and panic attacks, sled shaming and shaming in general, suicidal ideation, lack of trust, fear of intimacy and these things can be lifelong. And we could spend thousands of dollars and thousands and thousands of dollars in therapy. Dissociation is a disconnection from our emotions and body. The reptilian brain of fight or flight, when you can't flee, your mind will do it mercifully for you. And that is what dissociation is. So for those of us who walk around sometimes glassy eyed and disconnected from our feelings, I see a sister. Survivors also have an increased risk of being victimized more than one time because we've been well trained to be comfortable with being uncomfortable. So I ask everyone, tell your story, take away the power of shame and blame and take your power back. And one of the things that we can do collectively is catch and stop people from victim blaming, interrupt it, be an upstander and let's stop that from happening. A couple of things that came up in the book, she mentions this calm exterior that she's always kept for herself and these little fish of anxiety that keep jumping and breaking through the surface. And that really resonated with me, those bursts of uncontrolled panic and anxiety. I thought she did it beautifully. The other thing that she said, which I thought was really important, is that she said, I am not Brock Turner's victim, I'm not his anything. And so in that vein, I'm gonna read my first piece, trigger warning of all the pieces. I'm gonna read this one, maybe the most triggering. So if you need to, please step away. This is called the day I stop feeling. I'm suffocating under the weight of male hatred. And you want something from me that does not belong to you. Something you don't even really want, but just to consume, to destroy, to annihilate. And on that day, the day that I stopped feeling, the sun still shone brightly as if it didn't know. And I never saw it coming. To be taken to the lake by a stranger and wonder, is this the end? The end of my life or just my living? You see, there's this brief moment in time between the belief that everything's gonna be okay. And then the horrifying moment when you realize that your greatest fear is just about to come true. And then I'm left alone with the one who will annihilate.  And for me, it was my worth traded for drunkenness. And I'm trying to hold onto myself like, how is this happening and my head smacking up against the window? But I, I'm not really there. You see, it was not the first, but it was the worst. It was the day that I stopped feeling for many, many years. I sat back and I watched as the last fragile part of myself gets slammed to the ground and shatter into a million unfixable shards. And part of me celebrated for you can only be reduced to shards, but once.  I remember a time early on where I spent days just smoking cigarettes, just trying to pass the vast emptiness created by your contact with me long after the blood washed away and the bruises faded. And here I sit now, one of an army of robots created by your belief that anything about you matters. It does not.  And as I choose to leave this life as a robot and as a zombie, I must take back what's mine. And that's the unreachable part of me that you never touched and say that you are not here. You were never here. And then my next piece, my next piece is about the effects of dissociation and how it affects my life on a daily basis. And for many survivors of assault, most people know about PTSD, which is the complex PTSD. They're the most common forms of dissociative disorders as is DID as well. And this is called instructions to insulate from moonlight. Wear malachite, drink Hawthorne berries, prepare for the next cycle in the infinite loop, and remember to breathe as the sun starts to fade and paints clouds from below while anxiety grows into a flower named red. Snapping photos to steal light, which I hide in my pocket to later conjure safety, but land, land eludes me. And I began pacing in a rhythm. This is the dance of my culture. This is the dance of my youth and my feet lift off the ground. And so I float and I spin with no handhold inside, no means to make it stop until I'm swept up in the current. And then the images come first like flash hypersensory to the sensory fog that tastes of bile and rot. And it slowly slows the nauseating, spinning, rapid flipping familiar state of dissociation. A familiar test that eludes me like opening doors. And so I wait before them until memory returns. And after running from this burning building of a body, avoiding mirrors to evade the reflection of the wild-eyed animal eye shine of the familiar and the totem and then nothing. Then the weighty blanket of nothing, familiar, nothing. And I've returned, time lost, but grateful. I've survived another until the next full moon. And for my last piece, and so in that piece and other pieces, I also touch on topics of ritual abuse, which I won't go into deeply, but that is another form of violence against children. This is called while the world sleeps. I'll leave you on a better note. While the world sleeps, I negotiate and wrestle. I let go and become the night person sleepless, untamed and improper, irreverent and unmanageable, unpredictable and uncooperative. I unearth secrets and deconstruct stories, stories carefully crafted and rehearsed by the entire cast in the role of a lifetime, for a lifetime, a life sentence reeling. And I nurture and embrace the survivor, the one who face down monsters from untold fairy tales where the rest of the world finds most of us unworthy of being saved or being believed. And so again, we save ourselves unless we don't. And then the body goes uncounted by the unspeakable cancer called shame, and another is lost and another is lost. So tell me your secrets, the ones you don't even tell yourselves. What could you lose to tell another unworthy? The familiar tale, only the story is the same or the cast members names are different, but the story is the same. And so we share the secret handshake to acknowledge our membership. Only this time, it's different. We are the majority and the light no longer stings our eyes or perhaps it just makes us feel alive. Even pain is beautifully real.  I will remember your name and I believe you. Thank you for giving me the honor of being here tonight. Thank you so much, Kellyanne. As always, I love your work. Our next reader, what to say about Natasha Denison. I love this poet. I love this poet. We've read joyful things together. We've read sad things together. We've read powerful things together and now we're gonna do this. Thank you so much for being here. Put your hands together for Natasha Denison. Thank you, Kim. And thank you, San Francisco Public Library for including me in this event. I am a woman of trans experience and I put the trans flag behind me just to give you a clue to be very subtle. And I'm also a ex-sex worker, a retired sex worker and I have been very happy to be involved with a lot of San Francisco Public Library events. I always have imposter syndrome. I always think, oh, they don't really want a trans woman with a history of sex work, but I'm taken seriously by the San Francisco Public Library because it's San Francisco and I am delighted and honored to be included in the work of the women that are reading today and I will read some pieces. The first one's called The Rainbow of Injury. One, you see red the first time he hits you.    Purple as a fallen summer plum. Welch's grape jelly, ripe split fig face you. Three, are you blue? Your bruises solidify into a dense inky mass, blotted, raw-shacked. You are blue. Four, green, green, bilious green.  You feel a bit sick. Five, your bruises turn jaundice yellow just before he hits you the second time.   You are not too yellow for this. Six, orange. You are wearing it in the correctional facility where you prove unable to be corrected.   Stagger out the door in your scuffed up heels, five inch to work the streets, to earn enough cash, to buy enough dope, to get high enough to work the streets.     You count out your life in $20 bills, realize that everything's got a price, even you.  The occasional arrest, a law enforcement vacation and a stint in detox or rehab, a welcome break but you always have to get back on that goddamn horse when you work the streets, to earn enough cash, to cop enough dope, to get high enough to work the streets. I've written a lot about Arlene Buenos and I've got a book coming out about Arlene Buenos in poetry. It's gonna be published by Be About It Press, the editor is Alexandra Norton. It's funny, I'd been shopping this little book around for about two years and it was rejected and rejected and rejected. I was almost ready to stick it in a drawer. And then Alexandra saw it and said, I would publish that in a heartbeat. And I said, oh really? And I realized all the people that had rejected that book were men. I thought, of course they did. Of course they rejected it. Of course they didn't want to publish it. Of course they didn't want to read it.  I was just not smart enough to look for a woman publisher but the first one that saw it said, yep, yep. Anyhow, here's an Arlene Buenos poem because you tired me face down on the red back seat of your Cadillac, civilian, Volusia County and took away my power and made me float above myself and watch like some scuzzy bird of pigeon because no fucker would give me a job, not even waiting tables. So I had to turn tricks on the highway and because you had that 22 in the glove compartment waiting there just for me, I shot you. Because the rubbing alcohol. Because you had that cheesy mustard polo shirt with a little guy on a horse with a golf club that said stuff to me about a world I would never understand because everyone said, you don't belong here because Edgewater, Florida.  And there was 300 in your wallet. Thanks for that.  This next poem is about the 1944 movie called Gaslight which I think many people have seen it. There was a British one earlier and it came from actually a play, a stage play but it's the 1944 one that's very famous, the film and I have used the plot of the film of Gaslight and interspersed it with a contemporary situation as a contrast contrasting and trying to discuss the concept of gaslighting in the context of the film which in a may or may not work and it's called Gaslight one 1944 the film, ingenue, falls hard and heavy for dapper, older man, hand kissing, spats, gloves, orchards, tuxedos under the gas lights. He tells her she is his only one. She believes him, there are chocolates.  When it's too good to be true, you halfway know it is. There is subterranean connection. You watch him study your buttons, become adept at pushing them. It feels real. Three, she is not alarmed at first the Ingrid Bergman character at the scraping upstairs squirrels, rats. Notices the gaslight dimming. Light from gas is notoriously capricious. She tells herself could be overuse elsewhere in the street. Four, a few things don't add up.  His stories are inconsistent. He becomes distant when questioned about his comings and goings. You hold your tongue. Five, the Charles Boyer character tells her she is imagining things, has an artistic disposition, a febrile imagination. The missing objects are merely misplaced. The light from the gas is regular. It is she who is not. She believes him. Six, parking tickets from the other side of the bridge receipts her unusual amounts, house paint. Three hour delays, the evidence mounts pointing to some other life. He is translucent. You start to doubt him. Seven, he pulls out his fob chain, but no watch. Lo and behold, it is in her purse, but she can't recall putting it there. He sympathizes, suggests she travels to a spa for her hysteria, her nerves. Did she take it? She's not certain either way. Eight, you startle him. His hand flies up in self-defense. A reflex blow, he says. He doesn't mean to strike you, yet it draws blood. Says he would never hurt you. You choose to believe him. After all, it is your own fault nagging him. So he says. Nine, everything she sees feels unreliable.   You realize you don't know him at all. His response is 51-50. Commitment, it's what you've always wanted. 11, when the murdering jewel thief is lashed to a chair, she says she will release him, help him escape, avoid incarceration, but no, just messing with you. She says, or am I? Maybe I am, and maybe I'm not. 12, you get your purse, get ready to go to Claudine's. You need a friend. He blocks the doorway. Your friends are all against me.  You stay. Thank you. I'm going to close my little set with a love poem. After all of that. I don't generally write love poems, but here's one. It's called Collision. When we met on the 4th of July, I saw dahlias in your eyes blooming. When you kissed me, entwined your hot tongue with mine, fireworks exploded. Hot pink camellias gigantic against the night sky. Thank you. For the record, Natasha is one of the poets that I'd like to have on my team come the zombie apocalypse. Love you, lady. Our next poet is what kind of things to say about Ramona? Ramona Webb is, I believe at the moment, a cultural center director, am I correct? Yeah. A cultural center director, one of the bravest human beings I know, a remarkable poet and stunning in every way. And I look forward to the time that we can have you back at our kitchen table. Please welcome Ramona Webb. Thank you so much. Thank you so much. Thank you so much. Thank you so much. Thank you so much. I appreciate the honor of the invitation. Grateful to be here in the room with such brilliant voices. So my name is Ramona Laughingbrook. I'm Afro Creek Muskogee. My pronouns are she and they. And I'm gonna be reading some poems that are from my one woman show, How to Catch a Rapist in 12 parts with Chronicles, my journey to prosecuting the man who raped me 25 years ago. I'm also gonna be reading some new work from this new series that I'm entitling The Healing Survived Journey. And I'll be referencing some things that are, that can be triggering like my nervous breakdown and mental health differences that occurred after the trial and things of that nature. So this is another buckle up, but I'm sure everybody will survive if I. So starting this beautiful moment with the story. Survivor of rape.    See your loose habits brought me genital scars.    Apology accepted, I now sipping bag bottles more than now and again.   Now bitch, I love me too. So beginning with the story, thank you for holding space for that and coming in with the morning, what every day beyond that moment looks like. Good morning heartbeat. Good morning heartbeat, racing to the wind, I look to the window still steady my eyes on the light in between those latches, clutch the bed tight to gain my grip and gaze and we start the countdown to breathing. The indiety tax start at 4 a.m. 10, somebody please stop the horses from pounding in my chest. Nine, it will get better.  Seven, you will get it all done, forgive yourself because you are forgiven, you are forgiving and there is no forgiveness that could forgive what has happened to you. So just forgive yourself for thinking of this forgiveness in this moment. Six, remember to inhale deeply and exhale completely. Believe in the power of your own breath. Five, you are beautiful, brilliant and brave. You can get up this morning. Four, you are saying they cannot get you and it is true, they cannot get you anymore. Three, you are God's favorite. Two, you are loved, lovable and loving. One, get up. You were born with purpose and intention, stand in your goddess. One, get up. This next piece is entitled in 12 parts. How to catch a rapist. When he writes to you, do not respond. When he tells you that he loves you, do not believe him. When he likes your friends post grind your teeth and pretend face brick is not real. I am not really here, he is not really here.  He is playing safe and gentle pretend is his thing. He is laying and waiting for you to fall. He knows how I feel, wait until he is bitter and mean. Then tell him the truth. Watch him not believe it, hold his e-hand and show him your memories. Tell him to ride them farther back than he wants to.  Then tell him you'll call him when it's all over.   Let the air be vacant between you, let him spin on it. And when the devil asks you to dance, you say yes. And believe that your wings are faster, run when it all possible, hide in the bottom of a bottle in the back of the smoking section, hide in starvation. But remember that running don't need no legs. I thank you to my fibroids. Dear Fibroid, the really big one that looks like a football. When they showed me your picture, I knew why you were there, why you had come. In my vision, I saw it. It's so that all the pain, all the hurt, all the anger, all the fear and frustration, all the moments of loss, all of the moments where you didn't believe, they could go there. They could fill up like a balloon and call themselves in a home, not in your head, not in your blood, not in your bones. Dear Fibroid, thank you for holding it there. The doctor will pluck you soon. Poem in vacation for the black Madonna. Blessed be the divine feminine. The oneness of the goddess. Blessed be the sweet daybreak in her song. The blooming in her womb, belly full of future and promise sprung from the well of her oneness with a divine fluidity in time. She, the ultimate creators of world and craft, the great goodness of life, blood and serenity from she springs forth the living waters, waiting in sunshine and grandeur, temples she is, sweet, sacred dream of humanity and healing, sure to our soul's reclamation. This is a part of the journey back and I'll close with this poem. I'm reclaiming my time. I'm reclaiming my time. I no longer give you permission to walk all over my space and by permission, I mean silence. You may not claim my light as your own. I am not part of your emotional labor force.  I'm reclaiming my time because I deserve time, a legacy of time, an apothecary of time. I am not in construction. I am in carpentry, smooth brown edges, sweetening sassafras curves, loving black and brown bodies endowed with creationism. I have no need for these bricks I've been building. You can have them back now. My hands are made for a sweeter vision. You see, I'm reclaiming my time and the vision is on its way. And I know justice, you've been a courtesy call on hold. Deep in the mahogany wood soaked into the cracks, you're a ghost living in the machine, waiting for the Florida crumber. I'm waiting for this ceiling to fall around my waist, waiting for a red sub-direction of my dignity. I'm waiting for the glass to break for that apparition of a glitch in the system, a moment for me to slide through. I'm reclaiming my time. I no longer have the patience to wait for you to let me go. So I will set myself free unapologetically. I will take up all the space. I will hold all the hope and I will shore up all the belief and I will be brave and I will be courageous because I am reclaiming my time and you no longer have the power to move me out of my own way. It's my life, my livelihood and my legacy. Thank you so much for listening to my work. I really appreciate it. And I'm honored to be in this space in this room with each of you. That last piece was a piece that I wrote with UCSF I'm a poet in residence there. I've got apologetic obstetrics. I work on art integration, the healthcare. And this is the most healing practice I know is the art that we share and the collective story that we get to build through the sharing of our stories. Thank you. Wow. Wow. Thank you so much. Our last poet for the day is Molly Fisk, who is the emerita poet laureates of Nevada County. Yeah. Thank you. I'm sorry, I got knocked a little sideways by that last poetry stuff. Also, you may have noticed during the evening she is also the perch for one black cat. And she's a good friend and we met each other later than we probably should have, but I am really grateful for her being here. Please welcome Molly Fisk. Thank you. Two different black cats. The third one is afraid of the computer. Thanks to everybody who's here listening tonight to you other poets and your beautiful voices to the San Francisco Public Library, which is where I learned how to read and to Kim Shuck and to everyone taking part in one city, one book, especially Chanel Miller, who might salute. I'm joining you from my house on unceded Nisanon land in Nevada City, California at 2,500 feet above sea level. I'm gonna read you some homes from two different books and then one that's not yet in any book. And I guess the usual trigger warnings for some of this stuff, but you've already been prepared. So I think you'll be okay. This is called Walking Down Franklin Street. It's still there, the weary three-decker. It still leans inward from the outside walls. I used to wake up in that house and lie in bed alone, smiling, looking out the tall windows at early cars going by and neighbor walking his old slow dog before work. He'd move out of sight, leave me with sunlight that spilled in and made a warm lake of the floor. Nothing's as simple as it looks. The man I loved and lived with once threw me against that front hall wall. Stars floated lightly on the surface of my eyes. Little pieces of white plaster dust drifted in the air around us. Time went so slow. I had a chance to think about the precarious lives of women, anonymous dark Egyptians hauling water, pioneers in checked sunbonnets who trudged beside their wagons. Nuns bent over herb gardens in 14th century France. Waiting for his next move, I saw all the women who were held against walls. I could hear their thoughts. We were the same person. Our breasts lifted and fell in time to each other's ragged breathing. Our eyes slid briefly toward the door before dragging themselves to his face.  The mouth contorted into that painful, unsustainable shape. No one could hold onto it. On the disinclination to scream. If I had been a 10 year old stranger and you had tripped me in a dark alley, say downtown, instead of our mutual living room, I'm sure I would have screamed. If in the alley you had straddled me as fast, your knees clamping my elbows into asphalt, not the blue Chinese dragons of our living room rug, I might have been quiet there too. When you opened my mouth with your heavy flat thumbs and filled it with pain and flesh, I would have choked in the alley as anyone would choke. But if you had grown then and stood up, walked away from the dark street, leaving me to vomit and shake alone, I might have been saved. I could describe you to policemen. Perhaps their composite would match your photo in the Harvard reunion guide. Your fingerprints lifted from the collar of my dress might be found in Coast Guard files. If they never found you and there was no trial, I could have gone home to people who loved me. Horrified, enraged, they would rock me to sleep in soft arms. I would have been frightened maybe forever of alleys, strange men and the dark, but encouraged by the world who would hate you on my behalf. I would have been as safe as a 10-year-old can be. Instead, I rose quietly from the Chinese rug and went upstairs to wash. No sound escaped me. I couldn't afford to throw up and it wasn't the first time. Candy bar tutorial. Thank you for all the attention and hand waving and your beautiful smiles and your blue lipstick. Candy bar tutorial. What he leaves on the bed or slips into her pocket after the car wash during the Saturday hike. Baby Ruth mounds, big hunk, Milky Way, bit of honey. What he whispers, you made me do it. Don't pretend you don't like it.  What he leaves on the bed or slips into her pocket. She eats right then or sneaks into a shoebox at the top of the closet. Her mother won't like it. Mounds, big hunk, Milky Way, baby Ruth, bit of honey. When the man in the next town murders his wife with a nail gun, she thinks of 10 pennies scattered among what he leaves on the bed or slips into her pocket. Setting the table for dinner, knife blades face inward. The aluminum taste in her mouth is almost erased by Milky Way, baby Ruth, big hunk, mounds, bit of honey. But not completely, still the hint of brine to remind her of home and family, sickening harmony. What he left on the bed and slipped into her pocket, big hunk, Milky Way, baby Ruth, mounds, bit of honey. I wanna say that I don't believe necessarily in forgiveness, but I do believe in understanding. This is called belonging.   And Tom wondered aloud if I were recalling a past life. After Nan said over the phone, by the way, I don't believe you.  After I'd gained a hundred pounds and begun to carry it like an open window. And after enough time had passed to dull my anger down to a simmer. I walked to the kitchen one day, a sunny day, a Tuesday, heading for Haagen-Dazs or Ben and Jerry's, and caught my face in the mirror, unawares. The rosy cheeks, slight clench in the jaw, and looked back at myself directly with my father's eyes, the purpose in them clear, all the power he carried toward my bed that I was bearing in the direction of ice cream. And I understood how humans do what they do, how they can't not do it. And at that moment, I loved my father, so dangerous and helpless, and loved myself for loving him again. Release. Both shoulders drop into their sockets and nestle there.  Nothing to bear or carry. No invisible metaphoric burden weighing them down. And the pelvic girdle tips at just the right angle. Leg bones coaxed from their outward straying, realigned so patella and toes point truly forward in the direction of travel. No twist or torque, no battery of muscle caught in support of history. Mid-turn, wary animal looking back to check for danger. No constant subcutaneous shutter that for years defined the hours. A physical music so familiar, its crippling notes didn't even register as out of tune. It's all poetic in the end. The low hum of insects dismantling a body, buzz and tug. The skin's flakes disappearing into tiny mandibles. The eggs laid in too soft, soon to be putrid flesh. There's a loveliness to every ruined thing. The chassis accordion beside highway 20 gleams in moonlight like a wished on penny. Shit sinks through the tank's dark layers with slow grace giving up its liquid to green the world overhead. Show me something with no beauty. You can't. The father entering his own child. Beyond the tears, see how their closed eyes are exactly the same shape. Thank you so much. Keep with us doing all this good work. I am so grateful. Thank you so much for being here. I wanted to say something about both of these shows last month and this one tonight, which is I need people who, both who have been invited to read and the people who were not, who are here to listen. The heft of what I asked everyone to do, everyone who participated. This is not easy to carry and I did not do it. I'm thinking. I knew a lot of what we were going to hear because I know these poets. There are a lot of people in this room who both read and didn't read who I love. And some of the people who are here read last time. And I'm just inutterably grateful to have had, I think it was 12 in total, poets to help me understand what life looks like from different perspectives after violence, the post-violence moment. And I'm really grateful. And I hope you're all grateful for having been able to hear them. I just, I'm so overwhelmingly impressed. And thank you everybody who read, everybody who read last time. The library that lets me do stuff like this. I feel like quite often when people hear that there will be a poetry reading, this is not what they imagine that looks like. And I'm really grateful. Thank you so much, John Smalley. Probably Michelle Jeffers who really, really lets me get away with quite a bit that's not expected. So thank you. Next week, Friday, we will be doing a reading on the subject. Well, it's Asian American women speaking out. And that will also be fairly heavy.  Again, thank you everybody, everybody involved in this. I'm given a lot of latitude, not just by the library, but by the poets. And I'm enormously grateful. Thank you all. Thank you, Kim. Thank you so much, Kim. Thank you, Kim. Thank you, Kim. Thank you to all of the readers. Everybody, beautiful reading. Thank you all. That was a powerful, wonderful reading. Thanks for the courage to open your mouths and speak.  Yes, you send them to the abuser and that's the one of the sickest things going. I've seen that happen too many times. And so what I did was I just finally started getting information and giving it to the child and say, keep talking until somebody hears you. And then send it home. Yes. Now that backfires on big time, yeah. Yes. I'm moved by all of you, truly. Thank you all.  And so powerful. And until next time, friends, we'll see you soon. I put the link to Kim's upcoming Asian American Women Poetry event coming up, so please check it out. Sunday, we have poetry under the dome virtual. Join us. Good night, friends. Thank you. Good night. Much love. Thank you. Good night. Thank you. Thank you so much. Good night.


Hey guys, Shaber1000 here again. We are back at Ripley's. We're gonna see if we have any problems filming or anything Or any other kind of problems.  It wouldn't let me back it up or nothing. So Bear with me until I can get that back But anyway, so we're gonna go in here and see what kind of weird shit we can find so Be back with you in a minute display them and over a dozen of our famous museums Check us out guys. This is actually called a fantasy coffin Okay guys, this is a genuine shrunken head Believe it or not the Javaro Indians of Ecuador claim their enemies heads as symbols of bravery and display them Reduced to fist size as war trophies This is a real shrunken head, that's an actual somebody's face Me see here's my face so to get an idea See hold my fist up here So you get the idea And it's telling you how they do it up there Fire, which is pretty gruesome. So I'm gonna stop you right here Actual human skull that is somebody's head Decorated with carvings and what Cowwire cow, right? shells Monkey is in the eye of a needle the motorcycle made out of coke Everything even the mirrors even the kickstand pretty cool It's interesting the chain is actually the pop tabs pretty cool Okay Bubblegum Just touch it What's it feel like Alligator put your hand in there and touch it Lift it up for your answer Oh Go for this guy's going to open this box Okay guys This little furniture set Is made out of beer cans Pause on this for a second in case you guys want to read it You can pause your That is amazing use special tools, but it is definitely made from beer cans And you can see the size of it judging from the beer can or my fist Pretty cool I'm not as impressed as the one I went to years ago, but you look at that how crooked this is I don't know if I got this earlier or not, but it's all like downhill So let's see if you can see How it looks real crooked in here Every time that just is probably but You get the idea I'll throw a couple still images in so That is the tour of Ripley's believe it or not And every time I start filming some pity, it's got to be right behind the damn camera Really guys we think monkey. What's that fun? Yeah, but I still like St. Augustine one That's what I was just telling them over there. I like the other one better. I went to years ago St. Augustine can remember where it was, but yeah, I still had the lady up here She just didn't seem very nice and they didn't know what to do with the tickets Since we gave them to yeah, they were like calling the manager like what do we do with these tickets?  I've never heard of them right and I heard him say well. No, well, it's a good ticket That's what so I had to explain to her I said to her I said well This is because you guys were so rude to us when we were here the last time she kind of looked at us got And I said, you know what every damn time we walk through a story.   You know, I hate that, but yeah, I wouldn't come to this one Really not worth the money, but our tickets were free so thank goodness Yeah, I've been very disappointed if we did get in last time and Had to pay that money, but definitely if you want to check out the one in St. Augustine If you ever come to Florida that's where to go for one of these. Yeah, this one That's when I wasn't impressed with so there you go guys And I'm going to end you with a shot of this I guess clear up the top All right, bye monkey See ya She bear 1000 There we go I don't know if you can tell how tilted the building is But the building is awesome. It's cool So she bear 1000 the myth The man the legend gone for now. Bye. Bye guys


The BJP and Narendra Modi just won India's election in unprecedented fashion. Voters wanted change and specifically they wanted to see renewed economic vigor. So the question is, can he remake India in Gujarat's image? Modi has several factors working in his favor. His single party majority in the Lok Sabha reduces his reliance on regional parties. He doesn't need parliamentary approval for many areas requiring reforms, such as foreign investment caps and application of tax law. He also doesn't need parliament's backing for every road, bridge and port he would like to build. However, there are real constraints on what he can do. Modi faces fiscal limits that will make it difficult to give the types of tax breaks he gave to investors in Gujarat. And the BJP has a powerful internal faction that's less comfortable relying on global trade. The BJP has just 18% of the seats in the Rajasabha, a number unlikely to change anytime soon, plus it only controls five of India's 29 states. These five states are well positioned to be an initial base of economic growth. Add in the states controlled by key allies and this block is even larger. Looking ahead to states holding elections later this year and where the BJP won the majority of parliament seats, the block could become quite impressive. It represents 41% of India's population producing nearly 55% of the nation's economic output. These states are already among the nation's highest performing. If they are able to work together and form a powerful regional hub, this arc of industry will become a key economic engine. Not only is this part of the country large and economically strong, it also includes important assets that will amplify the region's economic potential. More importantly, the entire Delhi-Mumbai industrial corridor is in this region. It's the largest infrastructure project ever attempted in India. The 920 mile dedicated freight corridor runs through six states, primarily Rajasthan, Gujarat and Maharashtra. New development is expected among the already established airports and industrial townships. Now the government cannot focus exclusively on developing this region at the expense of other parts of the country. But the ongoing work on the corridor, combined with the potential of a regional center state alignment, provides states a unique opportunity for cooperation that could expedite development and create a new arc of industry in India.


As you are well aware, information is everywhere. Phones light up, billboards scream advertisements, news outlets push out blurbs and bites, images wink at us, books speak to us, professors teach, preachers preach and we text and tweet until the world is saturated with information. All of these messages vie for our attention and so we are constantly confronted by the question, what will I pay attention to now? Of course the video you are watching is itself information. This instructional video is a delivery device for a series of messages we librarians think are important and here is the first message. What we are discussing with you for the next couple of minutes is very important for both your academic and spiritual growth as a student and as a lifelong learner. It concerns the ethical use of information and it will be well worth your time to pay careful attention now. Information Ethics is a broad category that contains issues like copyright, information privacy, the fair use of information and much more. As students you will constantly encounter one face of information ethics, plagiarism. Plagiarism is the act of passing off another's work as your own, whether intentionally or unintentionally. The word itself sounds nasty. Its Latin roots refers to a kidnapper, seducer or plunderer. In this sense to take another's work without giving full and proper credit and pretend it is your own is like kidnapping. So we imagine the plagiarist must be a rather villainous character with a seedy look and a long mustache. But the reality is that plagiarism is not always intentional. Sometimes it's difficult to detect plagiarism. In fact that's what makes plagiarism an ethical issue that we struggle with. Ethical issues are created when two ideas that are both perceived as good collide with each other. In fact perceptions of what is good often depend on culture. For example in western culture originality is considered good and the intellectual property of each individual should be protected. However many eastern cultures value shared knowledge and might consider an individual's thoughts and ideas as belonging to the entire community. Because of this western notions of plagiarism can be difficult for students from non-western cultures. But we have found that an accurate understanding of plagiarism is difficult for many students from every background. If you are confused about plagiarism we encourage you to contact a librarian for help in developing a better understanding about it. Students are expected to uphold the university's policy in regard to plagiarism. Oklahoma Christians policy on academic honesty can be found in the student handbook and typically at the end of the syllabus for each course. The policy warns against passing off another's work as one's own and describes penalties for plagiarism. In short, don't plagiarize. Not least because it undermines the intent of academic exercise and compromises one's character through dishonesty. But the problem is precisely this. Plagiarism is not always intentional. It can be difficult to know how to appropriately use inside the resources that inform our thinking. So briefly let's think about a few habits we can develop in relation to information that help keep us from both intentional and unintentional plagiarism. That's of course are those practices that become second nature to us. As we encounter more and more information it will be helpful to begin now developing habits for thinking about and using information. First of all, invest yourself in the research. The truth is procrastination and plagiarism are bosom buddies. Rather than waiting until the last minute, train yourself to start your research early and spend time reading the resources for understanding. Second, think, think, think. Critical thinking is a habitual way of engaging the information we encounter. Really try to discern the messages being presented. Allow questioning to drive your thinking. Copy-paste research often reflects shallow interaction with resources and little understanding. Solid research involves wrestling with information. So it's good to develop a habit of critically thinking about the information we encounter. Third, put others' ideas into conversation with your own. This is sometimes called synthesis or paraphrasing and it's a necessary habit to develop. Often, the way someone else articulates an idea seems perfect, their words are just right and it couldn't be said any better. This may be true, but research is more than parroting the thoughts of others. Research involves synthesis, bringing together the thoughts of others, putting them into conversation with your own and drawing new conclusions. And here's a fun fact. When you show your own thinking inside the sources that inform your thinking, you seem a lot sharper and more informed than someone who merely parrots others' words. And more importantly, you demonstrate your own learning. Synthesizing ideas takes practice, but it's a good habit to develop now as you begin your studies. Fourth, ask for help. Sometimes plagiarism occurs unintentionally because of improper citation or an incorrect understanding of what paraphrasing means. Actually, how to paraphrase appropriately is often misunderstood. So if you have questions about plagiarism, how to paraphrase or how to properly cite your sources, your librarians are here to help. As you are learning more about citation styles like MLA, APA or Terabian, please feel free to ask a librarian for help and guidance. Make questioning a habit. Habits are important. They can enhance academic and spiritual growth, but they can also undermine growth. So if you're in the habit of copy-paste research, you'll need to quickly break that habit. Remember, Google, Google, XYZ, CTRL C, CTRL V is not a magic formula for academic success. There are lots of resources available for learning what plagiarism is and what it looks like. If in doubt, be sure to ask. So be careful to avoid plagiarism and keep in mind that the ethical use of information is an important habit, enriching both your academic and spiritual growth. Wrestling with ethical dilemmas shapes character. Our decision should lead to growth and habits of the heart are developed over a lifetime of learning. Remember, if you have any questions, be sure to ask a librarian. Beam librarians and staff are here to help you succeed throughout your studies at Oklahoma Christian University and we look forward to getting to know you.


For those watching television news in Russia, there is no war in Ukraine. Only a special military operation designed to root out Nazis. And it's all going according to plan. Destroy the whole city, mass chaos was created. And we can safely report it is now liberated. Wait we bombed it and raised it. Destroyed it entirely. Killed every person that we saw. Hacked until they were free. All thanks to Putin. Putin good. The Stanley Cup playoffs are back in full force. And this year's MVP, Vlad Putin of course. Watch as he skillfully weaves through their expert defense. And coming up, who uncovered artifacts of priceless expense? Let me guess. Putin. Yeah, yeah. Putin good. Destroyed their infantry. Meaning we killed some infants. Oh my god. We lost several tanks. We wrote off some equipment. This reminds me of a story. I was out eating Greek and they brought out that flaming thing. Ah, liberating the cheese. No, it's, you're not getting the point. It's as if this is all planned. How can you look at what's happening and say, ah never mind, I understand. Putin. Putin not good. Putin. Putin really not good. Hey where are you taking me? This is not Tama meal.