Hey there friends. Thanks for checking in just last week. We heard Joe Biden talk about his dream for stricter gun control in America He called the crisis an international embarrassment Listening to Biden try to put his thoughts and words together is an international embarrassment But that's separate. He talked about gun control in terms of Ghost guns their term ghost guns wants that more regulated wants pistol stabilizing braces Looked at he says it helps the shooters make a more accurate shot very confusing why anybody would not want that He wants to empower the states with more red flag laws very dangerous to gun owners And he nominated anti-gun David Chipman to head the ATF We push back immediately we push back and across the states They are pushing back one after another so that's what this video is about We don't want some of the positive 2a news to get overlooked by a Seedal president Who is very confused when it comes to guns? He just wants more government control of them Let's start right here with Remington ammunition Remington ammunition was acquired by Vista Outdoors There was a lot of restructuring that took place. It took that ammo off of the shelves during the restructuring process this outdoors owns federal CCI a host of others and They claim they've been pumping ammo out 24-7, but with the absence of Remington ammunition That just adds to the shortage. It's a crisis Very expensive as well. Well now Remington is up and running 24-7 and hopefully that ammo will make its way to our local gun stores Hopefully ease the tension that has been taking place with ammo the expense and everything else We've got a major manufacturer that is now pumping out ammo and that would Definitely help the current situation, which is awful Arkansas state senators approved the sovereignty act of 2021 which means that Arkansas is null and void From any federal gun laws They even took it one step further and said that law enforcement would be subject to penalties if they Work with federal authorities in terms of gun laws That is some good news Tennessee, Iowa and South Dakota are now permitless carry states They passed it at the state level each states governor signed it and now they no longer need the government's permission to carry a gun Let's hope that trend continues as those three states join many others that are permitless carry Senate Republicans in Missouri are working on legislation to reject Biden's executive gun law orders The Ohio governor signed stand your ground law now This took place in early January, but it's still worth mentioning because nobody should be forced to flee from a criminal They should be able to stand their ground and use whatever force necessary to defend themselves and they can now do that in Ohio One of my favorite governors out there is West Virginia's Jim Justice. This guy is a Clear model of what 2a should look like he was encouraging the people of Virginia after all those regulations were taking place in that state to move to to a friendly West Virginia He said you won't have to deal with that here, but what he recently did was sign into law eliminating Tax on guns. I think that's outstanding and furthermore He gave tax breaks to firearm manufacturers that are in West Virginia or that will move to West Virginia And I hope that works and that more gun manufacturers move to West Virginia to enjoy those tax breaks The Arizona governor signed the Second Amendment Freedom Act, which protects gun owners from federal gun control laws Many counties in Utah had declared themselves to a sanctuary counties Now I'm told that they're working on that same type of legislation at the state level Same with Texas Governor Greg Abbott is not about to let Biden's gun control dictate to the people of Texas How they have to be regulated and so I think they're going to get it done in both of those states And those would be huge victories and every time we have all these states push back against the federal government saying we're not going to Accept your regulations. I think it's very powerful and I would like to see this Domino effect take place with many and do you notice that they're all Republicans that are doing this? The last thing I want to mention is this you ever notice when Democrats get in front of the camera They talk about the need for gun control that they become the greatest firearm salesman in America Well, that is happening right now in February and a little bit in March We saw a dip in gun sales primarily because of the lack of inventory and increased prices But ever since Biden gave that speech last week gun sales have been Increased big time, you know, people are rushing to their gun stores rushing to gun shows getting whatever they can great for the manufacturers, I'm sure the prices are still very much increased but people are buying guns left and right setting records once again and Thanks to Biden. I love this opposite effect You talk about bands and all of a sudden people are buying guns people say get away you can and that's what's happening right now I wanted to make this video so that we could see that a lot of good things are happening across this country You know, Biden is just a puppet figure out there who can't even put a couple words together He's being led by strings and we'll see where it goes But our gun rights groups are fighting against it states one by one are fighting against it And we as a collective people need to fight against this and do whatever we can to get the word out If you like videos like this, please subscribe and share I always appreciate thumbs up button Thanks for watching and you guys be safe


Welcome to The Pyramid Insider. I'm Tyler Pattener. Today we have the brand new Benjamin Akila in 22 caliber. The Akila was announced at the 2020 shot show and Crossman Benjamin has brought this bullpup out kind of to answer the questions from folks that have wanted a Marauder bullpup for many years. Now the Akila is part of their craftsman line, which is all made in Turkey by crawl and they don't make a secret of that But I really think you guys will be impressed for those of you that are maybe naysayers on crawl as a manufacturer This gun's packing a lot of value and is a really solid good quality gun Now before you just assume that the Akila is a crawl with benjamin's name slapped on the side Let me tell you there are quite a few differences that crossman's team has kind of built into this gun And crawl has done a pretty good job of putting into production here. So let's go over the details We'll start at the front now You'll notice that we have a fully shrouded barrel and this is pretty much the same shroud system as you'd see on a Marauder so you do have baffles inside of here and it does a very very good job of keeping things nice and quiet Now just under there We do have our air cylinder and one difference you'll notice from the crawls keeping in line with the other benjamin guns out there We do have a quick disconnect fill fitting and you actually just above that have a degassing port Now my only gripe with the gun so far in use is these kind of wings here that are around the fill nipple They just makes it a little bit difficult to get that qd on and off But other than that i've had no problems with it thus far the cylinder does fill to 3000 psi Roughly 200 bar now from that 3000 psi fill crossman says you can expect about 60 good shots Of course, we'll put that to the test over the chronograph here in a bit But working our way back further you do have your trigger up here Which is adjustable in terms of left right up and down so you can move that blade on the post there Which is nice and you do have a manual safety in front of that You flip that all the way back that renders the trigger safe And then forward is hot and ready to go and moving up We do have a full picatinny rail for mounting your optics and this is a metal rail so very solid and sturdy there We went ahead and mounted a meopta four and a half to 27 This is in their optica six line beautiful scopes going to complement this very very nicely now coming down We do have our pressure gauge here, which does read in psi You'll notice you got the big numbers there marking a thousand two thousand three thousand This is three thousand max fill like i said before and just behind that We do have a transfer port power adjuster here and you can get a nice easy hold of that And that's going to allow you to actually choke off the transfer port to reduce the power I've left it all the way open. We've seen good results so far with it all the way open So we're just going to roll with it like that But you do see over on the left hand side of the gun that we do have kind of a nice little gauge there as well So you can see where you are as you adjust and kind of you know over the chronograph Take your power settings and jot them down so you know what each mark means now Of course, the akila is a multi shot and we have a side lever system that operates everything Nice and easy to pull back and the magazines are a 12 shot magazine now For those of you thinking you might be able to use your crawl mags Sadly, these are a bit thinner than a standard crawl magazine So you will need a key less specific mags But these magazines are the same for all of their craftsmen lines So very easy to get a hold of and the gun does come with two So 24 shots on hand ready to go whenever you need them loads right in nice and easy You got a little ball detent that locks it in place Very solid no problems with the magazines thus far and then just at the back of the breach here We do actually have an adjustable cheek section So you're going to loosen up this little screw at the back press in over here And then you can actually work it up back and forth a little bit as well And then lock it in depending on your scope ring setup personally I don't need to have this up at all but a nice little feature there You know some people like to run higher setups lower setup. So having that adjustment is definitely handy Let's move on to the stock here rounds out of the nice rubber butt pad But you guys will notice and you've probably seen it before the stock bears a very striking resemblance to the fx wildcat And that's a stock. I love it's a very comfortable gun And i'm actually very glad that crossman has kind of gone with that same styling. It looks great This is a Turkish walnut.  You're just going to mount it up like so. It's really easy Not the most solid setup, but it'll definitely get the job done Overall the gun feels good looks great and so far shoots pretty well, but don't take my word for it Let's head out to the range and i'll show you So from an accuracy perspective, obviously the akila has the goods Half-inch group with those fx 18 1 3's you're going to see similar results out of the jsbs. This is all 12 shots guys This is really really impressive Even shot the fx hybrid slugs pretty well. You got 10 out of 12 there in a three quarter inch group You also shooting the heavy stuff quite well The jsb monster redesigned in a sub one inch 12 shot group And the jsb hades as well got that one shot there throwing it a little bit bigger But 11 out of 12 in a sub one inch group is very very solid So really good accuracy out of the akila, which is pretty typical of a crawl barrel in general Now before we talk about the chronograph results one thing I should mention here We do have a hammer spring adjustment at the back of the action But you do have to take the action out of the stock to get to it I did that just to check where it was. It's about a half turn in Let's check out these chronograph results So taking a look here from 3000 to 2000 psi you are talking about roughly 48 shots So that's a lot of magazines worth of shots there But what you see at the end of that string this gun is really optimized for 3000 to 2500 or so psi That's where you're going to get some very impressive results for the first 29 to 30 shots You're talking about an average velocity of 883 feet per second, which is roughly 31 and a half foot pound So a good bit of power out of those jsb 18 one threes with a very slim 13 foot per second extreme spread you're talking about almost regulated numbers here on just five or 600 psi worth of air So very impressive numbers out of the akila. I would like to see that shot string extended out a bit Because again, they're claiming 60 shots. I'm sure that 60 shots is from like 10 of the high velocity But for me in terms of getting great accuracy downrange, I'm limiting this to 48 for those You know 50 yard interactions And if you do want to go further than that those first 30 shots are really where you're going to want to keep this gun Now as per usual, we'll do our trigger testing here.  So not to worry Go ahead set our trigger gauge up One pound and just over an ounce there. So 1.1 pounds. This is a really solid trigger guys It is fully adjustable, of course two stages, but right out of the box. I had no problems with this I have not touched it at all. So just over a pound very very solid out of the akila Let's wrap up the benjamin akila. So this gun a very impressive offering in my opinion guys Really love the feel of this gun and it's performed flawlessly for us here I've got hundreds of rounds through this thing and probably will be shooting it for much longer than this review Just because it is a very impressive gun for the price point And really has a great feel mixed with some great performance It's a nice and quiet very backyard friendly. You have the quick fill on it already good to go The power adjuster we didn't dive into it here But having the ability to adjust that on the fly is nice And of course you have that hammer spring adjustment at the back Side lever smooth. I would have loved to see that side lever adjustment up here forward. So it's more ergonomically friendly But I can't complain. It's nice and smooth. It works very well Shot count was a little below what crossman is saying you're going to get out of this gun Maybe with a little bit of tuning and tweaking you can get there But for me really like 30 to 40 shots is where this gun is going to shine and give you great downrange accuracy And that really grounds it out. It is very very accurate. It's not pellet picky And this gun for the money again is a great shooter. I think you guys are going to enjoy it a ton I'm hoping that they're going to bring this gun out in a 25 caliber as well Because I personally that's where I would like to see it But right now just the 22 caliber is all that's available. So we'll see what happens in the future But definitely worth checking out next time you're on the website If you're in the market for an affordable bullpup the akila definitely should have your eye for the insider I'm tyler patner as always don't forget to like comment and subscribe head over to facebook and instagram follow us there And we'll see you next time


Welcome to JSA TV and JSA Podcasts, the newsroom for telecom and data center professionals. I'm Barb Mitchell here in Honolulu, Hawaii at PTC 2020. Joining me today is Rylee Martinek, CEO, of course, of Data Bank. Thank you so much for joining us. Thank you for having us. Let's get right into the questions. I think one of the things we wanted to talk about was the data. Of course, a key focus for Data Bank is secondary markets. Can you talk a little bit about network neutrality and how that affects those markets? Sure. It's something we've been focused on in terms of promoting the viability of these markets. Secondary markets are a little different than primary markets in that there's typically only one key interconnection point in those markets. So everything comes back to that location. So I think the importance of network neutral facilities is even more highlighted in these markets. So one of the things we've been focused on in our secondary markets is to what extent can Data Bank help diversify those markets and promote a range of options so that users can connect in more than one place to create the diversity that they're accustomed to in primary markets. It's rare in a secondary market to have two, three carrier hotels, but it's obviously something that happens in all the primary markets. So that's where we see kind of Data Bank's role is helping to enhance that ecosystem to make these markets more attractive for users of that infrastructure. And further to that on diversity is a big part of this, as you said. And I know you've spoken a little bit about that over the past year. Is there anything more you'd like to add on that? So obviously I just talked about the interconnection point, which is about data center. But obviously we all know that the network piece is just as critical as the data center piece. So similar to kind of the lack of options from an interconnection perspective, the secondary markets also many times don't have multiple dark fiber connectivity options. So that's something we started working recently with Zeo Networks, which is a company opposite that everyone knows and is now part of the Digital Bridge family. And it's great to be able to kind of collaborate with kind of a fellow portfolio company to combine up our assets and deliver a unique solution in the marketplace that we think is needed to again allow these edge markets to reach the level of importance that they should. And you've made recent new enhancements to your customer portal. Can you talk about the benefits of that? Yeah, so obviously a portal is kind of a way for us to interact with our customers as a primary method. We inherited our portal through an acquisition of a managed services company a couple years ago and they had great visualization around the managed service products but did not have any kind of the functionality around the co-location side. So over the last 12 months, we've put a lot of energy into kind of being able to expose space, power, even kind of within rack type of visualization for our customers. And we think that that's ultimately what they want. They want to have control over what they're consuming, they want to have visibility into it at their option. And we look at it as a great win-win because it actually reduces the burden on us to kind of deliver that type of information. So let's talk about the future. So what's your move forward strategy? And I know there's been some of course talk about the edge and how does that factor in? Sure. So I've been at Data Bank now for three years when we acquired the business in 2016, three and a half. We were six data centers in three markets. Today we're 20 data centers in nine markets. So I think we'll continue to expand as we see opportunities. When we typically go into a new market, we do it through an acquisition. So it ends up being a little more opportunistic than it is predetermined because we can't control kind of acquisitions. But we think that markets like Indianapolis, which we added last year, there's still another dozen of those markets in the U.S. where there's opportunity from a growth perspective and kind of a competitive landscape where we don't think there's high quality inventory in those markets. So I think you'll continue to see us kind of run the same playbook that we've done over the last couple of years and to expand the portfolio in that way. Fantastic. Thank you. We look forward to seeing more of that and seeing how this all develops over the next year or two or more. Yeah. And so for those of our viewers who don't know, can you tell them where they can go to find out more information? Sure. Data Bank and it's a pretty simple data bank.com and that's where everything is. Data Bank.com. Go there for more information and thank you so much again for joining us. And thank you viewers for tuning in to JSA TV and JSA podcasts. Happy networking.


Newton proposed that light is made up of particles. So when you're looking at a bulb, for example, he would imagine, I mean, there were no bulbs back then, but if there was, then he would imagine bullets coming out of these bulbs, and that's what light was, particles, he called them corpuscles. On the other hand, a Dutch physicist named Christian Huygens, and that's not how you pronounce his name, turns out that his name is pronounced somewhat like Huygens or something like that. But I'm just gonna go ahead and call him Huygens. He proposed that maybe light is not particles, but instead light is made of waves, very similar to the waves in water. And I wanna explore, I mean, the goal of this video is to explore this wave nature of light. So one question we could be having is, when it comes to water particles or waves in water, the water particles are the ones that are doing the vibrations, right? When you disturb, you know, when you disturb still water, then the disturbance is carried away by the vibrating water molecules. But in light, what particles are vibrating? That's a question that you can immediately ask Huygens, because he's claiming light to be a wave. Well, back then, Huygens and a bunch of other folks assumed that there are particles everywhere in the universe, and this medium, which consists of these particles, they called it the aether medium. This was a very popular notion back then, aether medium. They assumed that this medium was every verse, sort of like air, you can't see it, but you can't even feel it, but it's there. That's what they said, okay? And Huygens says that light is vibrations, light is, you know, light waves are carried by the vibrations of the aether medium. So light is propagated by the vibrations of the aether medium. Now, if you want to visualize something like that, here's our animation. Here's our light bulb, and these particles are the particles of the aether medium that's present everywhere in the universe. And this is how Huygens imagined it. Light is basically disturbance propagated by the vibrations of the aether particle, ripples. Light is ripples in the aether medium. Beautiful, right? Well, now there's one difference, big difference between the ripples of light and the ripples of water. Water, these waves are on the surface, which is two dimensions. And so these ripples are indeed circular, and you may have seen them. But light is a wave in three dimensions. So although you can't see this in this diagram, it's in three dimensions. So these ripples are not circles, but these are spherical ripples. That's a major difference that you're finding. So this is a 3D wave. But now we can ask a question. We can ask what exactly are these ripples? Whether you consider light or whether you consider water, what exactly are those ripples? So let me get rid of this and talk about that. So what exactly are these ripples? Well, in physics, these ripples have a very technical and fancy name. We call them wave fronts. And you'll keep hearing this word over and over again in the future videos. So let's clarify what these wave fronts are. Well, wave fronts, let me just define them first and I'll show you. Wave fronts are basically set of particles, set of particles which are in sync with each other, which are vibrating in sync. And again, there is a technical term for particles vibrating in sync with each other. We call them in phase with each other. We just need to familiarize ourselves with these technical terms. So what do I mean by this? Well, if I come over here and look at one of these ripples or wave fronts and concentrate just on them, what I will find now is that every particle on that ripple or on that wave front is at the topmost position. And that's where that ripple is a crest. A little later in time, we'll find all those particles will be at the bottom most position for forming a trough. Let me show you one more, which is already a trough over here. We usually did not trough by dotted lines. A trough, if I look at that particular ripple, then you'll find all the particles on that are at their bottom most position. The important thing to note is that all the particles on these circles, they are always vibrating in sync with each other. They're vibrating together in phase with each other. Such a set of particles is what we call a wave front. And the same would be true for all light as well. Again, let me bring back that visualization. If I were to concentrate on one of those spheres and just look at those spheres, what you are finding now is, look, all the particles on that spheres are vibrating in sync with each other. You see that? Okay, one more time. All right, there you go. Look at that. They're vibrating in sync with each other. Such a set of particles, which are vibrating in sync with each other are what we call wave fronts. The last question I wanna explore is, what in general would be the shape of these wave fronts? Well, think about water first. If you were to disturb it at only one place at just one tiny spot, then you'll get these nice circular ripples or circular wave fronts. But if you were to disturb this all around with your hand everywhere, then the wave fronts are gonna be all messed up and will have weird shapes, right? The same would be the case with light as well. Again, looking at that animation. If the light source that we're dealing with is pretty tiny, or we're looking a little bit far away so that the bulb appears tiny, then the wave fronts are going to be spherical in nature, just like those ripples. But if you were to have a big source or if you were to go very close to that light bulb where you can no longer neglect the size, now very close to that light bulb, the wave fronts won't be spherical. They might have different shapes depending upon the shape or the size of this light source. But if you go far away, a little bit far away, where it appears to be a point, then the shape is gonna become spherical. But I want you now to pause the video and think a little bit about what would be the shape of the wave front if you were to go really, really far away from this light bulb. Think about that. That sphere is gonna become really, really big. What now would be the shape of that wave front? Can you pause the video and think a little bit about that? All right, if you were to go really far away, that sphere would become so big that the sphere would appear flat to us, just like how Earth appears flat to us when we look at it from a small distance, right? So let me show you that. If you were to go really far away from this, and we'll do that in a second now, there we go. If we go really far away, I go really, really far away, then look at this. This is a sphere, of course, but what we are seeing now is not a line. It's, remember, this is in three-dimension, is flat surfaces. So now we are getting flat ripples or flat or plain wave fronts. That's what we call them, plain wave fronts, okay? So usually, what would be the shape of these wave fronts? Well, if you're dealing with, say, point sources, point sources, then the shape is going to be spherical. As we saw in 2D, they are going to be circular. But if you're dealing with point sources or sources which are very far away, you can think of them as infinitely far away. So sources far away, sources far away, then the wave fronts, the shape are going to be, the shape is going to be plain.  So the light that we're getting from the sun, for example, on the Earth, the light is so far away from the sun that we can assume that the wave fronts or the ripples of light coming from the sun are plain wave fronts. Now, before I end the video, remember that there is no ether medium. It has been proved in a beautiful experiment that that doesn't exist. And light is a much more complicated wave. You may have heard of it as an electromagnetic wave. But when we start learning about light as a wave, we like to start with Heigann's theory because it's simple and it can make some really, really good predictions.


Hello, everyone. Welcome to this product school webinar on the topic of why product managers pick a problem first approach. My name is Ratika Maheshwari and I'm a senior product manager at YUP based out of the London office. Before diving into the topic, I would like to introduce myself and also talk about my journey so far. I didn't really start out as a product manager. I actually started working in the consulting industry. This opportunity really helped me develop my analytical skills which has really shaped how I ship products. It helped me develop a data driven mindset which drives how I ship products as a product manager. I transitioned from consulting to product manager role after completing my MBA. I really wanted to complete the life cycle of executing on my recommendations as a consulting firm. Fortunately, I've had the chance as a PM to work across multiple products such as advertising, sellers, data products. And finally, I'm working on search products now. I've had the chance to solve different types of user problems across firms of different sizes. The common thread that I've noticed across all the products that have shipped so far or across all the industries is the importance of having problem first approach. This has really helped me grow as a product person in the past five years and I'll be discussing the same today. I'm currently working as a search UX PM at YUP in the London office. Moving ahead, what exactly do I mean by when I say a problem first approach? This comic strip by Dilbert really highlights today's topic well. This shows that Dilbert gets product feature requests from different stakeholders and what are the consequences of shipping all the products or rather being solution first approach. Generally, product changes are discussed in form of feature ideas or solution and I'm also having guilty of this previously. But I realized focusing on solution misses some very key aspects which go a long way in determining the product success. Just because you want to build certain product features does not mean that's what users find valuable or aligns with their product goals. In nutshell, the recommendation from today's webinar is to not to be tied to the solution rather focusing on the value that a user derives or what is the outcome that the user expects from the product. Jumping into today's agenda, we'll primarily be talking about three topics today. First, I'll be discussing why should PMs have a problem first approach. A common behavior across PMs is to start with a feature idea which can come from multiple sources, PMs themselves, senior leadership or probably the user itself. Unfortunately, this approach leads to suboptimal results and we'll be discussing the benefits of having a problem first approach. The second section will focus on what exactly does a good problem statement look like. A good problem statement basically contains three aspects which it should be able to answer. These four aspects when answered helps define what the customer needs and not what the team thinks the solution should be. And the last and the final topic that we'll be focusing on is how do we identify these user problems. This, as per me, is one of the most difficult aspects of product management, but if done well, contributes significantly to shipping successful products. Moving on to the first section, why is problem first approach even important? Problem first approach helps us answer two very important questions in product process. One, are we building the right solution? Secondly, are we creating the user impact? The first question, are we building the right solution? The problem first approach helps us explore and prioritize different alternative solutions to the same problem. Whereas solution first approach is title particular solution, which might not be the best solution, both from an effort and impact perspective. Secondly, if we have a problem first approach, even if the solution fails, it does not invalidate the underlying problem. Hence defining the problem before the solution helps us in exploring other solutions if the first one fails, which is not the case when we have a solution first approach. This reminds me of a very famous quote by Henry Ford. If I had asked people what they wanted, they would have said, passed to horses. By focusing on solution which was passed to horses in this example, the team would have restricted themselves to a suboptimal solution and not really revolutionize the automobile industry. It's important to focus on the problem here, which is wanting to get somewhere faster than the solution of faster horses. I have also faced this as a PM early on in my career. For example, when I was working as an ads product manager, the users when asked what they would like to improve on the app always mentioned the number of ads should be reduced. Although when these users are pro for their to understand the problem with ads, the outcome was not the number of ads need to be reduced rather the distribution of ads. Users primarily had a problem with ads during certain use cases, which was basically continuous usage of the product. Hence the solution pivoted from reducing the number of ads which would have greatly impacted the revenue to changing the distribution of ads for such users. Focusing on the user problem helped us understand and explore different solutions. And also those solutions, which one was the best in terms of minimum disruption to revenue at the same point of time, maintaining the user experience. Moving on to the next aspect, which problem first approach helps us answer is are we really creating a user impact? If we have a problem first approach, we can understand what is the right hypothesis that we're trying to validate and make up and have like freedom of decisions based on what should we build and what should not be built. Whereas solution first approach makes this really tricky because we don't really know what users find valuable. And this reminds me of an interesting article that I read earlier, which is don't serve burnt pizza linked in this deck where the author highlights that if you serve users burnt pizza, you're not getting feedback on whether they like pizza. You only know that they don't like burnt pizza. In this case, being solution first, they don't understand that users find value in the pizza itself. And hence this product feature has been declared a failure, although the underlying user value has not been tested. Secondly, it helps us answer are we even solving the right problem? When we are solution first, we don't really know if there are other problem statements, which will deliver a better impact to the user. And hence if the problem is not defined up front, the solution can be testing the wrong hypothesis. Without a deep understanding of user problems, we end up building solutions which might not be delivering the highest impact or might not be testing the right hypothesis. And that's why it's very important to have a problem first approach and not have a solution first approach. Moving on to the next section of the webinar. Now that you've established that why do we need to have a problem first approach? What really constitutes a good problem statement look like? I would like to start off with a quote by Charles Keatring, which highlights the importance of a good problem statement. A problem well stated is problem half sold. A good problem statement not only inspires and guides the team, but also makes the evaluation and iteration way easier. Today, I'll not be focusing on what a good problem statement format looks like. Rather, what I'll be focusing on is respective of what format we pick up. We should try to answer these four questions. If these four questions are answered in the problem statement format, that means that's a good problem statement. The first question that we definitely need to answer is who is the user? It needs to clearly define the user for which the problem is outlined. As user needs differ by segment, it's possible, it's all not possible to have the same problem statement for each segment. For example, users using Yelp for restaurants have will have different needs than users using Yelp for plumbers. Secondly, each problem statement should clearly define how does it impact the user. We build products for our users and the core of a problem statement is a clear description of that. It should describe what the outcome that users are seeking to achieve and not the product feature. A problem statement should always focus on the user's Y and not the business Y. The third aspect which a problem statement should really focus on is how does it ladder up to the overall firm strategy? And why is this important? It's important because to highlight why a firm should invest resources into solving a particular problem statement. Highlighting this not only helps in rallying and aligning cross-function stakeholders, but also ensures that the right problem statements are prioritized as resources are always limited. Fourth and the last point is how do we validate if the problem statement is solved? Good problem statements are always measurable. At times certain problem statements are not measurable directly. Then how do we understand if we have been successful in solving the problem? One method that I've used in the past is to focus on measurable user behavior, which is evaluated over time to understand if they achieve the intended objective. For example, my problem statement was that users do not understand Yelp's value proposition and hence they do not retain. How do we know if users understood the value proposition as retention is a lagging metric and cannot be experimented with? We identified that users who engage with certain content are more likely to understand the value proposition and retain. Hence, engagement with that certain content was defined as a success metric for that problem statement. And engagement with that content was then tried to understand how it impacts attention over a longer period of time to basically validate the hypothesis. Coming to the last section for today, which is how do we actually identify these user problems that we've been talking about so far? There are primarily three steps at a very simple level if I have to talk about it. First, you always need to discuss and have a clear product vision for our product, which we need to align with different stakeholders. Based on that product vision, we need to define what user outcomes are needed to achieve that vision. For example, if the product vision is to increase user retention for new users, some possible decide user outcomes could be users engaged with content on the app or users search in their first session. These could be possible user outcomes that could help in the retention of new users and this needs to be understood through a variety of methods. For example, user research, data analysis or probably some past experiments as well. Based on the outcomes that are aligned with the team, the next step is to map out a step-by-step user flow for that particular outcome. Because it's important to understand the motivations and barriers that each user's face in each step. For example, when I talk about search, I know there's a huge cognitive load when users need to search for something new, as they need to decide on what exactly should they type out to get the answers that they're looking for. This can only be identified when I start creating a step-by-step user flow. Mapping out the user flow helps me in understanding the user problem at each step and this helps me identify the biggest key behavior that will help me get to the desired outcome. This also helps me in user problem prioritization. Based on the barriers and user needs at each step, I can understand which user problem should be prioritized. And this at a very simple level are the three steps that everybody needs to follow to identify the user problems. Last but not the least, I would like to wrap up today's discussion with an insight from an article which I've linked in today's tech. And this captures the essence of today's webinar, which is never start with solutions. Just because you prefer the hammer or the screwdriver does not mean it's the tool you need to fix what's broken. I hope that was helpful and thank you for spending time with me learning about this topic. Thank you so much.


For each one. Yes. No. Just projected towards the camera. At the note-taker. I'm writers and I'm the executive director here at Bay Area. It's a service organization from here in the dance here in the 7-2-0 area. We've been here so here in Bay Area. We have eight members and nearly 3,000 individual members and we're happy to be one of the co-sponsors co-hosts of today's meeting. On this, and all we now have with us, it's a slightly changing cast of characters that we have on the panel, Rob Perwick from the San Francisco Chronicle, Diane Rodriguez from the Center for Theater Group in Los Angeles. We've got Paul Walsh from Yale and Cory, we certainly just jumped in from traveling to about the Jewish theater in San Francisco. So we've got a couple of artists. We've got a director and an activist, and we have a critic. And what we're, and I think you all have longer bios on each of these, what we want to be doing in this next session, and I think we are already beginning to get there a little bit in the conversation in the first round, is looking at ways, how are we actually having the conversation right now about excellence and how might we be able to improve upon that. And then you've given us some thoughts and think about it as we were preparing for today and I've been mulling over it just a bit myself. And it hurts me that we're missing a panel. It's Dan Roberts first. Sorry. Excellent. I thought perhaps he'd slipped up. Here's Dan, also known as the insert artist here. Go ahead. I want the panel to think about a couple of questions as we begin to tackle this topic, which is why do we have these conversations in the first place? To what end? And I have the feeling that Rob's answer might be different within Paul's, which might be different than the artist in the group. So what are we trying to achieve? And it appears to me that there might be a couple of different reasons though. One, thinking from the practitioner's point of view is we want the artistic quality of our work to be better. Others might be thinking that we want to improve the experience for the audience. How is the work that we're doing impacting them? We might want to be growing as artists ourselves. We might want to be seeing the art form itself expand or go into new areas. Or perhaps we might be looking at some sort of community so that there's probably other reasons that we're having this conversation. Those came to mind. And then I think we need to be thinking about whom are we having this conversation? There seems to be three groups in particular. There are sort of the professional feedback givers that would include Rob and Paul. So what we re-critics and journalists in academic dimensions, people who do this, this is what they do as they live in regularly. Then I think there's practitioners, the artists and the ear company administrators who are involved in this conversation often appearing in it, but also involved in the conversation themselves. And then there definitely often is and probably needs to be more of a conversation with the audience. And each one of these participants in the conversation, I think, we have them in formal and informal ways. So particularly maybe with the critics and the journalists in the academicians it comes out fairly formally. It comes out in terms of a printed or broadcast review of a play or a preview of it or in the article about a piece of work. But increasingly there's more of a dialogue back and forth both online and in person. So there's formal and informal ways that we do that with each one of them, certainly with the artists and with the audience as well. So today we have particular feedback, you know, sessions or you might just watch an audience, watch a play or listen to what they're talking about in the lobby before or after or monitor your Facebook and Twitter sort of responses. So there's formal and informal ways that we're having these conversations. So with all of that in mind I thought I would start by asking each one of the people on the table who just jumped in and began to think about why do we have the conversation from your point of view and maybe with that how can we work in bettering that conversation from where you are coming from? I think as a theater critic we have we've given our responsibility to theorize our own work, to set our own criteria and we've given it over to people like Rob who has a different gender than we do in terms of the work and we praise the theater critics when they are brilliant and like our work and we can get them when they're somehow sleeping and short-sighted and don't acknowledge our brilliance. But I think that as a community we have really our own responsibility to have that conversation. So part of the reason to reinvigorate our conversation is not just to improve someone else's work but improve our thinking of our work and that way I can begin to think more responsibly, more collectively, more generously in terms of all three of those audiences that we're speaking of, each other and ourselves and our grandparents to be the critical community and to our larger audience. So Ben, I've been studying for the last five years in a group theater who I would say without doubt was our first American ensemble theater. I've been writing a play about them which I'm going to workshop as part of the factory. And their members were in constant dialogue in, around, between the work they spent their summers together working in the country. They also had a community of support that interacted with, that included people like Aaron Copland, Mark Strand, photographer. So it wasn't just theater people. And of course, Harold Klerman provided the initial vision. Never stopped talking long after the group theater and his collective reviews were like this. So he was a director, critic a public intellectual, a practitioner and for me, that is just an incredible inspiring piece of ancestral DNA that I would, I would if a tiny fraction of that could come through to our time now, wow. And so I think we do this with mammals, we have limbic systems and we can't survive without it. We need each other and we need to talk about it all. And when I say each other, I don't I mean about all of us here and more. Not just the people who literally write the scripts, direct them on stage do the right to design, but the people who care about theater whether they do it professionally or, you know, at the risk of jumping off the deep end in a way I'll say I think it comes down to a form of love. Yes, I would say though I am an artist I'll take the producer mantle today because I think that would be appropriate. I have a number of experiences with ensembles because ensembles are really my passion that's the one that I come from and yet I work in a very traditional institution. And so I really try to make relationships personal relationships with people that I've actually commissioned so that I actually go to their spaces and, you know, we become friends. And I feel that I put a lot of in supporting men and ushering the group through my theater I am putting a lot on the line. And knowing this I have groups that trust that my feedback to them is honest and in an effort to make the work better. In whatever they want they have to ask me questions because I don't want to say I don't want to put my aesthetic on their aesthetic. And so this is how, for example, with Rude Mex I've created a relationship with them we had a commission it was rough going I went to their space in 09 I've never been so happy as the piece went through a very rough process the piece wasn't working I gave copious notes and interesting I felt they really took them and they premiered the piece in their space in Texas our staff went to do it and we are now doing it in our season so it was a great success story on a piece that is not traditional of what we're doing but the relationship I feel was really personal slow going and trusting that we both were committed, passionate and had particular risks with each other and I think that that's a very important thing can I say another thing? So NIFA the New England Foundation for the Arts among the advisory panel very, very interested in experience in this last round it was highly competitive and at some point they could cross their teeth it was that competitive and so when we finally got down to the last 20 we were asked to mentor a group two groups and I picked people I didn't know and it's been an interesting experience because I could give them information that no one else was really willing to do because they knew that I wanted to help them and that's been such an interesting experience very, very open for example, guys people think you're like college that when you were early on your reputation started as if you guys were like this fraternity and now you matured you all have families and that perception has to change that's a hard note to give but because they were like at this point we want to get this what is it, how do we change perception of ourselves as a group that we're just not downtown New York and so again it's that I feel it's finding those people that you believe or trust that you can trust and not try to change your aesthetic but to listen to what you want to do and then respond I'm pretty excited to hear that and talk about the same part of things I'm a yeah, I'm a pretty thin-skinned person I don't think this would be more apartment for me personally but I do feel like of a lot I just think that there's a good life I think what audiences are doing for life I think that we're afraid of having an audience I see people in theater afraid of having an audience discussion in which people did say, I liked it, I hated it but that is, I heard people say that's not useful even today I guess I kind of feel like it is useful I don't think everybody has to be I think yeah and I do look to other forums and art forums you know, it just seems like in the world of music even in the music criticism in the weekly is people put out much stronger opinions with a lot less helping the audience and I feel like theater I think the interesting thing about this competing is sort of drawing a comparison between how we talk in the theater and I don't know what it is I don't know if it's the fact that our the material of plays is people being people on stage and maybe it's that realism is the dominant form so you can't talk about the work without saying without being afraid that you're talking about the person you're really judging the person I was so interested when Conrad said the most honest feedback I got was when we did a radio play and we sat and we listened and everybody knew that was art and not the person and so people could just say I don't understand as this isn't good and I don't actually know the answer to that but I certainly sense it certainly feels like the dialogue is much less robust and there's a lot of concern about the feelings and the way the words I think there's a way of talking about work and I think it can be very tough and very honest but I don't know I would want I don't know that I can have some chill about my work so I do think that there's a way of doing it that you can still be honest I think there's a side of the writers that I think we have we don't really invest in the conversation that late-night TV interviews now are just a series of one-liners or self-promotion and conversation is just a yelling match and I think conversation to really invest in a conversation is to invest a great deal of time and so we lie instead we give a couple of sound bites and that's good enough because we're not sure the other person is as invested as we are in the conversation we want to have that's why I never talk about a show when somebody well shows up I say it was really interesting if they call and say let's have a beer they're not willing to invest in the conversation I feel that I ask myself am I ready to invest the time effort it's going to take to really set up a responsible conversation how many of you tell the truth on the first date you just don't do that you just don't do that and you're not sure you want to address that person yet so the set up of a relationship is really difficult it takes time and then I ask myself have I done my homework am I prepared and is the other person ready to have this conversation the same like I am in those things all coincide then I'll have a real conversation about the work but otherwise I think my job is to be supportive to be enthusiastic to be committed and alive I was really I was impressed by what you were talking about the way with your work with Rude Max and that it was based on trust that you built up and that it was over time and then it was personal and so I'm thinking Rob you've been reviewing here in the area for how long? 30 years? so you have there's always been groups coming on in the water but you actually have a really long standing relationship with so many of the artists and so many of the companies and you can't wait until the show is over before you give your opinion so I'm wondering about that and I'm also wondering about who you see clearly you're writing for the paper within a very large circulation but who are you who are you talking to boy that is you know I still don't know because of changes constantly when when Dan was talking about constructive feedback I think I think the critic's job is to give constructive feedback constructive feedback in my definition of it means that you have to be completely honest about your reaction to the piece and it's true I would love to have the luxury and it's more than a luxury it's a it's an enormous gift to be able to talk about the piece in the kind of depth that you can in a conversation I'm carrying on an instant reaction to the piece as I've seen it at that particular moment in its gestation and I know that for many companies that that piece is going to continue to develop beyond the opening night but I have to talk about what I have seen on the opening night or as close to it as I'm there and I see myself, I see the critic as part of a continuing conversation that's been going on for 3,000 years with the art form with the artists with the audience and with my readers and a lot of times the readers really, you know let me know what they feel and I have never developed a signal I've heard it rarely count in fact if a piece generates strong feelings I can almost always count on getting a number of people who say I can't believe that you liked such an assertion and a similar number of people will say how could you not have gotten the magnificent work that's being done here how would you be so blind to it on the same piece right so I feel as if my job is to try to be part of that conversation I am always hoping always have to trust that people take what I say as being simply my response and not coming from some Mount Olympus some, you know and I don't see myself in that role but that I'm trying to be the most honest and constructive in terms of putting things in context within the art form within the society and it gets harder and harder to do that as a space within the paper shrinks but I do feel that that's where the critical field fits into this conversation Do you think they go back and forth by a wall? Yes Possibly What's that like? There are I find it a very useful and positive part of the job to be when theater artists respond to my work often privately and want to continue the conversation and in those cases it's always best to wait until some time after the show has closed but I've been certainly a number of people that I've encountered over the decades who have been there to tell me when I feel that I'm totally at this point of something or to continue to want to continue a conversation about what I've raised and I think that that's that hopefully I think that that's important that could be useful to the artists and to the art form but it's very useful to me That's important I know that these days as I get older I don't engage in a conversation that I can't hear something from that can't potentially change my point of view and I think that when I've asked a comment on a particular production or a playing process that I've been working on I want that conversation to really challenge my aesthetic challenge my criteria as I hope all great performances do and I want that conversation to really enrich me so I don't come at it at the point of saying okay let me tell you firmly and helpfully welcome a picture to play as a drawing director I expect you to do that I say tell me what it is you're doing and in my extended role and let's discuss that let's find out what this is about let's explore this together and give it an active conversation let's come to a truth rather than apply it Corey what you were saying discovering the reason for doing something in the act of doing it including the act of talking about it Absolutely And it's very important for theater artists to be aware of the difference and criticism I teach a program of Geology and Dramatic Criticism so that push and pull is really very evident to me I've certainly had the experience of going to see a play that had been you know rewritten a play that I had earlier reviewed that had been completely rewritten and then be able to come see it and go back to see it and sit there and think Lord I did just what I said It's terrible When we go back to this word trust because it occurred to me that you know I mean, Roger Mulroney for 30 years and TJT's been in the area for since 82 almost and so we have a lot of history and I don't believe there's another critic that we have that I have a relationship with that I do with Roger because there is trust in it and that trust has come from time and it's come from the conversation that has gone on outside the fact that Roger has to be a critic he's responded to what we've done outside of his writing so even though there have been plenty of reviews he's written I have to tell this we ran into each other on the street one day years ago after you did something and you started apologizing and I started comforting you it's okay it's okay but the trust that Diane spoke about makes all the difference you can hear the same thing and if the trust is there that you might have resisted from somebody you didn't know or didn't know where they're coming from and again going back to the biggest treaty group what I discovered was that for the first six or seven years of their existence they had a kind of amazing trust in each other and during that time they did almost all of their great work and they achieved the impossible and they continued maybe four or five years after that but trust wobbled for various reasons and all of a sudden the outer factors even though they had more financial successes in cases the ensemble was no longer the same it really came down to that factor the trust in each other in their vision in the audience Mark and I had a we're having so many hours to talk as we wait playing the lead but we were talking about the Mellon Foundation because the Mellon Foundation had a whole ensemble development ensemble discussion and really it's been a big long commitment and for me they really championed it and I love that word champion because I do feel like all of us have to find our champions like that champion is somebody that you know where they're coming from and they're coming from and I want you to be the best you can be because you make me look good because you make our community look good we want you to be national so let's go I'm going to help, I'm going to champion you and I think that we we need to find those people for each other and they're individual and they're different I'm not going to want to listen to the same person you might want to listen to it's all very individual but I do think you know what might have been a conversation about excellence look like is this notion of having people that champion us because we trust them to hold it in the mirror to what we're doing and let us see our reflection and so important because we don't do that enough we don't really do that so this is just occurring to me and I hear you trust and champion and understanding the aesthetic and I'm just wondering if there's is there a danger and I'm not sure if there is is there a danger by surrounding yourself maybe almost solely with people who really do come from where you're coming from understanders that you trust and maybe there's a circle around that that doesn't get what you're doing but maybe that doesn't get what you were saying Rob I almost agree with you that you have this that people will agree with you or people who feel like you've got it wrong and we're not trying necessarily to do our work for everybody right so I'm first I thought maybe there's a danger but maybe there's not that's such a question I was just thinking about many years ago I just worked with a theater company that's all over and the way I first started working with them we all came out of the same bar and they're chatting and I went and saw a production of theirs and we did a Romeo and Julia and after the production closed I sat down and talked with and I told what I thought about the show I told it in a very naively direct form while the concept was brilliant it did work for at least reasons and it was a very happy conversation as they got it and after that point the band director never spoke to me again he came into the bar and he said one day about six months later he said I know he's to talk to me about he said the company is doing this production and we'd like you to work with us and I said okay so you won't speak to me for six months but you won't be working with the show or myself or the people who agree with me and I said I would be happy to talk about this but I want to make sure that we are on the same page about why you want me there and we had an amazing deal with the relationship based on the conversation that you teach or my thoughts on Romeo and Julia it was fantastic but I don't think that's right for everybody but I think what we're talking about I'm assuming that trust and knowing where something is coming from does not mean only pay a favor it means a kind of openness everything on the table and an assumption that the person has that we have a common goal of making this the best rather than somebody from the outside coming they might want you to fail for whatever and certainly the other thing I just wanted to say is about the heart talk same heart of things I know for me it's been a lifelong struggle to stop saying the hard things to myself all the time I think all of us as artists and Americans face that in relation to you know convince ourselves that we suck and I think that's reinforced and a lot of that is the struggle so if we do need champions we need to help also I just heard this was on NPR I think the other night but that light from the inside always looks to the individual person it looks like one series of failures might be important to you there's two very different interactions we're describing one is private conversation you know and I think that all of them I hope there is out there doesn't have private conversations with some of them especially with some of them people who surround yourself with people who hate nothing and tell you they're great and nobody knows but I I am wondering about a different kind of public conversation about quality and resonance that somehow that somehow is exciting and robust and doesn't you know or there's a way there's a way of framing there's a way to frame where would the public I guess what I'm concerned about are two things first of all the way that these top backs are conducting I think are very like people are walking on the shelves and there's sort of a desire to have good argument happen in the talk so I think and whereas I think it could be I don't know if there could be something more where people have had permission to speak more aggressively and respond to this and say that feels terrible this is what I'm thinking about I don't know something more dramatic a nice friend like I need to I think the rescue run is there for people to show off what we're talking about in terms of more of a political discourse we just show off how cutting can be because they don't even care about it but to really get it that they don't even care about and I guess the other thing that I I don't know I guess it bothers me when people after the show tell me well I'm not an expert on theater and I'm like no, no, no, no, come on you know and I do there's some non-traditional work I often have people say well did this happen I don't know if this is what happened and I say tell me what happened I would say more than 90% of the time they absolutely got one but they didn't feel like they could and I don't know how I could lay the ground it just seems that it seems a shame to me that people would be provoked by theater excited about it and we even say well that's not something that I should be talking about because and that's something also where I feel like you can be more robust about it and I guess I sort of have this paradoxical notion that it feels to me like it's running the wrong direction that actually the talk bags people so we're really really gentle but actually I think the nervousness is what gets communicated and then people spoke more robustly angrily disappointedly happily all over the map then people would say well I have a right to I don't have to have all this I'm excited by the vocabulary and come on in instead I think it's something that people might say they're worried about I mean I do a lot of those discussions right and I think that nervousness on my part comes from the art coming from protecting the artist I honestly don't want discussion to be let me regret in me which is what we're all afraid I mean we don't want to hear that I think the conversation is often more robust than the artist isn't there and I think your question is how can we make it that robust with the artist in the room and I it's a bit of a just the training of the audience what are the things that we're doing we're in theater areas in the middle of a national we've commissioned a national study by Alan Brown on the intrinsic impact of the theater experience on the audience so in six cities with 18 theaters including the public and the arena there's a big rapid opposed to much smaller things and I've been wondering how it actually comes to Alan about this but the whole thing is to try to plumb with the individual audience how they respond to the work emotionally and intellectually do they bond with the people on stage do they bond with the people around them and I'm wondering if there isn't sort of within that that sort of construct a way to conduct a more useful feedback session because it would not seem to be quite impressive but it would give the playwright or any of the generative artists an idea of how the audience was in fact responding to what they just saw and heard and it might not even be what you imagined but it might be the lighting where they wound up even though you didn't expect them to go there or you might be like oh my god I have no idea what the lighting is that's not what I'm looking at but I'm just wondering if the more visceral emotional response that they had which cannot argue that you had it you had it you know what that was I love close-up sessions but I think that it's the wrong environment I think that close-up discussion is 25 minutes long you want as many people as possible to talk in their whole series of one line what I think is a better model is Pierre Kovac's Tinker a group of people come together for a couple of hours and talk about the experience and they become engaged as a community as well as others they are forged into a community and I think that's something that should be improved along the conversation about the individual audience members engage in different projects and they're learning how to talk about theater but we're also learning how they come up and where it's at about that it's a real conversation we actually found that because we find that we have a little bit more honest reactions to the show without the artist present that we have this program that we do at the Douglas do we agree? all of us we call it the Concierge program and basically we have these you know people they meet the audience in the beginning and talk and become friends and when people come out they stop them and go what you guys think of the show and people stop and they input what they want and we get these amazing reports and it's very interesting because it's very honest it's very smart and we share them we share them with the artist and it's a really kind of interesting it's almost production reports but from the audience first hand at any moment who are the Concierges their staff and a lot of them have been ushers for many years and then we develop this program and they've really taken it on they're very proud to do it every usher wants to be Concierge you know because it's a real interaction with the audience people remember them when they come to the show they have their favorite Concierge and it puts a face to the Douglas you know we really should be doing anything we should be doing anything at this point don't happen but I think they will move so at the beginning of the event we should move on to the next part of it what are we doing then I would say that if you were in the room here last time you should go to the union but no no we should mix up the groups yeah of course how about that third over there you're seated in that bank of chairs go over to the union and the rest of us stay here this bank of chairs goes to you I'm going to sit down and we've got 30 minutes and then we'll go over to the union that's a trade let me sit down I'm going to sit down what are you going to do let's do it


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We take these HD videos so if you are far away or even if you're close by and just cannot make the trip down but you're still interested in purchasing the car, you can see the car, hear the car, and have confidence in the vehicle that you're looking at before you even get here. So when you do get here, there's absolutely no surprises and you can make a smart and informed buying decision from the comfort of your own home. Very nice down that side. This back rim is in excellent condition as well. I didn't see any scuffs or scrapes on there. And the back tires have right around half the tread left on them. These back tires are 285, 35, ZR19. So they're a 19-inch tire, 19-inch rim on the back as well. And they're a little bit wider than the front tires. Coming around to the back of the vehicle, rear bumper is in excellent shape. No dents, stings, scuffs or scrapes on there. Looks really good. It has the chrome-tipped dual rear exhaust. And the trunk lid is in nice shape as well. Coming around to the driver's side, just as nice as that passenger side, rear quarter looks good. And this back rim is in excellent shape as well. Down the rest of the side of the car looks really good. We'll take a quick look inside the trunk before we hop into the interior. Trunk space is nice and clean. It does have the carpeted Corvette bolster up there.  And it shuts nice and solidly. This is a power soft top. So we'll put that up so that you can see how good that works.  Both of these seats are power and heated. No rips or tears on the seat. And it does come with factory formats. That is for your heads-up display. Power windows, power locks, memory driver's seat and power mirrors. Bose sound system. You're gonna hop in so it stops dinging at us. I'm gonna start it up actually. So we can check out the radio. The ignition miles. 22,538 miles on this car.  No rock chips or anything for this miles. Looks really good. Instrument cluster is very nice and clean. Leather-wrapped steering wheel. It does have the heads-up display. You can see that in the windshield there. You get a digital speedometer. And this does have the AM, FM and serious satellite radio capabilities on the radio. It has the factory navigation system with the nav disc. And it does have a CD player in there as well.  And you do get the keyless entry there. Just a little bit of crack on there, but overall in pretty decent condition on that key fob. Passengers side floor mat and seat are in really nice shape. No rips or tears. You do get on-star capabilities in the mirror as well as compass display. And home link buttons for your garage door security systems and lighting systems. We will close the soft top so I can show you how that works. It's all power. Alright, so once it's down, all you gotta do is turn this. And it secures it into place. You put the windows up and you're all set to go. And the button I used for that is this button right here. We'll take a look at that soft top to make sure there's no rips or tears in it. And then we will take a look under the hood. See the soft tops in really nice shape. As is the glass. Looks really good, no rips, no tears, no stains. Very nice condition. And under the hood we have the 6.2 liter LS3 V8 motor. 430 horsepower, engine base very clean, runs very smooth. There's your emissions sticker. And once again this car has been fully safety and inspected by our service shop. Has a fresh oil and filter change. All the fluids have been checked and topped off. And this car is 100% ready to go. There are those HID headlamps. And I would highly recommend this car from a quality and condition standpoint. I didn't see a scuff on it. I didn't see rock chips on it. None of the rims have scuffs on it. The soft tops in great shape, the interior is really clean. And this is the one. And to see more pictures of this car, one of our other 450 new and used cars, SUVs, minivans, Wranglers, Corvettes, Camaros, Challengers, Chargers, Mustangs, GT500s, you name it, we got it. Go to that website right there, www.SummitAuto.com. Full pictures and descriptions of every single vehicle from two locations all at SummitAuto.com. And if you'd like to check out more HD videos you can go to youtube.com Summit Auto, remember to like, subscribe, and share on this video and all the videos that you see there. Click the bell notifications. You'll get updated every single day that we do videos of our great inventory here at Summit Auto. In fact in a second we'll see a link to subscribe to our YouTube channel in the upper left. A link to more Corvette videos like this one in the upper right. A link to this vehicle on our website in the lower left and a link to one of our latest YouTube videos in the lower right. Click those check us out and we're super excited to help you with this Ultra Clean 2008 Chevy Corvette 3LT convertible in black clear coat. Thank you again for checking out the video and remember to like, subscribe, and share.


of being close to orlando just saying like what do like no i get that i'm not saying there isn't but what do people think like what's the outside perception of like orlando it's amazing silver rookie kyle phillips with the titans blue wave warren sap buccaneers 124 of 199 it's definitely not a bad place to live i'm just saying like the grass isn't always greener when you go somewhere else true there's a lot of drawbacks to central florida red wave cordial paterson falcons number to 48 of 149 it's definitely the right place for a lot of people devin loy jaylen tulbert that's for sure yeah coast you're cool if like the beach yeah i mean that's like i said that's that's good reasoning like if you're a beach person that's the place to be but it's a lot more crowded now than it used to be that is for sure beaches are beaches here also aren't fun to go to in the summer or spring break yeah you sit out there for like half an hour like okay unless you're like staying there you don't have to like drive but yeah that's true but yes there are good like pre spring break and like in the fall is like the best time to go to the beach here silver jaymus winston partial walker auto for the cowboys to 35 travel walker drake jackson yeah they really don't i mean they kind of do illegal certain places disney universal so just theme parks i feel like theme parks would be good to live here summer bobby wagner rams red wave don't even have eagles to 149 so that's the perception is that it's a good place because of theme parks like i i'm not a theme park person and like obviously don't have like a passive disney or universal but like wouldn't you get tired of it eventually blue ice rookie jordan davis eagles like does it become just boring at 84 99 garret wilson evan neal i can't imagine like going to the same place doing the same thing more than like a couple times a year yeah i mean some people i have some people definitely i'm not knocking i'm just saying like if you like theme parks a good place to be but like if you don't uh silver um prison break kenny pickett steelers orange wave michael liam's chargers seven out of 60 shay mcbriage has never yet golfed to i guess yeah if you really hate the cold move here it doesn't get cold here silver donna mooney for the bears also brought me out alec pierce colt's on the rookie auto trail on berks cave on tibidou yeah this is also like i feel like a pretty big like orlandos is a giant suburb for the most part really like isn't that kind of what like the orlando area is one giant suburb pretty much orange dak prescott cowboys the handful word 42 out of 249 it's a good place to have a family i think i mean there's a lot of like like theme parks are like a family type thing and there's a lot to do for sure those places are also extremely expensive to do right universal and very expensive all out tom brady purple eyes christ johnson titans numbered 59 out of 225 she had petri eight hudgison uh yeah i know has to deal with hurricanes yep the whole set of florida if you're in florida you have to deal with hurricanes less than your own like pal has yeah get it then every now and then but yeah sliver rookie jacquan brisker for the bears blue wave jeffrey simmonds titans 19 out of 199 yeah no disney's fun it's a good time but it's not realistic to go like every week it's yeah it's very expensive rookie purple power kyle hamilton 28 out of 49 ravens unless that's really really like then then like an annual pass makes sense can he pick its dealers chris olave it doesn't get very hot here that it like central florida gets very hot like on the coast we'll get like breezes and stuff but central florida gets very hot fireworks ricky silver johan dot some for the commanders purple ice mike williams chargers numbered to 225 balker rogeri gets drake london it's one of those things though where it's like if you're doing activity outside and you plan it around the right time like you can not have to deal with it as much do not go outside and like july and august in florida between like one and like six p.m. yeah it's a bad idea blue wave to 199 bernie coaster browns seen a lot i worked in the theme park seen a lot of heat stroke you're there getting caught in the storm yeah but like i said if you like if you like hot weather you like it like i have i have friends that live here and they're like i love like the hot weather like actually like humid and like warm hyper densel ward to 175 for the browns and it's honestly good chat would you rather be too cold or too hot i think there's very there's varying and this is not there's no pun intended but varying like degrees effect right well i mean like you want me to like give a specific degree yeah you can but one sec guys i i'd i'd rather be too cold to to an extent like i wouldn't want to be like negative 75 degrees like that's all that's a bit of that's extreme yeah maybe i'm not asking the right question because i'm mostly asking like would you rather deal with okay here's a better question would you rather deal with snow or a lot of rain because i would definitely depends on how much snow right like if we're talking like feet of snow everyone's gonna say rain that's not me like like you said if you come down here just because you don't like snow it's not really a solid reason to pay the price you the Florida you know has but like that's why you don't want to deal with snow but also gets like like i said i think that for golf too so it's more reason lock down jaylon ramsey blue ice pat sertan the 99 for the broncos yes he's like i said some people have different opinions so i mean it's oh yeah i said sounds good then what is cool well it's getting more expensive so ricky silvert cycle on patreon basically we're basically southern california again like southern california or the new version of that southern california is full everyone's going to to florida now so it's going to be you know the same thing ricky silvert cycle on thorn for the patriots a gold remandres stevensson four out of ten nice card pats very nice for the pats i probably liked that one damien pierce and daxton hill purple ice rookie boy amafi for the seahawks 167 225 sam howell rookie yeah i lived in i lived in northern arizona for for a little while and i enjoyed that climate a lot more just dry silver hype elie mitchell i personally enjoyed that one a lot more red wave robbie anderson cardinals by 1941 49 so like when i didn't miss beaches and like bodies of water really like at all honestly it's kind of strange like i didn't miss it whatsoever so like when it's hot in arizona is it just like it gets hot like southern arizona like the desert it gets hot but i get that but it's like purple goth to 125 for the lions the job owned ford i just don't understand like dry tea like is it hot it's very weird if you're getting hit by a breeze it's not horrible horrible it doesn't feel as like oppressive like it's still easy to breathe you dehydrate faster because you don't realize that like i don't know how to explain it orange wave michael thomas sains number 33 out of 60 i just never understood the whole dry so you know when you walk outside of florida like in the summer and it feels like you walk into a sauna yeah it doesn't feel like that it just feels like it's dry and hot i i'm explaining it how it is but i know i just silver b doc eagles don't take cold pepper sensational signatures green scope vikings numbered 41 of 75 gelani woods breeze hall yeah it feels like the sun is more intense on like your skin or rather than like profusely sweating all the time dron i feel like you would take a raw card not a not a mag silverberry sanders lines orange justin herbert chargers 29 out of uh 249 carloftus and dana gray yeah it's not thick yeah okay well i feel like i wouldn't like those would you take the slabs take a raw card it's not really a way to like the slab it wouldn't there's not a way to get it to stay on the slab right yeah orange rookie uh brian robinson jr commanders 242 249 yeah take a raw card get it signed then protect it another way you can you can get them psa you can get the the card graded with the auto authenticated if it's signed after the fact they'll authenticate the auto for you and slab it if you want to go that route or you just cover it up and have it be your pc item you know you're not trying to sell you don't need to see away it's just yours yeah silver rookie emerging carrot wilson jets which is sort of certificate of authenticity um blue wave to 199 zack thomas for the uh dolphins bailey zappy i think i think football has more auto subjects admiral i think it simply is just that silver emet smith cowboys there's more people that that sign for football phyllis jones uh pascale bigger player pool redemption george pickens we hit a lot of pickens redemptions haven't hit a numbered one though rookie auto prism silver yeah so third one for like the second one i think for this i think it's second for this great yeah i think in general those uh garret wilson hyper is aver mckinney to 175 mckinney for the giants kenneth walker do we don't the were they too last for sure there was one yeah that's what i think i'll do either of these in our minds but probably it is late it's probably that one i'm very well together green scope rookie elante taylor sainz to 75 Malcolm raju guys drake london seeing the 50s and extra days is great it was actually nice here today it was um it was in like the 60s and 70s but i dressed way too warm because i thought it was going to be way colder but the three weeks leading up like the three or like the month leading up to like today and it's been in the high 80s every single day dude which a lot of people would prefer but that just means that by the time we get to man june it'll be in the mid 90s every single day yesterday was really green scoped 75 chase people bears fortunately stingly and taylor so give and take yes it is perfect golfy weather best thing to do just get rich and get a house here to be here in the winter and then go back up north for the summer silver ronnie lotin liners just be rich simple enough donovic nav on the silver auto for the eagles you sport as your tax loop hole like all the other rich people do you have eagles purple power ryan tana hill it's a 49 for the titans scholar thompson johan dotson see quartered just know no one cares about that unless you're in the south silver alan robinson for the uh rams orange vince young titans number to 249 drape on walker drake jackson you know they can't breathe in florida well now it's great i'm just saying like in the summer like in the afternoons it's like cloudy and humid and like about to rain or it recently has rained it feels oppressive like your skin gets it boils because you're just walking to like a hot cloud ricky orange kyle hamilton 249 ravens just get everything you want to get done outside done before noon you're good to go yeah like in the summer i don't think landscapers really work past like one or two p.m just gets too hot and that and it'll also storm yeah most yeah uh brilliant sliver joe borough for the bangles a purple ice marcus alan raiders number 225 here at wilson evin neal i guess we only had one uh pickens this that's pretty cool john i think most people would take 81 the day after 49 that's fine i'm not gonna answer that question legal sliver bernie cosar for the browns Greg dole stitch broncos on the rookie auto karson strung and jake ferguson orange de forest buckner cults number two uh 249 quam brisker tree quillen swimming while walking that's a good one admiral one of my cousins said it's like if you when you take a shower in the morning you get out of the shower you don't ever completely dry off until your next shower that's true you're always like damn because it's either so hot when you walk outside you're sweating or it's that humid that it just feels that way uh trevor lorence jaguar is all out bris hall rookie blue ice for the jets to 99 sick bris look at this one mad for you for the jets chris s james and williams david bell and like for the last like two years before i got a new car like i did not have a dude it's brutal and it was the worst it is honestly the worst thing of all time rookie silver nick benito broncos ended up for two summers and i i look back and i'm like how i was like oh yeah because i was broke college kid 94 225 purple ice packers erin jones sent all my money on paying rand and going to school and had a crap car going to school what a mistake that was a waste uh emet smith hyper for the cowboys number 151 out of 175 where'd you go to school for nothing apparently oh yeah it's okay i went to and i'm not i thought i thought it was i thought i was like oh yeah i'll get a degree it'll be good ricky silver new recruit strike london packers or sorry falcons obviously um blue ice kj osborne vikings to 99 we're on to the last box of the night that's yeah johnny yeah yeah everything's hot like seats are high handle everything you touch is hot you don't even burn your hands steering wheel starts coming apart on your hands all sticky oh yeah it's annoying that's that's another fun one why don't they just make steering wheels that don't do that she's made of metal it doesn't peel anymore it's also 150 degrees hotter than it was you literally didn't oven mitt big leather mitt to drive around with joy bosa locked down for the chargers purple ice paint manning to the 225 for the cults dealers jones josh prescott i mean i could do like six more cases tonight yeah no problem six more cases let's list them silver rookie nick benito for the broncos a blue wave marcus allen raiders numbered 124 of 199 canith walker the third germane johnson that's another thing is like people have like heat built heating bills in the winter just imagine that but like all year for florida because even like december and january my ac runs like half the time it still gets in the 80s yeah but it's nowhere like it's not as bad but then already this year starting in february my ac is running like half the day because it gets to like 86 87 degrees so ricky hyper troy anderson a 175 for the falcons yeah it's gonna be a hot one this year donnie it's gonna be a hot one it's a hot one every year that's true we're starting february this year dude johan dotton ricky silver new recruits commanders purple eyes buddha baker cardinals to 225 i'm scared donnie k dork jaylen nailer the way i see it like we spend the majority of the day inside so like it's really the commute that's the worst part i'm gonna ask rich to see the shop's power bill for a month one day i'm like hey let me see what looks like in july louis of jesson herbert 172 of 199 chargers i want to know it it's gonna it's gonna be i'm gonna i'm gonna be sick i think let me sit down and prepare myself okay let me see the bad news emerging kenny pickett got hyper keen and alan chargers number 22 of 175 you can see it the catch is you have to pay it oh kyle's on the way back oh boy silver marshan latimore for the saints gusts ferrats to 99 on the uh washington auto here gusts ferrats interesting ojabo and your own ford i don't even know like what time period he played 80s 90s i think just 90s actually silver renfro raiders purple james connor cardinals number 225 elam and sky more we have to set it like 70 or this room it gets to like not even kidding like 85 degrees yeah it gets up it gets up this room for sure mojo come on is that a flashback come on this way oh buccaneers oh my god this is brady oh my god yes it is mojo flashback tom brady wow that's two of 25 buccaneers jeffrey h mama mia legendary florida man tampa tom right here tampa bay big time tom mojo flashback that's a monster yep yabba dabba do in the last box that's a nice one too blueway malik willis to 199 titans rookie johnny woods brissol crashed my car what did i say earlier kyle about streaming while driving brilliant silver jaylon waddle for the dolphins blue ice jaylon hurts to 99 for the eagles 89 and 99 carloftus and dany gray kyle literally boom right into the right pool boom silver uh joe burrow bangles john john dots in the 149 redway brook you out of commanders that was awesome man that's a cool car one of my favorite cards today yeah we got the last pack yeah i was kidding guys i can't use more cases orange cream hunt browns uh 116 to 249 who's up for his ears when he said six more pieces i don't think anybody did i don't think anybody bought that they call my bluff i think i made it almost there just a recap to go and then i need the air quality better in florida so when i have full on chrome lung i'll be able to survive and walk around without like an oxygen tank all right a couple snake skins we had trend mcduffy chiefs rookie and hml addis for the seahawks red wave rookie auto johan dotton just called the names on this one guys gus ferrott great dulcich donovan magnab steelers george pickens redemption don't take cold pepper alex pierce her shall walker sauce gardener clinton portis mike all stott isaac spiller john met you the third malcolm rodriguez ryan tana hill george kittle james cook rp 8 of 49 there jonathan taylor ryan cook trey lance melis jones jr mark gastinot and sauce gardener i appreciate you guys hanging out all night i thought i thought it was a pretty fun day i had a good time blue ice rookie to uh what 90 or to 99 jets brice hall the gold remandre stevens and pats to 10 orange wave rookie drake london to 60 for the falcons gold vinyl javon holland dolphins rooms uh three of five now snake tizard is short print they used to be one of cases they're a little more common this year but still short print parallel rookie gold fireworks kenny picket for the steelers that's a sick looking card congrats steelers with the two gloves on here finally a mojo rookie flashback chrysalave for the saints number and 69 out of 25 that's filthy mojo flashback tom brady buccaneers number two of 25 and a brock pretty rookie auto niners that'll do it thanks again everybody so you'll have um rich tomorrow morning starting at 11 a m eastern with more prism football matt slob in the baseball channel at 10 a m eastern and you'll have sam tomorrow night doing more group breaks here thank you all so much for an awesome release day i pulled some big cards i hope everybody enjoyed and um congrats to those who hit big if you didn't uh better luck next time i know we all know the feeling but um appreciate you for joining so yeah i guess i'll see you guys friday night oh you guys got me saturday this week so sam and i switched saturday thursday so you guys got me all weekend yeah donnie did great too yeah i caught i i yeah oh that didn't feel good well i'm gonna agree with that check out all right you all take care i'll probably be in chat see you tomorrow morning


Single cell data sets can have a lot of technical variability issues. Each cell will generally capture a varying number of reads, which will cause some cells to have too low of a signal to be useful. Additionally, genes range from ever-present housekeeping genes to specialized genes which are expressed only in particular cell types or under certain conditions. Using normalization and filtering techniques, we can pre-process the data to make it friendly for downstream analysis. In this video, we'll analyze mouse embryonic stem cell data set, which contains single cell sequence data for different cell cycle phases. Our data contains a very high number of genes. How many of those are actually useful? We can use the filter widget and retain genes that have been detected in at least 20 and at most 170 cells. This way, we discard the housekeeping genes and the genes that are hardly ever detected. We retained about 12,000 genes, reducing our data set to a quarter of the original size. For each cell, our data still reports the expression strength for each gene. Typically, the total gene expression differs from cell to cell. Let's visualize this with another filter widget. The filter widget can also count the number of expressed genes per cell or vice-versa, the number of cells expressing each gene. Using the lock scale for the count axis, we see that the cells express genes at substantially different rates. If we were to process the data in this form, some cells would have more sane analysis than the others. To solve this problem, we'll use preprocessing. We'll do the preprocessing in the single cell preprocess widget, which we will connect to the output of the gene filtering widget. Let's also rename the latter for convenience and interpretability of the workflow. In the single cell preprocess widget, we can specify an ordered list of steps for data preprocessing and transformation. By default, the widget shows some standard preprocessing steps, which we'll remove to start fresh. Typically, we would start by normalizing the gene expression of each cell. In other words, the gene expressions will sum to the same number for each cell. So far, we haven't done anything about the genes yet. Let's check the distribution of expression values for each gene. We will use Orange's distribution widget. The distribution of expression values varies wildly for most genes. Say for the gene GPR-107, the distribution has a very long tail. Other genes, like PIH-1D2, show little variance and will have a negligible effect on the analysis. We can filter out low-varying genes by adding an additional preprocessing step. Let's keep only 1000 most-variable genes, where we will compute the statistics on the entire set of genes. We can also solve the long tail problem by lock-scaling the expression values. Looking at the data after the preprocessing, we can see that gene expressions are now more evenly distributed. To wrap up, let's look at our data in a t-SNE plot. We can see that the cells separate based on cell cycle stage. Now this may or may not be desirable, so stay tuned for our next episodes, where we will discuss the infamous batch effects.