REM was an American rock band from Athens, Georgia, that was formed in 1980 by drummer Bill Berry, lead guitarist Peter Buck, bassist backing vocalist Mike Mills, and lead vocalist Michael Stipe. One of the first alternative rock bands, REM was noted for Buck's ringing, arpeggiated guitar style, Stipe's particular vocal quality and obscure lyrics, and Mills' melodic bass lines and backing vocals. REM released its first single Radio Free Europe in 1981 on the independent record label HIB Tone. The single was followed by the Chronic Town EP in 1982, the band's first release on IRS records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years through subsequent releases, Constant Turing and the support of College Radio. Following years of underground success, REM achieved a mainstream hit in 1987 with the single The One I Love. The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide. By the early 1990s, when alternative rock began to experience broad mainstream success, REM was viewed by subsequent acts such as nirvana and pavement as a pioneer of the genre. The band then released its two most commercially successful albums, Out of Time, 1991, and Automatic for the People, 1992, which veered from the band's established sound and catapulted it to international fame. r.e.ms 1994 release, Monster, was a return to a more rock-oriented sound, but still continued its run of success. The band began its first tour in six years to support the album, the tour was marred by medical emergencies suffered by three of the band members. In 1996, r.e.m. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract in history. It's 1996 release, New Adventures in Hi-Fi, though critically acclaimed, fared worse commercially than expected. The following year, Bill Berry left the band, while Stipe, Buck and Mills continued the group as a trio. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success, despite having sold more than 85 million records worldwide and becoming one of the world's best-selling music artists of all time. In 2007, the band was inducted into the Rock and Roll Hall of Fame, in their first year of eligibility. r.e.m. disbanded amicably in September 2011, announcing the split on its website. HISTORY 1980-1981, Formation In January 1980, Michael Stipe met Peter Buck in Wuxley Records, the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly in punk rock and proto-punk artists like Patty Smith, television and the Velvet Underground. Stipe said, �It turns out that I was buying all the records that Buck was saving for himself.� Stipe and Buck soon met fellow University of Georgia students Mike Mills and Bill Berry, who had played music together since high school and lived together in Georgia. The quartet agreed to collaborate on several songs, Stipe later commented that �There was never any grand plan behind any of it.� Their still-unnamed band spent a few months rehearsing and played its first show on April 5, 1980, at a friend�s birthday party held in a converted Episcopal church in Athens. After considering names like Twisted Kites, Cans of Piss, and Negro Wives, the band settled on r.e.m. which stands for the stage of sleep called Rapid Eye Movement, which Stipe selected at random from a dictionary. The band members eventually dropped out of school to focus on their developing group. They found a manager in Jefferson Holt, a record store clerk who was so impressed by an r.e.m. performance in his hometown of Chapel Hill, North Carolina, that he moved to Athens. r.e.ms success was almost immediate in Athens and surrounding areas, the band drew progressively larger crowds for shows, which caused some resentment in the Athens music scene. Over the next year and a half, r.e.m. toured throughout the southern United States. Touring was urgous because a touring circuit for alternative rock bands did not then exist. The group toured in an old blue van driven by Holt, and lived on a food allowance of $2 each per day. During the summer of 1981, r.e.m. recorded its first single, Radio Free Europe, at producer Mitch Easters in studios in Winston-Salem, North Carolina. The single was released on the local independent record label H.I.B. Tone with an initial pressing of 1,000 copies, which quickly sold out. Despite its limited pressing, the single garnered critical acclaim, and was listed as one of the ten best singles of the year by the New York Times. 1981-1987, IRS records and cult success. r.e.m. recorded the chronic town EP with Mitch Easter in October 1981, and planned to release it on a new indie label named Dashed Hopes. However, IRS records acquired a demo of the band's first recording session with Easter that had been circulating for months. The band turned down the advances of major label RCA records in favor of IRS, with whom it signed a contract in May 1982. IRS released Chronic Town that August as its first American release. A positive review of the EP by N.M.E. praised the song's auras of mystery, and concluded, r.e.m. ring true, and it's great to hear something as unforced and cunning as this. IRS first paired r.e.m. with producer Stephen Hague to record its debut album. Hague's emphasis on technical perfection left the band unsatisfied, and the band members asked the label to let them record with Easter. IRS agreed to a tryout session, allowing the band to return to North Carolina and record the song Pilgrimage with Easter and producing partner Don Dixon. After hearing the track, IRS permitted the group to record the album with Dixon and Easter. Because of its bad experience with Hague, the band recorded the album via a process of negation, refusing to incorporate rock music cliches such as guitar solos or then popular synthesizers, in order to give its music a timeless feel. The completed album, Murmur, was greeted with critical acclaim upon its release in 1983, with Rolling Stone listing the album as its record of the year. The album reached number 36 on the Billboard album chart. A re-recorded version of Radio Free Europe was the album's lead single and reached number 78 on the Billboard singles chart in 1983. Despite the acclaim awarded the album, Murmur sold only about 200,000 copies, which i.r.s.J. Boberg felt was below expectations. REM made its first national television appearance on Late Night with David Letterman in October 1983, during which the group performed a new, unnamed song. The piece, eventually titled So. Central Rain, I'm Sorry, became the first single from the band's second album, Reckoning, 1984, which was also recorded with Easter and Dixon. The album met with critical acclaim, and M.E.S. Matt Snow wrote that Reckoning confirms REM as one of the most beautifully exciting groups on the planet. While Reckoning peaked at number 27 on the U.S. album charts an unusually high chart placing for a college rock band at the time scant airplay and poor distribution overseas resulted in it charting no higher than number 91 in Britain. The band's third album, Fables of the Reconstruction, 1985, demonstrated a change in direction. Instead of Dixon and Easter, REM chose producer Joe Boyd, who had worked with Fairport Convention and Nick Drake, to record the album in England. The band members found the sessions unexpectedly difficult, and were miserable due to the cold winter weather and what they considered to be poor food, the situation brought the band to the verge of break up. The gloominess surrounding the sessions ended up providing the context for the album itself. Lyrically, Stipe began to create storylines in the mode of Southern mythology, noting in a 1985 interview that he was inspired by the whole idea of the old men sitting around the fire, passing on, legends and fables to the grandchildren. They toured in Canada in July and August 1985, and throughout Europe in October of that year, including in the Netherlands, England, one concert was held at the famous Hammersmith Palace in London, Ireland, Scotland, France, Switzerland, Belgium and West Germany. On October 2, 1985, the group played a concert in Bochum, West Germany, for the German TV show Rockbelast. Stipe had bleached his hair blonde during this time. Fables of the Reconstruction performed poorly in Europe and its critical reception was mixed, with some critics regarding it as dreary and poorly recorded. As with the previous records, the singles from Fables of the Reconstruction were mostly ignored by mainstream radio. Meanwhile, IRS was becoming frustrated with the band's reluctance to achieve mainstream success. For its fourth album, REM enlisted John Mellonkamp producer Don Gemmin. The result, Lives Rich Pageant, 1986, featured Stipe's vocals closer to the forefront of the music. In a 1986 interview with the Chicago Tribune, Peter Buck related, Michael is getting better at what he's doing, and he's getting more confident at it. And I think that shows up in the projection of his voice. The album improved markedly upon the sales of Fables of the Reconstruction and eventually peaked at number 21 on the Billboard album chart. The single Fall on Me also picked up support on commercial radio. The album was the band's first to be certified gold for selling 500,000 copies. While American College Radio remained our .e.ms core support, the band was beginning to chart hits on mainstream rock formats, however, the music still encountered resistance from top 40 radio. Following the success of Lives Rich Pageant, IRS issued Dead Letter Office, a compilation of tracks recorded by the band during their album sessions, many of which had either been issued as b-sides or left unreleased altogether. Shortly thereafter, IRS compiled our .e.ms music video catalog, except Wolves, lower, as the band's first video release, succumbs. 1987-1990, breakthrough. Don Gemman was unable to produce our .e.ms fifth album, so he suggested the group work with Scott Litt. Litt would be the producer for the band's next five albums. Document, 1987, featured some of Stipe's most openly political lyrics, particularly on Welcome to the Occupation and Exhuming McCarthy, which were reactions to the conservative political environment of the 1980s under American President Ronald Reagan. John Perelz of The New York Times wrote in his review of the album, �Document is both confident and defiant, if R.E.M. is about to move from cult band status to mass popularity, the album decrees that the band will get there on its own terms.� Document was our .e.ms breakthrough album, and the first single �The One I Love� charted in the top 20 in the U.S., U.K., and Canada.By January 1988, Document had become the group's first album to sell a million copies. In light of the band's breakthrough, the December 1987 cover of Rolling Stone declared R.E.M. America's best rock and roll band. Frustrated that its records did not see satisfactory overseas distribution, R.E.M. left IRS when its contract expired and signed with the major label Warner Brothers Records. Though other labels offered more money, R.E.M. ultimately signed with Warner Brothers reportedly for an amount between $6 million and $12 million due to the company's assurance of total creative freedom. In the aftermath of the group's departure, IRS released the 1988 Best of Compilation eponymous, assembled with input from the band members, to capitalize on assets the company still possessed. The band's 1988 Warner Brothers debut, �Green,� was recorded in Nashville, Tennessee and showcased the group experimenting with its sound. The record's tracks ranged from the upbeat first single stand, a hit in the United States, to more political material, like the rock-oriented Orange Crush and World Leader pretend, which address the Vietnam War and the Cold War, respectively. Green has gone on to sell four million copies worldwide. The band supported the album with its biggest and most visually developed tour to date, featuring back projections and art films playing on the stage. After the green tour, the band members unofficially decided to take the following year off, the first extended break in the band's career. In 1990 Warner Brothers issued the music video compilation pop screen to collect clips from the document and green albums, followed a few months later by the video album tour film featuring live performances filmed during the Green World tour. 1990-93, non-touring years and international success. REM reconvened in mid-1990 to record its seventh album, �Out of Time.� In a departure from Green, the band members often wrote the music with non-traditional rock instrumentation including mandolin, organ and acoustic guitar instead of adding them as overdubs later in the creative process. Released in March 1991, �Out of Time� was the band�s first album to top both the U.S. and U.K. charts.The record eventually sold 4.2 million copies in the U.S. alone, and about 12 million copies worldwide by 1996.The album�s lead single �Losing My Religion� was a worldwide hit that received heavy rotation on radio, as did the music video on MTV. �Losing My Religion� was our .e.ms highest charting single in the U.S., reaching number four on the Billboard charts. �There�ve been very few life-changing events in our career because our career has been so gradual,� Mills said years later. �If you want to talk about life-changing, I think �Losing My Religion� is the closest it gets.� The album�s second single, �Shiny Happy People�, one of three songs on the record to feature vocals from Kate Pearson of fellow Athens band The B-52s, was also a major hit, reaching number 10 in the U.S. and number 6 in the U.K. �Out of Time� garnered R.E.M.7 nominations at the 1992 Grammy Awards, the most nominations of any artist that year. The band won three awards, one for Best Alternative Music Album and two for �Losing My Religion, Best Short-Form Music Video and Best Pop Performance� by a duo or group with vocal. R.E.M. did not tour to promote �Out of Time�, instead the group played a series of one-off shows, including an appearance taped for an episode of MTV Unplugged and released music videos for each song on the video album This Film Is On. The MTV Unplugged session of �Losing My Religion� was recorded with members of the Atlanta Symphony Orchestra in Madison, Georgia, at Madison Morgan Cultural Center. After spending some months off, R.E.M. returned to the studio in 1991 to record its next album. Late in 1992, the band released Automatic for the People. Though the group had intended to make a harder-rocking album after the softer textures of �Out of Time�, the somber Automatic for the People seemed to move at an even more agonized crawl, according to Melody Maker. The album dealt with themes of loss and mourning inspired by that sense of �turning 30,� according to Buck. Several songs featured string arrangements by former Led Zeppelin bassist John Paul Jones. Considered by a number of critics, as well as by Buck and Mills, to be the band's best album, Automatic for the People reached numbers one and two on U.K. and U.S. charts, respectively, and generated the American top 40 hit singles Drive, Man on the Moon, and Everybody Hurts. The album would sell over 15 million copies worldwide.As without of time, there was no tour in support of the album. The decision to forego a tour, in conjunction with Stipe's physical appearance, generated rumours that the singer was dying or HIV-positive, which were vehemently denied by the band. 1994-1996, return to touring and continued success. After the band released two slow-paced albums in a row, r.e.ms 1994 album Monster was, as Buck said, a rock record, with the rock in quotation marks. In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs and touches of 1970s glam rock. Like out of time, Monster topped the charts in both the U.S. and U.K. . The record sold about 9 million copies worldwide.The singles What's the Frequency, Kenneth and Bang and Blame were the band's last American top 40 hits, although all the singles from Monster reached the top 30 on the British charts.Warner Brothers assembled the music videos from the album as well as those from Automatic for the People for release as parallel in 1995. In January 1995, r.e.m. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Barry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Barry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July, a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed and released in home video form as road movie. r.e.m. re-signed with Warner Brothers records in 1996 for a reported $80 million, a figure the band constantly asserted originated with the media, rumoured to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK.The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years. Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, r.e.m. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer Burtis Downs assumed managerial duties. 1997-2000, Barry's departure end up. In April 1997, the band convened at Buck's Cow Eye Vacation Home to record demos of material intended for the next album. The band sought to reinvent its sound and intended to incorporate drum loops and percussion experiments. Just as the sessions were due to begin in October, Barry decided, after months of contemplation and discussions with Downs and Mills, to tell the rest of the band that he was quitting. Barry told his bandmates that he would not quit if they would break up as a result, so Stipe, Buck and Mills agreed to carry on as a three-piece with his blessing. Barry publicly announced his departure three weeks later in October 1997. Barry told the press, �I�m just not as enthusiastic as I have been in the past about doing this anymore. I have the best job in the world. But I�m kind of ready to sit back and reflect and maybe not be a pop star anymore.� Stipe admitted that the band would be different without a major contributor � for me, Mike, and Peter, as REM, are we still REM?  It just has to learn to run differently.� The band cancelled its scheduled recording sessions as a result of Barry's departure. Without Bill it was different, confusing, Mills later said, �We didn�t know exactly what to do. We couldn�t rehearse without a drummer.� The remaining members of REM resumed work on the album in February 1998 at Toast Studios in San Francisco. The band ended its decade-long collaboration with Scott Litt and hired Pat McCarthy to produce the record. Nigel Godrich was taken on as assistant producer, and drafted in Screaming Trees member Barrett Martin and Bex Turing drummer Joey Weronker. The recording process was plagued with tension, and the group came close to disbanding. Vertus Downs called an emergency meeting where the band members sorted out their problems and agreed to continue as a group. Led off by the single Days Leaper, up, 1998, debuted in the top ten in the US and UK. However, the album was a relative failure, selling 900,000 copies in the US by mid-1999 and eventually selling just over 2 million copies worldwide. While r.e.ms American sales were declining, the group�s commercial base was shifting to the UK, where more REM records were sold per capita than any other country and the band�s singles regularly entered the top 20. A year after UPS release, r.e.m. wrote the instrumental score to the Andy Kaufman biographical film Man on the Moon, a first for the group. The film took its title from the automatic for-the-people song of the same name. The song The Great Beyond was released as a single from the Man on the Moon soundtrack album. The Great Beyond only reached No. 57 on the American pop charts, but was the band�s highest-charting single ever in the UK, reaching No. 3 in 2000. 2000-2007, Reveal and Around the Sun REM recorded the majority of its 12th album Reveal, 2001, in Canada and Ireland from May to October 2000. Reveal shared the lugubrious pace of up, and featured drumming by Joey Weronker, as well as contributions by Scott McCauley, a co-founder of the band The Minus Five with Buck, and Posey�s founder Ken Stringfellow. Global sales of the album were over 4 million, but in the United States Reveal sold about the same number of copies as up. The album was led by the single imitation of life, which reached No. 6 in the UK. Writing four rock�s back pages, the reverend Al Friston described the album as �loaded with golden loveliness at every twist and turn, in comparison to the group�s essentially unconvincing work on new adventures in Hi-Fi and up.� Similarly, Rob Sheffield of Rolling Stone called Reveal a �spiritual renewal rooted in a musical one� and praised its ceaselessly astonishing beauty. In 2003, Warner Brothers released the compilation album N.D.V.D. In Time, the best of R.E.M. 1988-2003 and In View, the best of R.E.M. 1988-2003 which featured two new songs, Bad Day and Animal. At a 2003 concert in Raleigh, North Carolina, Barry made a surprise appearance, performing backing vocals on Radio Free Europe. He then sat behind the drum kit for a performance of the early R.E.M. song Permanent Vacation, marking his first performance with the band since his retirement. R.E.M. released Around the Sun in 2004. During production of the album in 2002, Stipe said, �The album sounds like it�s taking off from the last couple of records into uncharted R.E.M. territory.� �Kind of primitive and howling.� After the album�s release, Mills said, �I think, honestly, it turned out a little slower than we intended for it to, just in terms of the overall speed of songs.� Around the Sun received a mixed critical reception, and peaked at number 13 on the Billboard charts. The first single from the album, Leaving New York, was a top five hit in the UK. For the record and subsequent tour, the band hired a new full-time touring drummer, Bill Riflin, who had previously been a member of several industrial music acts such as Ministry and Pig Face. The video album Perfect Square was released that same year. E.M.E. released a compilation album covering R.E.M.�s work during its tenure on IRS in 2006 called �And I Feel Fine.� The best of the IRS years 1982-1987 along with the video album When the Light is Mine, the best of the IRS years 1982-1987 the label had previously released the compilations the best of R.E.M. 1991, R.E.M., singles collected, 1994, and R.E.M., in the Attic Alternative Recordings 1985-1989-1997. That same month, all four original band members performed during the ceremony for their induction into the Georgia Music Hall of Fame. While rehearsing for the ceremony, the band recorded a cover of John Lennon�s number 9 dream for Instant Karma, the Amnesty International campaign to save Darfur, a tribute album benefiting Amnesty International. The song released as a single for the album and the campaign featured Bill Berry�s first studio recording with the band since his departure almost a decade earlier. In October 2006, R.E.M. was nominated for induction into the Rock and Roll Hall of Fame in its first year of eligibility. The band was one of five nominees accepted into the hall that year, and the induction ceremony took place in March 2007 at New York�s Waldorf Astoria Hotel. The group which was inducted by Pearl Jam lead singer Eddie Vedder performed three songs with Bill Berry, Gardening at Night, Man on the Moon and Begin the Begin as well as a cover of I Wanna Be Your Dog. 2007-2011, Accelerate, Collapse Into Now, and Breakup. Work on the group�s 14th album commenced in early 2007. The band recorded with producer Jack Knifley in Vancouver and Dublin, where it played five nights in the Olympia Theatre between June 30 and July 5 as part of a working rehearsal. R.E.M. live, the band�s first live album, featuring songs from a 2005 Dublin show, was released in October 2007. The group followed this with the 2009 live album Live at the Olympia, which features performances from its 2007 residency. R.E.M. released Accelerate in early 2008. The album debuted at number two on the Billboard charts, and became the band�s eighth album to top the British album charts. Rolling Stone reviewer David Fricka considered Accelerate an improvement over the band�s previous post-Berry albums, calling it �one of the best records R.E.M. have ever made.� In 2010, R.E.M. released the video album R.E.M. Live from Austin, T.A.X. A concert recorded four Austin City limits in 2008. The group recorded its 15th album, �Collapse Into Now,� 2011, with Jack Knifley in locales including Berlin, Nashville and New Orleans. For the album, the band aimed for a more expansive sound than the intentionally short and speedy approach implemented on Accelerate. The album debuted at number five on the Billboard 200, becoming the group�s tenth album to reach the top ten of the chart. This release fulfilled R.E.M�s contractual obligations to Warner Bros., and the band began recording material without a contract a few months later with the possible intention of self-releasing the work. On September 21, 2011, R.E.M. announced via its website that it was calling it �a day� as a band. Stipe said that he hoped fans realized it wasn�t an easy decision, �all things must end, and we wanted to do it right, to do it our way.� Longtime associate and former Warner Bros. senior vice president of emerging technology Ethan Kaplan has speculated that shake-ups at the record label influenced the group�s decision to disband. The group discussed breaking up for several years, but was encouraged to continue after the lackluster critical and commercial performance of Around the Sun, according to Mills, �we needed to prove, not only to our fans and critics but to ourselves, that we could still make great records.� They were also disinterested in the business end of recording as R.E.M. The band members finished their collaboration by assembling the compilation album Part Lies, Part Heart, Part Truth, Part Garbage 1982-2011 which was released in November 2011. The album is the first to collect songs from R.E.M.�s IRS and Warner Bros. tenures, as well as three songs from the group�s final studio recordings from post-collapse into now sessions. In November, Mills and Stipe did a brief span of promotional appearances in British media, ruling out the option of the group ever reuniting. In 2014, Unplugged, the complete 1991 and 2001 sessions was released for Record Store Day. Digital download collections of IRS and Warner Bros. rarities followed. Later in the year, the band compiled the video-album box set R.E.M.T.V., which collected their two unplugged performances along with several other documentaries and live shows, while their record label released the box set 7 in 83-88 made up of seven vinyl singles. In December 2015, the band members agreed to a distribution deal with Concord Bicycle Music to re-release their Warner Bros. albums. Musical Style In a 1988 interview, Peter Buck described typical R.E.M. songs as �minor key, mid-tempo, enigmatic, semi-faux-crocs-belottish things.� That�s what everyone thinks and to a certain degree, that�s true. All songwriter is credited to the entire band, even though individual members are sometimes responsible for writing the majority of a particular song. Each member is given an equal vote in the songwriter process, however, Buck has conceded that Stipe, as the band�s lyricist, can rarely be persuaded to follow an idea he does not favor. Among the original lineup, there were divisions of labor in the songwriter process, Stipe would write lyrics and devise melodies, Buck would edge the band in new musical directions and Mills and Barry would fine-tune the compositions due to their greater musical experience. Michael Stipe sings in what R.E.M. biographer David Buckley described as �wailing, keening, arching vocal figures.� Stipe often harmonizes with Mills and songs, in the chorus for stand, Mills and Stipe alternate singing lyrics, creating a dialogue. Early articles about the band focused on Stipe�s singing style, described as mumbling by The Washington Post, which often rendered his lyrics indecipherable. Cream writer John Morthland wrote in his review of Murmur, �I still have no idea what these songs are about, because neither me nor anyone else I know has ever been able to discern R.E.M.�s lyrics.� Stipe commented in 1984, �It�s just the way I sing. If I tried to control it, it would be pretty false.� Producer Joe Boyd convinced Stipe to begin singing more clearly during the recording of Fables of the Reconstruction. Stipe later called chorus lyrics of sitting still from R.E.M. debut album, Murmur, Nonsense, saying in a 1994 online chat, �You all know there aren�t words, per se, to a lot of the early stuff.� �I can�t even remember them.� In truth, Stipe carefully crafted the lyrics to many early R.E.M. songs. Stipe explained in 1984 that when he started writing lyrics they were like �simple pictures,� but after a year he grew tired of the approach and started experimenting with lyrics that didn�t make exact linear sense, and it�s just gone from there. In the mid-1980s, as Stipe�s pronunciation while singing became clearer, the band decided that its lyrics should convey ideas on a more literal level. Mills explained, �After you�ve made three records and you�ve written several songs and they�ve gotten better and better lyrically the next step would be to have somebody question you and say, �Are you saying anything?� And Michael had the confidence at that point to say yes. Songs like �Kyahoga� and �Fall on Me� on Live�s rich pageant dealt with such concerns as pollution. Stipe incorporated more politically oriented concerns into his lyrics on document and green. Our political activism and the content of the songs was just a reaction to where we were, and what we were surrounded by, which was just abject horror,� Stipe said later. In 1987 and 88 there was nothing to do but be active. Stipe has since explored other lyrical topics. Automatic for the people dealt with mortality and dying. Pretty turgid stuff, according to Stipe, while monster critiqued love and mass culture. Peter Buck�s style of playing guitar has been singled out by many as the most distinctive aspect of our dot e dot ms music. During the 1980s, Buck�s economical, arpeggiated, poetic style reminded British music journalists of 1960s American folk rock band The Birds. Buck has stated �Birds guitarist Roger McGinn was a big influence on me as a guitar player, but said it was Bird�s influenced bands, including Big Star and the Soft Boys, that inspired him more.� Comparisons were also made with the guitar playing of Johnny Maher of alternative rock contemporaries The Smiths. While Buck professed being a fan of the group, he admitted he initially criticized the band simply because he was tired of fans asking him if he was influenced by Maher whose band had in fact made their debut after our dot e dot m dot buck generally s choose guitar solos, he explained in 2002 �I know that when guitarists rip into this hot solo, people go nuts, but I don�t write songs that suit that, and I am not interested in that. I can do it if I have to, but I don�t like it.� Mike Mills� melodic approach to bass playing is inspired by Paul McCartney of The Beatles and Chris Squire of Yes, Mills has said, �I always played a melodic bass, like a piano bass in some ways.� �I never wanted to play the traditional locked-into-the-kick drum, root-note bass work.� Mills has more musical training than his bandmates, which he has said made it easier to turn abstract musical ideas into reality. Legacy R.E.M. was pivotal in the creation and development of the alternative rock genre. All music stated, R.E.M. marked the point when post-punk turned into alternative rock. In the early 1980s, the musical style of R.E.M. stood in contrast to the post-punk and new wave genres that had preceded it. Music journalist Simon Reynolds noted that the post-punk movement of the late 1970s and early 1980s had taken whole swaths of music off the menu, particularly that of the 1960s, and that �after post-punk�s demystification and new pop schematics, it felt liberating to listen to music rooted in mystical awe and blissed-out surrender. Reynolds declared R.E.M., a band that recalled the music of the 1960s with its splangent guitar chimes and folk-styled vocals and who wistfully and abstractly conjured visions and new frontiers for America, one of the two most important alt-rock bands of the day. With the release of Murmure, R.E.M. had the most impact musically and commercially of the developing alternative genres early groups, leaving in its wake a number of jangle-pop followers. R.E.M�s early breakthrough success served as an inspiration for other alternative bands. Spinn referred to the R.E.M. model career decisions that R.E.M. made which set guidelines for other underground artists to follow in their own careers. Spinn�s Charles Aaron wrote that by 1985, they�d shown how far an underground, punk-inspired rock band could go within the industry without whoring out its artistic integrity in any obvious way. They�d figured out how to buy in, not sell out in other words, they�d achieved the American Bohemian dream. Steve Wynne of Dream Syndicate said, �They invented a whole new ball game for all of the other bands to follow whether it was Sonic Youth or The Replacements or Nirvana or Butthole Surfers.� R.E.M. staked the claim. Musically, the bands did different things, but R.E.M. was first to show us you can be big and still be cool. Biographer David Buckley stated that between 1991 and 1994, a period that saw the band sell an estimated 30 million albums, R.E.M. asserted themselves as rivals to U2 for the title of biggest rock band in the world. Over the course of its career, the band has sold over 85 million records worldwide. Later alternative bands such as Nirvana, Pavement, Radiohead, Coldplay, Pearl Jam and Live have drawn inspiration from R.E.M.�s music. When I was 15 years old in Richmond, Virginia, they were a very important part of my life, Pavements Bob Nastinovich said, �As they were for all the members of our band.� Pavement devoted the song Unseen Power of the Picket Fence from the �No Alternative� compilation, 1993, to discussing chronic town and reckoning. Kurt Cobain of Nirvana was a vocal fan of R.E.M., and had plans to collaborate on a musical project with Stipe before his death in April 1994. Cobain told Rolling Stone in an interview earlier that year, �I don�t know how that band does what they do. God, they�re the greatest. They�ve dealt with their success like saints, and they keep delivering great music.� Campaigning and Activism Throughout R.E.M�s career, its members sought to highlight social and political issues. According to the Los Angeles Times, R.E.M. was considered to be one of the United States� most liberal and politically correct rock groups. The band�s members were on the same page politically, sharing a liberal and progressive outlook. Mills admitted that there was occasionally dissension between band members on what causes they might support, but acknowledged out of respect for the people who disagree, those discussions tend to stay in-house, just because we�d rather not let people know where the divisions lie, so people can�t exploit them for their own purposes. An example is that in 1990 Buck noted that Stipe was involved with people for the ethical treatment of animals, but the rest of the band were not. R.E.M. helped raise funds for environmental, feminist and human rights causes, and were involved in campaigns to encourage voter registration. During the green tour, Stipe took time during sets to inform the audience about a variety of pressing socio-political issues. Through the late 1980s and 1990s, the band, particularly Stipe, increasingly used its media coverage on national television to mention a variety of causes it felt were important. One example is when the band attended the 1991 MTV Video Music Awards, during which Stipe wore a half dozen white shirts emblazoned with slogans including Rainforest, Love Knows No Colors, and Handgun Control Now. R.E.M. helped raise awareness of Ong San Suukyi and human rights violations in Burma, when they worked with the Freedom Campaign and the U.S. Campaign for Burma. Stipe himself ran ads for the 1988 supporting Democratic presidential candidate and Massachusetts Governor Michael Dukakis over then Vice President George H.W. Bush. In 2004, the band participated in the Vote for Change tour that sought to mobilize American voters to support Democratic presidential candidate John Kerry. R.E.M.S. political stance, particularly coming from a wealthy rock band under contract to a label owned by a multinational corporation, received criticism from former Q-editor Paul D. Neuer, who criticized the band's celebrity liberalism, saying, �It�s an entirely pain-free form of rebellion that they�re adopting. There�s no risk involved in it whatsoever, but quite a bit of shoring up of customer loyalty.� From the late 1980s, R.E.M. was involved in the local politics of its hometown of Athens, Georgia. Buck explained to Sounds in 1987, �Michael always says �Think local and act local� � we have been doing a lot of stuff in our town to try and make it a better place.� The band often donated funds to local charities and to help renovate and preserve historic buildings in the town. R.E.M.S. political clout was credited with the narrow election of Athens mayor Gwen Olooni twice in the 1990s.


So I hope you are ready with energy for the talk. But if you want an app, that's fine. I don't have a problem with that. So we're going to talk about web performance. So I will start presenting myself really quickly. Max Emiliano is my name. Max is fine. I'm first on Twitter. I'm a mobile web developer, so I have been doing web development since that browser, since 1995. So a long time ago, using front page, for example. And as we mentioned before, I've been traveling a lot for doing consulting training in 66 countries. This is my first time here in Serbia. So I've also been doing training for a lot of companies and consulting. And you can find content and trainings from me on different providers, such as LinkedIn Learning, previously known as Linda or Safari. I have also a couple of books. There is a kind of a trick there. So because we have original books, these are the original books, and those are translations on languages that I don't understand. So the last two books are basically on the topic that we will be covering in the next 35 minutes, probably 34 now. So performance, web performance. How many of you are currently creating websites or web apps? Perfect. And how many of you are creating fast websites? OK, only 10%. And there are a couple of, OK, let's see. We are going to talk about that and how you can hack the web performance, how we can push that even further. That's the whole idea of this talk. So I have two goals for this talk. The first one is to show you new tricks that you can start applying in your own websites or web apps, pretty soon. And the other one is to make you feel bad. About what you are doing right now. So let's start with that. So I know that you know that your users are currently not happy. And probably you are losing money.  Why? Because of the performance or because the web is slow.  I'm sorry to tell you that. So some quick information about this. Half a second delay. It's increasing user frustration by 26%. OK, that's a lot. Half a second delay. It's reducing Google's traffic. And that's money for Google, in terms of ads, for example. 100 milliseconds only. Delay will decrease Amazon sales by 1%. These are all the information, OK? So there are a lot of information and data that you can get on this problem. And I'm pretty sure that you know that today we are not talking about page load as a metric. There are new metrics that are user-centric, not about JavaScript metrics, but about from a user's point of view. And we have first meaningful pain that is when something meaningful appears on the page that is not just a line or a background color. So something that the user's brain is currently parsing. Then we have first interactive, because it's not just to see something on the screen. We should be able to interact with that, like, for example, scrolling or touching. So sometimes you see a page, but it's not working. And visually complete is finally when you are seeing the actual content. That is not page load. And I'm sure that you are creating your own custom metrics, because that's something that it's really important. So what is important for your users? What are you expecting your users to do on your website or your web app? And then you measure that. So I know you know that performance is important, and we don't need just the metrics. We need goals, because how fast is fast? Probably you say, oh, my website is loading in 15 seconds. Really fast, right? Well, not really. So we need to set our goals. Currently, the goals in the market are around this. First meaningful pain should be between one and three seconds. So the user is typing a URL or clicking on a link. And after maximum three seconds, it should be seeing something meaningful on the page. And that means not on your computer and Wi-Fi. That means on any context, including, let's say, a low-end device with a 3G connection, with a slow 3G connection. First interactive has one more second to make that content interactive, so to four seconds. So now you need to think about this and see how close are you to these goals today. So I know that you're already doing a lot of stuff, like optimizing the network transfer, such as, for example, enabling GCEAP on text-based files on your server. You are currently working with TLS and HTTP2. You are using CSS as an appetizer. So we're here in Serbia, appetizer is like a big plate. But typically, the appetizer should be small. So CSS should be small. And you should start with that. So the CSS should be the first thing that you're going to deliver to the browser, because CSS will block rendering, just small and as an appetizer. And JavaScript has dessert at the end. We need to defer JavaScript as much as possible. So JavaScript is your baklava, basically. So you are already optimizing images. You are already creating a great image with PNG or JPEG. You're optimizing that. You have an HTTP cache policy. You are currently using service workers, right? Everyone is using service workers, right? So you should avoid the redirects. That is, when you go to a website, and that website says, no, you know what? No, no, it's not here. You need to go there. And you go there, it says, no, it's not here. You need to go there. So for example, you type a URL, and then, first, you go to HTTPS, which is fine.  No, you need to go to m.  And it says, oh, you want a home page? You need to go to m. slash home page. So all those redirects are basically wasting time. So you are not doing that. I already know this is basic web performance techniques that you are all doing that stuff. What's the problem? The problem is, even with all those techniques, the average time to load the mobile landing page today is 22 seconds. It's really far away from our goals. So it's really far away. And this is from Google, by the way. So if a page is taking more than three seconds to load, more than half of the user will start leaving that page at that time. So you are losing users. You are losing conversion. You are losing money. Because we are not doing web performance for the sake of web performance. You have to measure with your clock. We are doing this because of conversion. We want conversion in our websites. So that's why we are doing web performance. And one of the problems is that we have been always underestimating mobile since the beginning. So for example, today you can say that it's iOS and Android. But from a web point of view, is it Safari and Chrome only? So the answer is no. So if you have tested your website on mobile browsers, it shouldn't be just iOS with Safari and Android with Chrome. There are a lot of browsers out there, Samsung Internet Browser, UC Browser, Opera Mini, Chrome on iOS that is not actually Chrome. So these browsers are currently having good market share. So more than 3%. That means millions of users that are currently using those browsers. And also we have Facebook that now has a name, Facebook Mobile Browser. What I'm saying is when the user is browsing on Facebook and clicking on a link by default, that link is not being browsed in the browser, but inside an in-app browser. That in-app browser is using a different engine, both on iOS and Android. So have you ever tried your website there? How it looks like? How it works in terms of performance? Is it the same as Safari or Chrome? It's not. So a lot of users are currently on that situation. And also when we are talking about the mobile web that is today more than half of our users on some situations it can be 70% and 80% of your users on mobile browsers, we are typically using cellular networks. And I know that you are thinking about this. Oh, we have 4G now. So we don't need to worry about performance. We shouldn't need to worry. But to be honest, if you look at that information, that's for a couple of months ago. So less than 30% of the users worldwide are currently in 4G. And it's not so much.  You're also a lucky 4G data plan user. You are also a lucky user that is currently in a city with 4G coverage. So lucky users. On that situation, 10% of the time, you are downgraded to 3G. So it happens a lot. I'm currently in 3G here. I'm in roaming. Even with the iPhone 10, I'm in 3G. So that happens a lot. It's not just because it's Eastern Europe. I've been in San Francisco. So in the middle of Silicon Valley, I was driving like half an hour north, and it was in 2G. 2G in the middle of Silicon Valley. So that happens a lot with your users. So you need to be very careful about that. And when we are talking about 3G, 4G, or even 5G, typically, your brain is thinking about bandwidth. So, oh, it's fast. 4G is faster. Yeah, it's faster. But the problem is not the bandwidth. The problem is the latency. So if you think about this, if you have at home a 50 megabits per second connection and you go to 100 megabits per second, are you browsing the web faster? Probably not. It's better for Netflix. It's better for YouTube. It's better for downloading big files, but not for browsing the web. Because when we are browsing the web, we are just downloading a lot of small files. And the latency, if you look there, in 2G is really big. It can be up to one second. That's the round trip time that takes to get data from the server. 3G is better, up to 450 milliseconds. 4G, it's even better, like a quarter of a second. But if you compare that with a home DSL connection or an office DSL or cable connection, 4G has 10 times the latency of your home connection. So even those 4G-lucky users have big latency. Then that's the problem. So that's why we need to push web performance even further. So we need to hack web performance. So I have here a couple of tricks that you're gonna start analyzing and using in your own websites or web apps to push the web performance further. So we're going to start talking about the first load, how we can hack the first load. So the first time that the user is accessing your website and it's currently being downloaded from the server. We should try to avoid more than one round trip. This is a very extreme case, okay? But it's interesting, I have done a lot of consulting and we did this trick and it's incredible how fast you can get the first load. So in TCP, I'm not getting too deep into TCP and networking, but basically there is something known as a slow start. So even if you're not a network engineer, you know that on the internet, basically the data is split into packages, okay, TCP packets. So the problem is how big are those packets, okay? So if we can try to fit our website in one packet, it will get faster because it won't need another round trip. That's basically taking the latency. And there is something known as initial congestion window that in Linux-based servers, it's around 14.6 kilobytes. In fact, it's kilobytes. And if you don't know what a kilobytes is, Google that later. So 14.6. So if you can fit your first response from the server, so it's only for the first response this. In 14.6k, it will fit in one TCP packet, okay? Only one. So the problem is you say, oh, 14, it's not too much, but we are GCP in our files. So that's around 70k of HTML, which for example, for the viewport of a mobile device, maybe okay if you can fit the HTML there. CDNs are also playing with different values of these initial congestion windows. So you can see a couple of experiments going on on this idea. So if you can deliver the ATF content, what is the ATF content, above the fold. So above the fold is the content that you see in the first scroll. So if you can fit the content for the first scroll on a mobile device of your website or web app in 14.6k, she sipped, you will render the content as soon as possible. And you can also embed CSS and JavaScript videos for that first initial load only. And if you still have a space, you can embed the logo. And I'm talking about embedding an AMG tag with a source logo JPEG or logo PNG. I'm talking about using base 64 and data URI because we wanna embed that in one HTML response. Another thing that you can do now to increase web performance is to avoid the HTTP to HTTPS redirection. So you should know, I'm pretty sure that you know that you need to move your websites to HTTPS. So it's mandatory today. Every website should be in TLS, so HTTPS. The problem is that when the user is typing the URL, it's not typing HTTPS colon forward slash forward slash. So on the browser is going to HTTP by default. So we have a redirect there that can take around 300 to 500 milliseconds. And we have a tiny batchet and maybe half a second is a lot. So we wanna avoid that. The solution is something known as HSTS. And it's kind of a protocol that you're going to add in your HTTP header. And you're going to say, on that first access to HTTP, hey browser, you know what? My website from now on, it's will be always in HTTPS. So a stop, go into HTTP by default. Okay, so next time the user will go directly to HTTPS and we are going to save up to half a second. And also, when you have this, you can go and opt in into that website. And then browsers such as Chrome, Safari, Firefox and Edge are taking the list as a white list pre-loaded in the browser. So a new user will type your URL. And if you're in that white list, it will go directly to HTTPS, avoiding one redirect. So after the first load was, after the first response was sent to the browser, we need to hack the data transfer. Okay, so okay, how can we send the data even faster over that network, over the wireless network? So first, I want to talk about something known as Qwik. Okay, there is no typo there, that's the name, Qwik, without the K. And it's an experimental protocol to provide an HTTP-based API over UDP and not TCP. In fact, if you are using Chrome and you are browsing Google websites, can be Gmail, Google.com, Google Drive, you are currently browsing the web using Qwik, okay? So Qwik will reduce latency a lot because it's not using TCP, it's using UDP. But it's compatible with HTTP too. So basically, it's compatible with all your current, let's say websites and architecture. It has something called zero RTT, RTT, so round trip time connection establishment. So you can analyze that later, but it means that when the user is coming back to your website, it will have zero round trip time to get that connection open. Okay, so it's increasing a lot. In fact, for the Google search page, it's increasing the performance by 3%. YouTube has reduced 30% of buffering thanks to using Qwik. Facebook has a similar protocol for their app. It's improving performance by 2%. And according to Google, three quarters of every request on the web can be faster if you will use Qwik instead of normal HTTP too. Qwik is experimental, but it's currently available on Chrome and there are some works on other browsers as well. And of course, you need to add something on your server so you can serve your website using Qwik if the browser is compatible with Qwik, okay? Cool, so subflee, repeat with me, subflee. So this is a new algorithm for G-SIP that will encode your G-SIPs, compressing more, okay? It can save up to 8% of the data transfer. So the same HTML, when you send that over the wire or the wireless channel, it will occupy less bytes, okay? So the problem is that it's 80 times slower, so it consumes 80 times more CPU for compressing, not for decompressing. But because it's G-SIP base, it works with IE6. It works with every browser. So you can start applying this on your server and then you will save data transfer so your website will appear faster on user's devices and you will save data transfer in the meantime. If you want to push this even further, there is another protocol known as Broadly. By the way, we are talking about German names here. In this case, you can save up to 25% compared to G-SIP. But it's not G-SIP compatible, so you need a browser compatible with Broadly. So you can check the encoding header. By the way, there are a couple of Broadly compatible browsers today, including Chrome, including some versions of Safari and Firefox. So you need to check the encoding header and then send the Broadly version. For LinkedIn, for example, it has saved 4% in loaded time. So if you take 4% from here, 3% from here, 2% from here, again, because we have a tiny budget, you can actually save a lot of time and you can actually be closer to your performance goals. So Facebook has saved in CSS and also serving JavaScript files using Broadly. And by the way, with Broadly, remember that we mentioned the 14.6K threshold for the initial response. If we are using Broadly, we can store up to 80, 85 kilobytes of HTML on one TCP packet. Readable streams. This is also interesting. It's coming right now on some browsers. It will let you process the data as soon as it's arrived. So let me give you a quick example. It's typically today, if you have a web app, it can be a React application, it can be an Angular application or a View or whatever, a vanilla JS. So you are downloading a JSON file, you are parsing the JSON file client side and you are rendering something on the HTML. Okay, that's basically the idea. But let's say you're downloading 100 items, I know, clients, cities, whatever you're downloading. So you're starting parsing that JSON file only when you have the 100. You cannot take a chunk of the JSON as soon as it's arriving from the network. You're receiving the file using ASHAX or the Fetch API. You're receiving the file when you have the total file. So what if we can start receiving from the network layer pieces, chunks of the response and start analyzing each chunk and start rendering as soon as it's at one part of the JSON is available. So that API, it's called Readable Streams, it's available on some browsers and you can start playing with it. And it can save on pain metrics when you are doing this kind of client side rendered solution. So that's for the initial page and also for sending the device from the server to the client. What about loading the rest of the resources? Images, videos, web fonts, style sheets and JavaScript files. So we have new modern cache control systems that you can start using. For example, if how many of you are React or Angular developers? Let's see. Okay, quite like 20%. So you're probably using the CLIs, probably, I don't know, or webpack at least. So these CLIs, when you're compiling your apps, are creating file names with hash for your resources. For example, your style.css file is not styles.css, styles.hash, like x, h, 0, 2, 4, .css. And every time you change that file, the name changes. So now we have a way for the browser to say, you know what, instead of doing conditional requests, we know for sure that that file will never change because if we are changing the CSS file, React or Angular, CLI will change the file name. So we know for sure that it's not going to change. So we ask the browser, hey, browser, if you have a cached version of that file, use it because I will never change it on the server. And that's known as cached controlling mutable. Okay, that is currently available on those browsers. In Chrome, it's kind of great because Chrome is not supporting it yet, but it has like a similar intelligent solution that is finally getting to the same result. And also, there is a common new pattern that is available mostly with service workers. How many of you have played with service workers? Let's see. Okay, quite a few, only 1%. So we need to change that. But there is a new pattern there known as a stale-ware-revalidate. Like you always serve the file from the cache, okay? So from the local cache. So you serve the file really quickly. It's in my local cache, so here you have it. But it might be outdated because maybe on the server you have a new version. So then the browser is updating that in the background. So the next time you request that resource, it will be updated. That's known as a stale-ware-revalidate. If you have played with service workers, it's a common design pattern. And now that design pattern is coming to browsers. So you can specify that you wanna use that behavior, stale-ware-revalidate, and the browser will do that for you. It will give you the cached version when you're actually, I mean, an IMG tag and a script tag. It will take it from the cache, but in the background, it will go and update the resource for the next time, okay? Warming up engines. So when the browser is trying to download resources, we can try to warm up the engines and help the browser to start some processes as soon as possible. For example, DNS queries. When you are downloading files from a different domain, different origin, DNS queries needed. So you can change, resolve the name to an IP address. And that might take up to 200 milliseconds. And that's a lot, because we have a tiny batchet. So, and also connecting to TCP and the TLS connection can be another 200 milliseconds when you are connecting to another server. So we can announce DNS queries as soon as possible. At the top of your HTML, you can add a link with a real DNS prefix and you're announcing the browser, hey browser, later I will request a file from that server. So you can start the DNS right now, beforehand. Also, you can use pre-connect. And in this case, it's not just the DNS query, it's also going to create the TLS and TCP connection to that server, okay? Even if the browser doesn't know that you will need the resource from that server. And on both, you can use an HTTP header instead of HTML.  Later, this HTML will need this domain. So start the connection right now. To bundle or not to bundle, so what is this? So this is a typical question that I receive in terms of JavaScript and CSS. So typically you have 10, 50, one hand with CSS file and JavaScript file, I've seen that. So should we create like one big bundle or should we create a lot of script tags and link tags for different files? On HTTP 2, bundling seems like an admin pattern. However, it's not. Bundling is still a good idea. In fact, this is a tweet from Paul Irish saying that from the Chrome team, saying that today, bundling is still the best possible idea. So create one big JavaScript file, one big CSS file, but big however here. I'm talking about only the necessary content for rendering initial rendering, not the whole website or page. So we need code splitting first and then for the initial rendering, only one file, okay? So that's the idea. So don't create a five megabyte JavaScript file because that's not the idea. It should be really small, only for the important part and then you defer and download the rest. So web fonts. Web fonts are nice, okay? We can change the default fonts that we are using on websites, but we have a problem that probably you have seen that. The flash of unstyled text, what is this? You access a website, you see the logo, you see the backgrounds and no text. And text on the web was always non-blocking. Text was just text, it was there. But if automatically, we don't need to wait, but now when we're using web fonts, we are waiting for the font and that's a problem. So now you have on CSS a way to define how do you wanna load this with font display? So look for font display. So you can specify the algorithm so you can create a more performant solution for this. And finally, for resource loading, we have preloading. So preloading is even like a better way of prefetching or the DNS prefetch or the preconnect. So we are pushing it even further. We can help the browser prioritize the most important resources. For example, the font file, okay? So you use a link, rel preload, and you're going to say, this is a style sheet, this is a web font, this is a script tag. You will need it later, but start downloading it now. So we can help the browser to download the most important files sooner with more priority. Okay, and that will save a lot of time for your metrics. You can also, of course, use an HTTP response header instead of a link tag as well. Hacking images. So we know that the picture is worth a thousand words, the problem is that if it loads, okay? So we need to load pictures. So first you need to embrace responsive images, okay? That means you need to deliver not one image, not three versions of the image, okay? Because today a lot of traffic is coming from images and you can improve a lot your metrics if you create N versions. That is the version that is exactly the one that is needed for that particular user. Also it's time to replace normal standard JPEG and PNG files. Remember softly, the one I mentioned before for Gzip? The same algorithm works over deflate and PNG are using deflate, meaning that you can compress your PNG files 20% more using this new algorithm, okay? And it works everywhere because it's still PNG. And also we have a JPEG version of this, it's called Gatsley, another German name, that will let you like compress your JPEG files even more without reducing quality. So these are new compression algorithms that are open source are available right now so you can start helping your users with performance, okay? So start working with that. And the last thing that I have for you has to do with how to hack user experience. So with something known as reactive web performance.  It's difficult to see Netflix with a buffering system. Typically, Netflix is changing the quality of the streaming as soon as the bathroom is changing, okay? This is a similar idea of a product web. So we can know about the context today using client-side performance APIs, network information API, device memory client hints APIs. So basically you can detect the current connection of the user, the bandwidth, the latency. You can detect the current available memory. So you can know if it's a feature phone, if it's the latest Android device and make a decision about that because maybe you have the latest Android device, the latest iPhone device, but you are in 2G in roaming. So it doesn't make any sense to send a very super high quality ultra resolution to that device because it will never arrive. And that's a bad experience. We need to keep the user the consistency and the consistent experience. So for example, if you're in roaming, don't send web phones. We can change the service worker's cache policy. So if we are in 2G, we say, okay, let's go first to the cached version because it will be slow and we want to improve user's experience. We can reduce the amount of loaded data and maybe you can send a low resolution image not matter the device pixel radio or the resolution. Okay, you might have a 4K screen but if you have a very slow network doesn't make any sense to send that picture. You can just send a low resolution image. So are you feeling bad now? What are you doing? Yeah, no, yes. So performance is top priority. Okay, if you wanna succeed on the web, on the web apps, it's top priority because it was proven that it has to do with conversion. It will give you conversion. So you need to push it even more. You need to start, you need to learn how to measure with the new metrics and it's a really worthwhile effort. So okay, so please, take time and budget to improve the performance of your website, okay? Please, please do it. So that's an iPhone, okay, by the way. Make it fast, please. So that's all for me. So thank you and see you later because I have another talk on progressive web apps on the other room, okay? Thanks.