Let's talk one-on-one, one-on-one. Here we gon' talk, we gon' have fun.     Name another podcast like this. Check it, check it, check it. It's a unique hustle. It's your boy, E-C-E-O. And I'm here with the lovely, amazing, official. Mr. Mako, what's going on? Nah, nah, I'ma dare walk on. Hey, man, it's good to be back in the place to be, right? Yeah, sir. Hey, man, we got a very, very special guest today, man. This guy right here, man, hey, man, his name came up and I had to try to find him. My guy, Steve, below, is in the building. What's going on, man? Oh, man, I'm here, man. Say, man, thank you for coming on the show today, man. Yeah, thanks for having me, man. Man, so just to... You from Dallas? Yeah, yeah. Dallas originally? Yeah, I was born in Shreveport. What? Yeah. Cooper Road? You don't know where you're from, Shreveport. And I was born in LSU Hospital, though. Okay, okay. Yeah, because both of my parents are from a town called Naggadish. I know what Naggadish is. That's like 45 minutes out of Shreveport. Yeah, exactly.  Oh, yeah.  Really? Naggadish, like my grandmother, auntie. Really? That food good down there? Oh, yeah, absolutely, man. Man. So, you was born in Shreveport. How old was you when you came up to Dallas? I was an infant. You was an infant? Yeah. Basically, my parents were both here in Dallas. And then, you know, my mom was pregnant with me. Then she went to Naggadish to stay with my grandmother while she was pregnant with me. And then she had me in Shreveport. And then my dad came to Louisiana and got both of us and brought us back to Dallas. Wow. So I was in all the schools here, elementary. What part of Dallas did you go to first? Pleasant Grove, man. To the Grove. Really? Right up the street. Yeah. Wow. Pleasant Grove, man.  Was it Samuel? Where'd you go to high school? When W.W. Samuel, man. There it is. W.W. Samuel from 9th grade to 10th grade. And then I went to Lakeview Centennial, my 11th grade year, and then came back to Samuel, my senior year, and finished out at Samuel. But as far as junior high, I went to Florence, Fred L. Florence. Yeah. It's called something else now. Yeah, yeah, yeah. Yeah. But why didn't you just stay at Samuel the whole time? No, no. He talked about his elementary. He went to the smaller school. Oh, okay. He didn't go to Spruce. He didn't go over there. But I think she was saying like... Because you said your 11th grade, right? Yeah. You left a little bit in high school. Oh, yeah. You did say that. I'm listening. I'm listening. I'm listening. I'm on the back of... I wanted to just see something different. So I went to Lakeview Centennial. Had a cousin living out there. I just wanted to switch schools. That's the way I went in and enrolled myself. I started going to Lakeview. My dad was like, you know, I came back. You know, first week of school. He said, hey, how's school going?  I'm sorry. I'm not going to Samuel this year. Hey, I like that. I didn't know you can do that as a child. You probably can't do it anymore. Yeah. We're talking back in the 80s. Yeah. So I went to Lover. I moved from East Texas to West Texas. Okay. I went just for a semester in West Texas. So I get it. Like, you be wanting to know what else is going on out there. Yeah. Like, when you're young, if you're an explorer, right? Yeah. Yeah. Because that's how I was. As soon as I got my license, man, I was all over the city. I would just... I would get on 635 and just circle the city. That's the way I learned it. Are you the youngest or oldest? Or are you the... I got one younger sister. Okay. Okay. So a lot of times she wanted to tag along. Nah. How much younger is she? She's like nine years younger than me. Okay. That's just like me and my brothers. I'm 10 and 12 years younger than there. So I always felt like an only child. Oh, yeah. Because he was gone. They were both gone. So I was just like... Yeah. Wow.  Mm-hmm. Yeah, yeah, yeah, yeah. Everybody want to move here. Everybody frequently says, you know what? Let me move to Dallas. California people love Texas. I love that. Everybody want to be here. The economy is great. If you from up there, because they pay a dime for bags. I found that out the hard way I went up there. Yeah. Yeah. Plus, you know what they pay for in a house. Oh, that's what I'm saying. I'm just... I grew up to. It's like a little shackside compared to here. Yeah, yeah. Exactly. So where did the name below come from? That's not your legal name, is it? It is. That's not. It's my last name. B-L-O-W. B-L-O-W. How many people spoil your name and say below? How many people what? Spoil your name like say below instead of below. You know what? A lot of people... Most people, when they first pronounce it, it's below. And then a lot of people say below. And then a lot of people ask me, well, how do you pronounce it? I'm like, look, just as long as it's spelled right on my check, I don't care how you say it. You know what I'm saying? Because I've never heard that name before. So when I saw that name, I'm like, that must be his... He did that name. That's your name that you put on for stage name or something like that. I didn't expect that to be your real name. Yeah. Yeah. That's my real name. That's a pretty cool name. Where did it originate from? Do you know? Louisiana. Really? Yeah. I think at one point it was originally B-E-L-L-O, which would probably be pronounced as Bello or something like that in French because my dad's Creole heritage. All his people are from France. He's immediate. Well, his great-grandmother and grandfather was from France. So there's a lot of that French going on. And then somehow down the line, it got changed. I want to say almost everybody's names. Because I did a family tree the other day, creating it. And you'd be surprised how many people, the parents, the great-grandparents, somebody spelled the name incorrectly and they just didn't go and fix it. So all of a sudden now you have a totally different name that's spelled, pronounced the same way but it's spelled differently. Right. I'm like, why won't you go and make sure it's properly spelled? You know what I mean? Because when you're tracing back your heritage, you need to have that proper spelling because just like your name, you said if it was spelled B-E-L-L-O and you're going back to search back in France and so forth, it's hard to really know for sure is that what it was. You know what I mean? Absolutely. So when you think about Dallas and some of the things that didn't happen here, I always ask all these questions, you know, as far as the music and the way the scene of Dallas feels. What do you think? How do you feel about it? Where things are today? Where they are today? I think Dallas is at its highest level of potential more than it's ever been ever before. Wow. And I think it's like that because of the internet and how communication is so much more possible now. You know, I think back when I was coming up in the music game, all we really had is, you know, the phone. And this city is so spread out. You know what I'm saying?   You know what I'm saying? Like, you know, he's Elio. Shout out to Elio. Yeah, I'm loving it. I'm loving it. I mess with him. He's about to come back on the show too. He's on his YouTube thing. He running. He out there trying to get it going. He said, I'm doing this YouTube. Let's do it. But y'all see what each other is doing, right? So he knows he can reach out to you and vice versa. And then, you know, when you were looking for me, he knew where to find me. Exactly. You know, it's just the communications. Yeah, the networking possibilities are so much more broader now. Than what it used to be. Than what it used to be. Wow. I think the music is, I'm loving it. You know what I'm saying? You're loving the music. I'm loving to see cats like Yellow Beezy and, you know, all of these other cats, you know, come up and really go out here and get deals.  I really, I really hate to see how things went down, but, you know, that's over. That's over my head. You know what I'm saying? But I really would have loved to be able to see, you know, them come together and do some stuff. And really take this city over the top, you know?  We still, I think we're going to come right back because there's another kid out there somewhere right now that's very talented. I don't know who he is, but it's always, you know, time changes things. You know that. And when he pops up, it's going to, the red carpet is laid out for him because of the way that have been paved thus far. What you're saying? With it being at the scale that it is now, if a guy got some talent and he stepped into that, and I've seen some of these youngsters come through here. It's just a matter of time before one of them click. And when it does, it's going to be on because at the end of the day, the work has already been put in place. What do you think? Absolutely. That's pretty good, right? Oh, yeah. I think, you know, people put that work in.  I have a question. In the many years you've been in the music industry, have you ever seen, when you're talking about music industry and yellow beads and so forth? You know, you always have the beefs in between, you know, artists and so forth. Have there ever been a time where they say, you know what, let's just come together and show unity. You know what I mean? Let's end this, just to show that they're bigger to have an influence on the people who are watching. Has any artist ever done that, ever, that you can recall? You mean like from Dallas or just in general? No, just from in general.  You know, you have all of the different artists that always had, you know, beef. I would say, if I had to say, you want him to say or me? Both? Yeah. I think Nas and Jay-Z, they try to do it. That's a great example. But it was after everything had already been, it was a later on. I think Gucci and GZ, GZ had a hard to do it, but it was, when you got bodies in the situation that we got loved ones have lost their lives, man, and you come in and you do a versus like they did, it's hard to put something together like that because there's so much tension. If you try to set me up, and my life was on the line, then I don't know how receptive I would be to coming back together after so many years. Yeah. It would be hard to get over something like that. You know? I understand. You've seen it, right? You've seen the versus.   You know what I'm saying? And you just blessed enough to make it up out of there. Man, it was close. Yeah, you don't know how that's going to affect, but you don't know what kind of effect that had on him. Well, you know it had. It had a big effect on it. Yeah. Think about it. Look at his whole career. Yeah. You don't realize that when that happened, he was gone for like a year out of the music. Right. He didn't cut. He wasn't doing on me. I remember that. Yeah. He was hot right then when that song came on. But then after that, he had to fight for his life. Yeah. So it had to pull it back from his career. Now, look at what happens after that. From altercation after altercation, ice cream, tattoo on his face, people, you know, people going in on him, but he still had good work ethic on the trip. They were saying he was crazy. I remember all this when he's super talented. This dude's super talented. Work horse. His work ethic can be denied. Yeah. And you know, that is just, you can't put something like that back together. Yeah. You know what I'm saying? It's hard then you say, I want to put them together. I don't know who made that call. Think about that for a minute. Hey, man, I want you all to do it versus you. It had to be some money involved or something that seemed like a lot of tension. That's what overcomes a lot of things is the money. If it's enough money, they both will do it, which they did. I'm glad that in the end, they ultimately were able to be in the same space and at least hash it out. You know what I'm saying?  And I think, you know, there was at least some kind of dialogue. You know, that was started in, you know, both of them went their separate ways and was able to, you know, to move on. But I think it was good for the culture. Yeah, yeah, yeah, yeah. I really do. I wish more people would do that because it set an example if you can be the bigger person. I know that your life is at risk and it's hard to trust people because you have to always wonder, are they doing it to set me up like what y'all were talking about? But then it's a bigger picture. Life is bigger than just us. Yeah. It's who you impact. You know what I mean? That's why when we started this and I've met so many musicians before this, I didn't realize how powerful these mics are and how powerful, because I'm not one of these people that listen to music and go out here and do whatever they're saying, but you do have a lot of people who do. You know what I mean? That's the thing.  It's like, how do we show these kids and sometimes even these adults that this is entertainment. So you take your kid that's not raising that kind of environment and then he listens to the music and this whole thing about how music doesn't influence people's behavior, I think that's the biggest joke ever. It does. It has some kind of influence one way. It just, who's strong enough to look at music and the words in the music and be like, that's just entertainment. I know that I'm not supposed to go out there and do that. Take a middle-class kid that's brought up in a situation where he don't have to go out and sell dope, you know what I'm saying? But he looks at this lifestyle and his music and it becomes attractive to him. You know what I'm saying? And he goes out and does some of the things, not because that's what he could possibly... He could afford it and everything like that. But he really not even cut from that cloth, but he wants people to view him in a certain light. You know what I'm saying? He wants to be like the rappers. You know what I'm saying? And he goes out and he commits whatever crimes or does whatever he hears in the music and he sees on TV. He wasn't strong enough for nobody was there to tell him that's just entertainment.  And not explaining to him, hey, a lot of people that take that role, either they were brought up in it or they just felt like they really didn't have a choice. You have a choice. So some of the people that you've worked with, some of the bigger names that you've seen, have you ever seen anyone come up to these people and said, man, you've changed my life through your music? Yeah. I've never heard anybody say that to them per se, but you can just kind of tell people approaching. Their energy, right? Yeah. Like who? For one, Pimp C. You know what I'm saying? Just the love that I saw him get from people when he was out and about. It was just always, when people saw him, it was just like they were glad to see him. It just kind of felt like you could just see it in their eyes. They really didn't look at him as a celebrity. Even people that didn't know him like strangers, they didn't look at him as a celebrity. They would say, hey, what's up, Pimp? They speak to him like that. I really never saw people that was like starstruck because he had that ability, both of them, him and Bun, they had that ability to be the rap stars that they are, but kind of be on that level, that down the earth level, to the point to where you feel like you can approach them that way. You know what I'm saying? Super dope dudes, man. Like I said, I met Bun. I didn't get to meet him, but I met Bun, me and my wife and my kids. All four of my kids was with me in Vegas. He stopped. I was like, my daughter wanted to take a picture with him. She was like, dad, I'm going to take a picture with him. She was excited. He was like, hold on, hold on. He just pretty much took a picture with all the kids, all four of my kids. I got pictures with all four of them. One at a time, I think. It was one at a time. But anyway, I was like, man, I appreciate the love and respect. And I say, you dope. You're the only one here that got your whole family with you. He's seen that in the midst of what I was doing. I was trying to show them business, really. I wanted them to see the business side of what we do. You remember that day, right? And it was just a dope time. But definitely, man, I always looked up to those guys for what they brought to Texas, for the South. Them guys are patriarchs, you know. The way I found you is I heard this right here. That's what I heard. Yeah. That's how I found you right there. Yeah. It's not fun. So is he right? Did you stop because it wasn't fun no more? I mean, you just said I wouldn't go deal with it no more after Pimp C.L. Man, it was a combination of a lot of things because I had, you know, after Pimp died I was still heavy in the music and still wanted to do it. But it really wasn't fun anymore. And I didn't realize that it wasn't fun anymore until a little while after he was gone. You know what I'm saying? Because Bun and I did manage to put together some other great producers and artists and things like that after Pimp was gone. But after we did that and I wasn't working on anything much after that. And then it just you know, I was getting a little older. You know what I'm saying? And my taste in music was changing. So I really wasn't hearing anything that inspired me because I feel like if you're going to work on a particular type of music, you have to be a fan of it as well. So when you hear things, you know, okay, I'm loving it. I just wasn't hearing anything that I was loving anymore. My taste in music was changing. My priorities and my life was changing. So it just you know, and then on top of that, you know, not working with Pimp. Yeah. And it just kind of it wasn't like I just set up one day and just say, you know what? I'm just not going to do this anymore. One day not working on music turned into two. Two days turned into three. And you didn't miss it. That's the main thing. Yeah, that's what it was. I really wasn't missing it. When you working on the music, don't get me wrong. I love working on music but it's a very taxing activity. Many long hours. A lot of long hours. A lot of long hours and a lot of a lot of it's a after a while it becomes a mental strain. Wow. And do you have family like wife, kids? No. Because I was trying to see, you know, because you need time for that. Right. So I was trying to see how much time you had. Now one thing I was trying to do was get myself in a position so I could, you know, maybe get myself a family. Okay. So to be real, I mean that music thing, it don't always pay the bills. Yeah. So I'm like, okay, well, you know. And that's crazy you said that because a lot of people make you feel like music industry, oh, you getting paid. No, I think that's a persona they have to portray because you fake it until you make it and you want people to look up to you because I've taken a different outlook on that now that I've began to venture into all my interviews and I feel like if a person put their money up you fool all these young kids who are looking up to want to do that. Yeah, but that's their hustle too. So they're putting money up for their brand and they're enjoying it when they're doing it. Yeah.  And now you say, well, that's not real. They don't really have it like that. Yeah, but they done it. Yeah. So I can't disrespect it. Yeah.  Yeah. Yeah. And, you know, a lot of them, you know, a lot of them have money already and a lot of them have people with money behind them so they can they can keep up that lifestyle. And then, you know, you got some people that feel like if they can't do music, then they just can't do nothing else. Nothing else. And I ain't never been like that. You know what I'm saying? It's like I pretty much do my whole music career. I pretty much held down a nine to five at one point or another. There were times when, you know, I say you receive some nice little music checks and I was like, okay, well, I can do this for a time. But you living off that money, you know what I'm saying? And then when they start getting low, like, well, now what am I going to do now? I ain't getting no big checks no more. So it's like go give me a job. You know what I'm saying? Go nine to five it out and, you know, just keep working on music, keep pressing on. You know, I get it. With all the years that you've been in the music industry, do you ever try to give back to someone who is upcoming? Try to teach them things that you want. I've had a lot of people that, you know, that have met me and they've had kids or cousins or relatives that want to get into business. And I tell them, you know, whether it's teaching them how to work the equipment or, you know, giving them whatever knowledge I do have of the music or the business side, you know, I give that to them too because I know how it is to dream.  I ain't I'm never going to tell a kid that I'm never going to tell anybody that, you know what I'm saying? Because I know what that hunger feels like.  It's possible for everybody and it's not going to turn out the same way that it turns out for everybody. I mean, look at all of the football players that are talented enough to go to the NFL but just don't make it because you can only put so many people on a team. You know, I'm pretty sure there's so many cats out there that never made it to the NFL that's way more talented than some of the guys in the NFL but just don't make it because the odds just didn't work in their favor with whatever reason that is, you know what I'm saying? I agree. Yeah, so that was something that, you know, I kind of had to realize about the music business and like, you know what, if if music don't work out for me it ain't the end of my life because I believe in God and I know he going to have me either way it go. Wherever I end up is where he led me. So I just, I let him lead me. Hey, man. Hey, man, so let's get into it, man. So switches and dojo, like, like did you help him help with that whole Underground Kings project the whole thing? No, I don't I don't work like on two songs. Two songs? Which songs was it? It was switches and dojo and like that remix. Like that. Yeah, yeah. Yeah, yeah.  It's a version that little John did and then the other version is one that I did. Yeah. Yeah. Yeah. So how did you how did you end up in the situation even dealing with UGK? Well, I met them through mail from Trill Entertainment. Okay. Yeah. Two cast that was over Trill Entertainment, which was a mail and another cat named Turk. Okay. And I knew mail first a partner of mine named Kurt B. Shout out to my boy Kurt B. He introduced me to mail and mail at the time was they're from Baton Rouge. Yeah, Baton Rouge. That's when he dealt with Boosie. Right. Right. That was that during that time period that that's how I know they linked. Yeah. So you met him. How did you meet those guys? I met them through Kurt because Kurt was another friend of mine because I went to Southern University. Okay. In Baton Rouge. Got it. And I met a partner of mine. His name was Kurt B. And he's just he's one of those type of cast man that can just talk to anybody. Yeah.   Me and him became real cool. As a matter of fact, I'm his daughter's godfather, you know what I'm saying? Yeah. But anyway, he introduced me to mail because mail at the time was just starting up in the music business and he had another artist named Smitty, Smitty the Pimp. Okay. Back then. And he was looking for somebody to do music. So that's how we got connected. And then as time went on mail started dealing with Boosie. Okay. You know what I'm saying? And then I did, I did some music for Boosie. And then I came back to Dallas and then When did that you did the music for Boosie? Oh, that was back in when he first started out. No, he had already did the album with C-Loke. Okay. He did that album already. He was in that transition from leaving that situation and then going into a situation with mail. Okay. And that's when I came in and I want to say, oh man, my memories just terrible. I want to say I've had to be about 98, 99 or something like that. Okay, okay. Whenever he was transitioning into that situation from C-Loke to mail, that's when I came in and I worked on some of the earlier stuff he did with Trill Entertainment and then I came back to Dallas for a little while. And then while I was in Dallas, that's when mail and got with Turk and then they started they basically started Trill Entertainment and then they got with they got with Mouse. They found Mouse down there. He's in bad religion. He ended up making some really, really big songs for him. So that's kind of, you know, he kind of got in that position right there.  Are you going to get back to it? Yeah, yeah, yeah. But that's how I met Pimp. Was through mail. Because mail and Pimp was tight. You know what I'm saying? Because I think mail had stayed out in Houston for a while and then I think they met some kind of way him and Pimp and then they became tight. And they started talking about starting Trill Entertainment together. How was that meeting? How was it meeting Pimp? Just he was just a cool person like he was when he met other people, right? I was thinking about that the other day. It was funny because I was like, man, I remember the day I met Pimp and Bun. You know what I'm saying? Yeah. At the time, mail had this house, you know, where it was doing all the music at. It was really just like a house where everybody kind of hung out at. You know, I used to go over there. My equipment and stuff set up over there and I was just making beats all day. He just, he had these big old 15 and Seren Vegas that I used to love. My love of Seren Vegas. With the orange, wasn't that all? Oh yeah, he had that orange rim on. Who it was? He told me Pimp and Bun was coming over one day. And I just remember being in that room all day.  I got to have it. When they come in there, they're gonna hear it. They're gonna have to mess around with it. You know what I'm saying? They're not walking about here without no music. That's just all I just had my mind made up. So I worked on some beats all day and I came up with some really hot stuff. Yeah, some bangers, man.  They hang out all night. So I think of like 12 o'clock in the morning, they showed up over the house and they came in the room and I was working on some tracks, man. And they were like, yeah, man, you know, play some play something for me. So I hit that star button, man. They got that stank face. Yeah, yeah, yeah. They both looked at each other. They were like, he got it. He got it. That was a good feeling though. Man, it had to be. It was a good feeling, you know, to be able to meet those cats like that. And I had been looking up to them for so long, you know what I'm saying? And I already think to the music part, you know, me and Pimp, I actually feel like me and Pimp were like musical kindred souls, you know what I'm saying? Wow. Because it's so funny. When I first started working on music, you know, I was just just getting into that, that whole damn, am I doing it right? Yeah, yeah. You know, am I using the right sounds? Uh-huh. Am I using the right samples? You know what I'm saying? So at the time I was back with the eyes of the brother sample. Yeah, yeah. And I had a role and I was sitting and listening to it. And I, you know, I was I just kind of learned how to sample and sequencing and getting all the drums and stuff together. And I was like, oh man, I wonder if that's jamming. I know I like it. Yeah, yeah, yeah. I wonder if it's jamming to somebody else. And then probably about a week after I did that beat, man, I'm riding in my car listening to the radio. Yeah. Yeah. You got it. I must be doing it right. Yeah, it was them. I said, I must be doing it right. I must be doing it right. What song was that? That one. Tell me something good. Yeah. Tell me something good. That was the first one I heard. How old was you when you heard that? Man, I must have been about, what, 15, 16? 15, 16. Me, I was a little bit older. How old are you if you on my math? 49. Yeah, I'm one year older than you. So I just feel tracking me. I never forget that day, man, when I heard that song, just like you just explained it. Yeah. I told, I tell you that all the time, Donna, when I heard that song, I knew, I knew they was cold. I had to, I had to find that music that, uh, what, what too hard to swallow. What was that? What, what, what happened was that there had to be. I think too hard to swallow. That was that was, uh, that was the first one had to be. Well, I'm telling you that was it. You know I'll just tell you that was it, man. I just know when it, when it came out. No, that wasn't it. You right.  Uh, do, do, do. Yeah, B-O-B-U-N-B. I just remember the songs. Yeah. I know what order they was in. You know what I mean? That's when you really, so you, you had made that, made that just listen to that beat and you was thinking that's a hard beat. Yeah. Like I used that sample. That sample. Yeah. And I was like, man, I wanted this was a good sample. And then when I heard, when I heard that song on the radio and I saw that, you know, he used it and everybody was loving and I was like, okay, I must be doing something right. Like I must be choosing the right samples. I must have, I must have that sound or at least know of that sound that other people won't. Too hard to swallow. Yeah. It was too hard to swallow. Yeah. Yeah. That was it. I just know that thing went hard, man. Me and my partner shout out to that boy, we argue all the time about who the G and UGK is. Oh. Oh, man, low D's. That's yellow B's is a melody. Yeah. Yeah. I know him. We go, we go, we go back and forth. I call him, man. You crazy, man. Yeah. But he got songs with with a, I see only you saying that because you got songs with them niggas. He's like, nah, they ought to see. I'm like, whatever, man. You never give me to say that. Yeah. No, I love him both, man. Me too. I love both of UGK all day. I gotta say UGK because I remember where I was at, like I just know the feeling I got when I heard that. Now, that one lead down from eight ball. I remember that where I was at. That thing went hard, man. Yeah. Yeah. Mr. Big. Mr. Big. Mr. Big, man. When they when they got with that dude, T-Mix, man. Yeah. Yeah. Yeah. Yeah. Production, when they stepped that production up. It was on. They got down in Houston and went with Swab House. Swab House. Man, I remember being at Southern, man, listening to them. I always think about Mr. Mike, man. Oh, you Mr. Mike. You know, I was asked people, then I asked, I think I asked Pud. Pud said he was Big Pud. Big Pud said he was still down there. You know, yeah, I'm looking for that cat. I'm trying to find, I'm gonna find him. I've seen some of, I don't know if they were recent, but I saw him in some interviews. Really? I gotta look him up. I'm gonna go. Two years, yeah. We went to Houston and done some and I'm gonna go back. Yeah, I'm gonna get it. He was cold, bro. I loved it, man. He was cold. Yeah. KLC that was on it. Who else? He's Leo. I'm going through everybody running. Running Spence was just on here. You know, I'm going through everybody just talking about pimp. You know what I'm saying? I just love the fact that got lined everything up for me, man. That's what this show done became something like, like when you really think about it, my people are centered out. I gotta get going. I'm gonna get him. I ain't even tripping. I know God. God to put him right there is man that all of these people said was just surrounding that career.  Oh man. Something that was something just something that nobody would know. I don't know because like me and pimp like I went down and stayed in his house and that when he was living in Atlanta, like the whole summer, I think that was back in I want to say 98. I remember when he was living down there. Yeah. And I just I went down there and pretty much locked myself in his basement. Wow. And barely came came up for air like he would be upstairs. I'd be down in the basement and they go out and party and stuff like that. I'd be down in the basement working on tracks man. Wow. But one one one thing that really really stood out in my mind we we never really we never really hung out one on one until this particular time and I was in Dallas and he was in Houston. This was not long after he had gotten released out of prison. Okay.  So I went down there and it was really man the whole weekend it was just me and him he was living at the you know the high rise apartment down in Houston over there by the by the mall and we just hung out man we just hung out like we hung out in his apartment we didn't really even work on no music really no music. Yeah he was just like taking a bunch of business calls you know trying to you know handle some things and we go out you know in the evening just ride around that sticks out because he was just focused on just hanging out. Yeah it wasn't even don't know it wasn't even on no music thing it wasn't even on no business thing it was just you know I'm saying because we we I was working with him before he got locked up and then you know he pretty much he went when he went got locked up you know that kind of just things came at a standstill. Yeah man I missed him during that time. Oh man we all did.  He had that golden voice man his delivery was was like like no other man. Yeah. So how did how was this process because I know K.L. say he was like a genius when he come to the music. How was this process to though to when you seen and make music. He just knew what he wanted man. Yeah. He knew what he wanted like and he was quick to you could hear him like I remember when I was living with him in Atlanta you can hear him like he be humming things you know in his head and he go right then and go work on it you know what I'm saying like he'll go because he had his his equipment set up you know upstairs and then mine was set up downstairs. Wow.  No it wasn't never like that. Never like that. It was y'all just making music together. Yeah like I'd be down. He said you was like his protege or something that's what he did. Yeah because because really man because I had been making music before I had met him. Okay. But like he knew that my drums could use some work. Okay. So he introduced me to the Roland R8. Okay. Which was a drum machine that he was using and people used to tell me all the time he said man I do much really like you man because I ain't never seen him show nobody how to work that drum machine. Wow. And yeah so he showed me how to work that drum machine so then I started incorporating the sounds and that drum machine into my music you know what I'm saying. Yeah. And was just really getting familiar with it. Man. But yeah I remember one time man he was working on the beat to Chopin' Blaze. Yeah yeah yeah yeah. And I was downstairs and I could hear the beat going don't don't don't. Yeah yeah yeah.  I was like you got it. So late on that day um the power went out he was working on the beat and back then you know you got the ASR10 and uh I don't think he was working on the MPC back then now he was working on the the R8 and the ASR10 and he was working on the beat working on the beat and he had it going.  Man he rapped that all over. All that power went out he lost that beat. What.  He had to make that one again. He had to start it all over again. He went back and got it then. Yeah. It was in that era. It sounded just the same. Same. Yeah. Just the same as you had before. Man. That had to because I would have baited not to get that one. Yeah. Boy that one right there. That's a classic. Woo. You hit the club but it boys kicking back.  That thing was a problem. I already know it was man. So when you think about because I think one of his sons is locked up right now. I just found that out. Yeah. Me and yeah. I've been in a view with his mom and he's Leo and you know some of the things that she was saying how you know everybody you know keeping them in good spirits I'm like what's she talking about. Yeah. I put two and two together I said well he must be incarcerated I didn't know that. So didn't any of his kids ever come around when you was hanging out with him or staying with him? Yeah. Chattie Boo. Chattie Boo was staying with him at the time. Wow. Which is his first son.  It's got to be hard for those guys man because of being under such a shadow.  A legend. And so much expectation under that that have to be something else bro. Yeah. People don't think about it but anytime you see something like that going on I always think about it. I'm like that's a big that's a that's a big shadow to be under. Yeah. And people looking at you and they expecting or wondering or thinking and then you insecure. Yeah because you insecure. You're young you're young and you trying to get to know who yourself is. That's right. Just because you know that's who your father is doesn't necessarily mean that that's who you are that's who you're going to be. And you know now you're not only trying to get to know who you are as as your own person you got everybody saying who your dad was and what your dad did and how he was and you know so you that kind of gets in the way of you finding your own you know identity and then you start feeling like you have you have to live up to that. Yeah. I'm saying but you know I don't I haven't seen either of his children. Yeah. Wow. So I don't know if that's the kind of. No no I'm just thinking of how I would have. Oh yeah absolutely. I would think if I was in that situation. Oh yeah. I'm sure something that they have to you know. I'm sure something that they have to deal with. Yeah. It have to be man. So so far as a bond what's the situation you and bonding been in.  So when it came to you and bun did you ever have to process the music right there on the spot with bun to make any music make any other songs that y'all y'all did. Not really like it was we just had to I just had the time to work on the music and then you know I would present it to bun you know and if he liked it you know he liked it then he worked with it. It really wasn't like when we worked on Trill OG there was some on the spot song making or producing studio but but not much like a lot of it like we would go like I would present beats to him like on a CD he'd listen to him he like yeah I want to mess with that and then we go to the studio and record them we work on that recorded at studio and then you know once we you know part ways at the end of the day I'll go home and go work on some more stuff and then present it to him the next day or whenever I had it ready. Wow. So it really wasn't like any you know working on the stuff you know while we was both there yeah yeah I kind of by yourself by myself okay yeah switches and dojo so how how did you process that man that was I think the one of the biggest qualities of that song is is the sample that's in it man that thing sound them good toys and stuff man as a beast yeah do you hear me I mean the song is it where did how did you do it how was it I can ask you because you know how it came together it was you know and I love I love how it all came together because it was just like one of those like magical type of situations I was riding with my cousin Greg in his car and he was listening to this you had this like zydeco mix CD or something that he was listening to and one of the one of the songs on it was this song called step to you by step Rito was a zydeco artist okay and I was listening to it and I love the melody in the song I like it and I asked him who it was he said yeah man that's step Rito I said man you gotta give me a copy of that CD man I think I want to sample that you know what I'm saying so then he burned me a copy of the CD I took it home and just really just started messing with the sample man and I I wanted to use another part of the song but one day when I was working on the song or when I was making the track earlier that day this chick I was dating at the time it broke up with me and it hurt me and that makes for better music yeah it hurt me she hurt me I ain't gonna lie I ain't gonna sit on the mic and be like I ain't never been hurt it hurt right here you can't get away from that old story and y'all sick and uh that part the part that I sampled the part that I ended up using because I couldn't I had another part that I was using but I couldn't get the chop just right the sample chop I couldn't get it right so I found another part to use I say let me just use this in the meantime and when I heard it when I heard that particular part it just caught me because it kind of sounded painful it sounded painful you know what I'm saying and it just made me sit there like yeah it was kind of like a release it kind of felt like a release almost and then I'd actually just put it on CD and I was like you know what I'm gonna go back to it I'm gonna use the part that I wanted to use but I ended up sending the CD and it was really it really was a song because pimp said man put me by seven eight beats on a CD and sent it to me so I had all these other beats and I was like oh yeah he's gonna love these he's gonna love these and it was like seven songs and I needed one more track to put on there and Swishes and Doja was that one that was the last one I was like you know that it's tight but I just I can't I really can't hear UGK on it you know what I'm saying and he hit you back he hit me back man that last one you got on that man that boy so that's the one they ended up using man that's the one they ended up using when you see these guys come out like that man and they do what they do far as the way the finish and touch when they come lyrically on it man what do you be thinking or what did you think at the time you know when I heard it man I was like that's why I'm the producer and they the rapper and I was like man I was like I was wrapped on it and I heard it I was like I was like man you got a lot to learn because you didn't even really hit them cats on that track and they are ripping it and it was at that moment in time man where I was like man because I used to what I used to do when I used to present beats to artists I used to put like tracks on there that I think they'll sound good on and right there is when I learned just put everything on there because you just don't know what somebody else is you know what I'm saying because that's just like me speaking for them yeah yeah yeah you don't know what they are going to do with what you give them you can't speak for nobody else in what they are going to do you just got to put it out there give it to them and see what they come back with because you never know what's going to do with somebody your top 3 artists of all time I always ask that question top 3 artists of any genre top 3 look how she didn't say nothing this time that's funny to me you must be chilling I purposely did that my wife always say something she was like any genre because she don't want it just to be wrapped but she didn't say nothing tonight it's your preference she did say it's your preference number one of all time I may have to say Prince Prince Stevie Wonder number 3 of all time that third one I always get them don't I because it's so many yeah I know you like I don't know yeah that third one will get everybody I may have to go with rock him rock him that's the first rock him Eric being rock him with hard man they changed it bro they changed the whole game that's the first one them and them and LL those LL did this thing they made dudes start rapping I don't know why I thought Brunda got a big ol butt when you said LL that beat that beat was crazy wasn't it one of my favorite songs from LL was Jack the Ripper not necessarily because it was a Kumo D-Diss just the way he man I like the way he came on that song man I need love was a bad song because nobody expected him to sing that like that during that time he was like one of the first to cross that to cross over that whole situation nobody was doing that nobody was doing that he was the first one but he did that head sprung too in the end when I took you to see him that head sprung man I love that that dude go on and he underrated too I remember Brunda the first time I ever saw LL on anything was I don't know if you remember I've been around here a long time Brunda 48 on Brunda you remember that what grocery store is that now but it was on Brunda and Prairie Creek yeah that's a it's a barbershop with cuts right there now now that's over one that's like June so Brunda would be over is it Brunda and Prairie Creek you sure yeah Brunda and Prairie Creek because it's the same street that Samuel is on Brunda and Prairie Creek that's right there it was the same street that runs alongside Samuel but anyway it used to be a Tom Thumb right there and then down further down the shopping center at the end of the shopping center was a movie theater they tore it down they tore it down but Crush Groove man and he walked in that room he killed it didn't he he went in man and it was like BOT and man let me tell you when that song dropped everybody in that movie theater man it was party I know it did I love that it's funny and I can say this to you but like when you see rap come on the scene you can see rap I'm old enough to where I remember when rap started and I remember when it was just R&B I feel very privileged to have seen that whole thing right watched the birth of a music that has changed this world forever for so rap has changed this world forever I agree with it 100% man that's something that and it made a lot of entrepreneurs as well a lot of entrepreneurs man I think that helped our people man so when you I'll ask you I'm not going to hold you up too much longer when you think about the music man what's it going to take to get you back into music so I can get some more music out man that's what I need to know I don't want to hear that you know what man you know I haven't just stopped it all together we gotta find an artist that's dope we gotta be a dope artist well here's the thing um I've been working on stuff for myself and I'm stepping into the southern soul blues and the zydeco get out of here and what's been happening with me man is I've been I've got some stuff I've been working on for myself because I've been working on it, writing it, producing it and recording it because I can hold a tune and I've been messing with so many different genres of music to the point where I've been saying well you gotta you gotta make up your mind and choose one and then I was like well why not just do all of them I just made it up in my mind to do the music that I like to listen to and put it out there and just let the people people judge for themselves I can't wait to hear it you gonna come back on the show so we can talk about it what are you putting it out we'll put it out by the summer we'll be here and you gonna come back on we do a little listening session you'll be the first show I hear that's all I wanna hear right there man I'll say the same, God say the same we're right here doing it man releasing it right here just talking about the process of the music again I'm gonna be dope man, cause you're a dope dude man I appreciate you for coming over and blessing our platform man I know you could have been a million places but you're here with us tonight no thank you so much for coming man like I said it's a blessing man you don't even know man I just to hear those stories man and that's where I'm at with it I just love to hear about what was going on with Pimp cause I'm a big fan of Pimp and my wife heard this ever since you gonna keep me out of here it's so much to be told about the cat man he touched a lot of people him and Bun I don't play Bun, only thing with Pimp is those beat making and he even said that Bun even said it was so much to him but then at the end of the day I just come in there and do my thing he already have it ready and Bun was quick with it too when it came to the music Pimp see down during the time when he was gone I could go in on that because he held him down I ain't never seen no other artist holding nobody down like that when he was gone for about what four years four years right and Bun was out here working man that free Pimp see thing was going down that held us on I don't care what nobody say bro cause I know there's been a lot of things said as far as what their relationship was like some dudes was each other's brothers man you ain't got to tell me that let me tell you something I didn't been in a room with both of them without the other one for lengthy periods of time and ain't now one of them ever said anything bad about the other one in my presence anyway already you know what I'm saying and I know for a fact just by being around them cats I know that Pimp would have went to war for Bun and Bun would have went to war for Pimp and all that other stuff I don't know about it, don't even matter to me but I know what they meant to each other at least I feel like what they meant to each other that's what matters to me well every time you know when you look at someone passing away it always is people have whatever thoughts or whatever but Bun to me like I said you see what he done his work you can't deny it you can't deny that he went in you know like I said it was an untimely demise first of all but the way he went in when he was in prison it just sticks out to me nobody has ever done that bro held somebody down like that you know and everybody was riding his back too he was keeping the music alive man every artist that was out during that time the Jesus and all those people Bun was somewhere ripping him apart with a verse he was killing him he was hurting all of them man they knew it though they respected him he was on with Cash Money he was doing with GZ he was killing it man shout out to Bun man that's a real one there but man hey man thank you so much for coming on the show man see below we love you bro we love you man and you always welcome to come here if you call me and say such need to come on there or some talent out there or whatever the case may be man try my number you can hit me up man for the show man hey man you know what you might know what it mean to me to be here with you bro for real man thank you so much man it's been another great segment of boss talk 101 oh yeah


U18 Curling national championships boys gold medal match team fencing for team Mark Court. The skip Riley fencing is going to go for the takeout here and he doubles up nicely done. They're up 3-1 going into the fifth and that was a difference maker. Fencing had the hammer and he delivers big. Here's an overhead shot. Count them four rocks in the house. That would be your dagger. Team Fencing is your boys gold medalists. Really great experience to be able to play in this and to win it even more. It's a really great event that was set up and it was really fun and I had a really great time winning it and it's really great. So 10-1 the final score just a dominating performance from start to finish for team Fencing. If you enjoyed this segment of Lakeland News, please consider making a tax deductible contribution to Lakeland PBS.


Hello, I'm Steve Nunn, President and CEO of the Open Group. Welcome to Toolkit Tuesday, where we highlight the various components and leading experts of the Architects Toolkit, a collated portfolio of the most pertinent technology standards for enterprise architects. During the series, I'll be calling on a number of recognised experts who will bring their particular insights on how to most effectively use the various tools in the Architects Toolkit. We'll have a mix of interviews, panel sessions and pre-recorded presentations along the way. While all standards of the Open Group are designed so they can be adopted independently of one another, the greatest value for an organisation can be derived when they're used in unison, for some of the parts should be greater than the whole. In the Architects Toolkit, we have collated a portfolio of the most pertinent ones for architects, together, all in one place. For most of these tools, certification from the Open Group is also available, so practitioners can demonstrate that they have the skills required and recruiters can take the guesswork out of the recruitment process, all backed up by our Open Badges programme. V-I-E, my personal mantra, viability, integrity, extensibility. Three words that sum up the responsibilities of an architect in any solution mode. One, is it viable? Will it work? Will it do what it needs to do? Not worrying about how well it does it or how beautiful it is, or if others would even do it differently, just does it meet the requirement? Our fundamental purpose. Two, integrity. How well will it perform from an integrity perspective? Does it damage anything else, any data, any processes, any customer experience, or any other systems it interfaces with? We have an obligation to protect our current estate and operation. And finally, extensibility. Have we left enough doors open so we don't prevent ourselves from things we may want to be doing in the future? Have we closed anything off unnecessarily that could potentially build building harmful technical debt? So that's it. V-I-E, viability, integrity, extensibility. Well, welcome, everyone. Welcome. And a great intro there from Paul Herman of IBM, reminding us of the importance of V-I-E, viability, integrity, and extensibility. So welcome to you all. Thank you, Paul. We'll have another short video at the end of the session today, one of Terry Blevins' Toolkit Tuesday tips. But first of all, welcome, as I said, wherever you are in the world. I hope you're well. And thank you for joining us. We are moving down the path nicely on our Toolkit Tuesdays now. And every other week, so put it in your calendars. But today we are going to focus on one presentation and then another tip at the end. But before we get there, just so that you can get the most out of your experience today on the WebEx platform, I want to tell you how to ask questions here. So the Q&A channel is the way to ask questions. And if you can't see the Q&A channel, if you go to the bottom right of your screen, you'll see three dots. And if you click on those, you'll have the opportunity to open the Q&A channel. And that is where I would ask you to put questions for our speaker today. Please. And use the chat channel to talk about yourselves. And we quite often get people saying where they're joining us from, which is great to see because it's all over the world. But without further ado, we're going to move on today. And we have an interesting topic today, which is the use of formalization and visualization as part of the decision-making process. And to talk us through this, we have Anoush Shahi. Welcome Anoush. He works as an enterprise architecture consultant with EAT LLC. And as part of this, he's involved with performing work in the enterprise architecture area, including digital transformation and delivering training on Togath 9.2, IT for IT, and Alchemyte 3.0, all standards of the open group. So thank you for spreading the word, Anoush. He has extensive experience on enterprise architecture modeling projects, particularly using the iServer 2015 EA tool for large banks in the United Arab Emirates. And who specializes in analyzing the foundation and the operating model of the business for which enterprise architecture is deployed. And he is also an in-panel. There's a lead expert enterprise architect with the National E Governance Division and Digital India with the Indian government, which is the work that the open group is being very involved in as well. So it gives me great pleasure to give a warm virtual welcome from the open group to Anoush Shahi. Over to you, sir. Thank you very much for the kind words. I am just loading up my screen. So one very important thing about enterprise architecture tools is that it makes our life very much easy to communicate what we want to communicate. And we can do a lot. So RQ tool is an open source tool. You can download its Windows version or you can download its Mac version. Both of them, it works very well. At the right-hand side of the tool, you can see the pilot using which we can do the architectural modeling. So in very short, in a very quick way, I'll just show you how to use this tool so that you will have no problem using this tool. So you can see I have created a diagram here. It tries to tell a story, which you can see. I'm going to explain that in a second. But how to create a diagram like that? So you just use a pilot at the right-hand side. You use a particular instance and instantiate it. So I just took the location notation and instantiated it. I can just say that this location is new. And then I want that a device or let's say a server should be established over here. In current times, we can talk about cloud. But cloud also has got a location, maybe Asia cloud, Europe cloud or America cloud. So that, you know, it can be told as a node or any other entity of that nature. So here I'm just instantiating a device which I want to call as New York server. This is how the infrastructure team gives a name to those servers. So now I have got an interest that because this server is there, what if I am interested in knowing the TCP IP number for this? And the cost which we incurred in order to procure this server. So you can always get into the properties option of that particular entity and we can add attributes to them.  My name is Anu. So that's an attribute for me. I have got, you know, I am five feet, six inches high. So those kind of elements are attributes and that we can use in the visualization as well. So I just want to give two names over here. One is TCP IP and this TCP IP number, those who are not from infrastructure background, this number is something like <IP_ADDRESS>. Infrastructure team understands it very well what it means that it is not required for, you know, just for an enterprise to know that much, but be aware with that is a good idea. Now this server, it has got a cost and we want to put a cost attribute over here. The cost attribute can be different for every server which we have in our organization. Press enter and it has been accepted. Now you can see just at the bottom I am showing to you that this is the device I have given attributes for. The earlier device I have not given any attribute value. That means if I can, over the period of time in the practice of enterprise architecture, if I can continuously update this kind of attribute for every server, for every application component when the license is started, when the license is ending, that means we can get huge amount of information about how our business is being supported by the IP infrastructure which we have in place. So you can very well understand these tools can be like they can export all these values into an Excel sheet. We can do a pivot table, etc. Or a bit high end tool we have got an option called application report for new management. So that also can be done and we can get huge amount of information as to what is the cost of my infrastructure, what is the application landscape and you can see the hit map by the tracker option because you have got the start date of the application and licensing life cycle of the application so we can see all those things in the tools, etc. This is a basic tool so here in RTV we don't have that option but the point is the basic ingredients is here we can see that here in a big different way by transforming into an Excel sheet. One more technique I want to show you you see this is a device I can move over here I can move to the left I can move to the west and again I come back over here no one in the world here what this device is going around but relationships are very important so here in the palette you can use the magic connector and just you know just you want to connect it so I just click on this one and click on this one and you see the tool itself shows as that these are the valid relationships possible between these two entities relationships are very important so here they are all argument relationships if this is not an argument class so I will just say use the relationship which is the easiest one associated relationship for example we are like as a human being we are all associated with each other we can say that way that is a straightforward relationship so now you see the value of relationship when I move this device over here when I move this device over here when I move this device over here we know that this device belongs to a location called New York just like we have in our in our world we have passport system your passport decides which country you belong to no matter where you go so that is the value of the relationship that we just now completed how to create a diagram using the entities etc. we are done with that now here I have shown a diagram to you that a particular location where a server named PRC is there on that that realizes a particular application component application component serves the need of an application service and what is an application service for it creates or it supports a business service so you can create a diagram a storyline is perfectly fine and then another diagram where location is the same which I copied from the previous diagram and the server name is different so we can have multiple diagrams like this means different state folder perspective can be captured like this under the same folder in the tool and then just look at this I click on this location and I am clicking on the visualization so what do we see here is that this tool is able to connect many things together based upon the commonality of the element so it shows that at no other location there are two servers one server is not being used for anything while the other server is being used for a credit card business service so isn't that a great information you can have 20 diagrams and this tool will quickly connect of them connect all of them based upon the common elements and we can see a connected view the last thing I would like to show is a business perspective of the diagrammatic representation so this is a banking organization it is a $7 billion company and then it has got 35% of the business comes from the credit card services which is being realized from a location called Nevada and having application components and application services in between now the CIO who joins has been given the induction in the induction here like you formed about the uses of this tool and since she has become conversant with that down the line she realizes that oh she is the owner of 35% of the business so obviously it will hit her that she should know more about how the business is managed she just clicks on the credit card she just clicks on the credit card services and clicks on the visualization and what she sees is something very much amazing again that is know that credit card services is actually being supported in the credit card service and it is using the settlement application service application component and this is server which is being kept at a particular location called Nevada location so she books like comes to Nevada and signs out that all the servers are perfectly taken care of they are very secure and safe but she realizes that Nevada comes under the seismic zone and every quarter on the reactor scale of 4 earthquake happens so well it is not stable so maybe if we can do some other location and have a BCP plan that will be better so she recommends to the board after going back to the head office in Mumbai that you know if we can have a disaster recovery plan maintain a mirror image of this entire scenario so that in case something goes wrong at this location to our server we can switch over to our alternate mechanism within 5 minutes time so that way the board is likely to approve that request very much because this is the internal proof being owned by the organization and the board knows that these are the genuine diagram and giving information and hence the likelihood of approval for the budget for disaster recovery plan is very high so that way these tools can be used to take the strategic decision and it helps the board also and the top management also understand the value and being produced by the enterprise and the ease of communication of that so that's all I wanted to communicate thank you very much Steve Anush thank you very much that's quite difficult to demonstrate modelling in such a short period of time but thank you for doing it so succinctly and so clearly so I don't know if you're able to join us on video Anush at this point for some questions but if not don't worry we can do it without seeing you there you go nice to see your face so welcome again and thank you very much for doing that so few questions for you I mean all your experience in modelling is there one kind of golden rule that you'd share with people that you've learned over the years to guide you on how to go about modelling and enterprise architecture our modelling is as confident as our storyline when we are talking about that to the board or to our recipient so our storyline must be very much clearly understood it should be simple, succinct and it should have a business outcome inherent in that it need not be complex it should be simple, understandable but picture and visualisation is the thing which matters more in the modelling right and one thing we've heard over the years is sometimes when it comes to enterprise architecture the use of terms particularly with senior management is so important you may not actually tell them you're doing architecture is that the same with modelling do you kind of say I'm not going to tell you I'm not going to use the technical description of modelling here but I'm going to enable visualisation for you is that the kind of approach you I mean the idea is between the one who has to make the decision and the one who is prompting them to make the decision is communicate what is in my as far as an idea into the other minds and in other minds so if I can choose a very simple language to understand but if the content has got a good value rest is just using the workforce etc that people may get confused but if we just want to say the simple things you know it's a capability is very much understood those terms are not complex also and I think but you know if we want to be skilled a bit that I want to say that this is the ability of the organisation and and it is providing a particular service so a complexity of the term is not the point here if we have a storyline and simplicity of communication then visual will certainly describe that right okay and when it comes to when it comes to doing the models are you basically hoping that one size fits all that one model will work for the different stakeholders in an organisation or do you have to tailor and do separate models actually that is where the enterprise architecture tools come very much handy that is suppose we are creating a top management architecture roadmap in that we are only showing the high level milestone and the key gaps that are being updated and the work packages projects that we are showing suppose someone interested hey in that PLM governance project that you are showing over here how many activities are there how many different processes are involved in that a click down child diagram so I can just attach a detailed diagram to that and click it at the time when the question has come so I can dive into details for someone from the middle management or operational level who wants to know more and again dive back and come back to the top level diagram so this enterprise tool then called flags and visuals of the tool was clear the tool more with the flags but that is the purpose of the enterprise tool to simplify the communication and at the same time maintain that within the organization so that we can refer to it again and again which is called a blueprint okay okay that's good so if you were in a situation in a consultancy situation and you only had time to model one perspective where would you go would it be for the builder or the guy or lady who's financing the enterprise architecture or the CEO where would you target oh that is very straightforward design is top down if top has agreed just do only one diagram for top and the top says you are talking self we will use you again in the future your target is done by one diagram right right so if it doesn't have top level support then it's always going to be a challenge we've heard that in our respect yes I will say this again and again if a project manager thinks that I will do one hundred organization it will be shot down because the person might not have thought about the operational details and the cost involved etc and the budgeting itself has not been done the decision of that meter happens from top down that has been there today it was there a thousand years ago right now today your demonstration was using a tool called Archie which some of our attendees will know is an open source modeling tool there are other much more sophisticated kind of commercial tools and you've mentioned some of those so when would you kind of need to go from one to the other what kind of functionality do the more commercial tools bring yes so you know for example in Archie does not support the open group standard repository structure open group recommends that we must show preliminary phase, architecture, vision VCBDFDF and the artifacts for individual phases must be maintained in that whereas Archie is more weird towards Archie made it doesn't have that architecture often also we can create some artifacts just to prove our point but it does not give the like option like that but the tools like iServer, BeesDesign Abacus, Adwire they give a standard because they are approved tools by the open group as well so they like they give those kind of architecture repository and also you know beyond that the virtual control because these are architectural diagram and it takes huge amount of effort to freeze the diagram after talking to the stakeholder so configuration management must be there in the tool Archie doesn't have it as far as in project I doubt it has it but you know iServer and for example mega and plan view they have got much robust this configuration management like options etc and beyond that for example in mega you can add risk to each and every element and calculate the total risk of the project instead those kind of threats and risks are available in the high end tool that's great so we're running short on time but one more question I personally think this is a great thing but here at the open group we have a way of exporting files from one tool to another can you mention that to our folks please yeah data exchange is a universal option in all the tools with a high end or low end even Archie also we can transform the diagram which we made as a learner into high end tools by converting into XML file by exporting into XML file and importing into the recipient tool so it's very easy to transform and you know export and import diagrams and from one tool to another yeah the exchange file format it's a great thing so we will leave it there for today Anusha I very much appreciate you sharing your experience with us on modelling and there'll be some people I'm sure who will have a much better understanding of how to go about it as a result of your talk today so warm virtual round of applause for Anusha thank you for joining us today Anusha thank you very much everyone thank you so now we will move to as I said earlier in the show we'll move to one of Terry Blevins toolkit Tuesday tips so Terry is the owner and operator of Enterprise Wise LLC where he provides strategic enterprise architecture services he's worked in the computer industry for over 40 years and he's currently sits on the open group governing board as a director he's also a fellow of the open group so over to you for this week's tip hi my name is Terry Blevins with the toolkit Tuesday tip architects in general typically enjoy modeling that's good however you must ensure that you don't model just because you enjoy modeling this toolkit Tuesday tip is to always model with purpose from a specific perspective doing this helps ensure the enterprise moves forward based on better informed decisions so what are the implications of modeling with purpose well first focusing attention on specific perspectives when modeling means you have to understand the pertinent perspectives which change as time goes by early on your focus may be on the perspective of those faced with making decisions on a huge change that decision may be a go no go decision later maybe after a go decision was made your focus may be on the users impacted by the change even further down the line your focus may be on the developers there are other perspectives of course customers operators maintainers etc each of which may require specific models that are home to address specific concerns timing is important so address specific perspectives and do so at the right time your purpose is to ensure you have the right models for the right audience at the right time as perspectives are key the first thing that you might want to model are the concerns of the perspectives this does two very important things one it helps you understand and gain the trust of those sharing the perspectives as you use that model to assure them you understand their concerns and two make sure you are on the right track do this quickly and stay in touch with the cadence of the organization so using models to communicate concerns and get agreement on those concerns is the second area your purpose is to ensure those relevant to the perspectives trust that you understand their concerns third once you have modeled concerns model just enough of the approach for moving forward relative to that perspective you understand their concerns now model the solution to address those concerns and use those models to get concurrence on moving forward your purpose is to ensure those relevant to the perspective are willing to take the steps forward implied by the architecture as you are modeling ensure the models are congruent this is hard to do and something that may be only of interest to the enterprise architect but here is the importance of tying things together which is the purpose of this area ensure that the enterprise perspective is addressed and you as an enterprise architect can ensure that that happens for more information please check out the TOGAFRA library keep architecting for enterprise value thanks for watching thank you Terry for your insights as usual as you say model for purpose model with purpose your usual mantra of architect for enterprise value fits right in there so thank you for those words on modeling today so that's it for today's episode folks I very much appreciate you joining us I hope you got something out of it and it's we'll be keeping doing these every other week so the next one is November 30 so please join us on November 30 where we'll be looking at a topic that is near and dear to my heart it's wonderful it'll be a great event it's how to leverage open standards to accelerate digital transformation and we'll be joined by Stephanie Ramsey of Raytheon and Keith Fandenbrink and Sylvan Marie so they are going to they have together written a novel called Turning Point a novel about architects building a digital foundation and it really puts into a practical perspective an approachable perspective how you might go about using different standards open standards different times in your digital transformation journey so really want to tune in for and meanwhile if you wanted to do some homework you can download the novel that I've spoken about from the open group press area of the open group library so please go to the website and look for that it's called Turning Point a novel about architects building a digital foundation it's a good read and an easy read as well even better for now that's it thank you for joining us today hopefully see you in two weeks time on November 30 but for now I'm Steve Nunz thank you for watching Togeth Toolkit Tuesday bye bye for now


Hello people of the internet, my name is Johnny and welcome to the final countdown. Only a few days separate us and the next FNAF game, FNAF Security Breach. And after over two years at this point, it's finally gonna be here. The next FNAF game. After such a long time of waiting, we're gonna have it in the next couple of days. It's absolutely crazy to think about and I still have so many videos to pump out. I haven't decided if I'm gonna wait and only do Security Breach videos and then go back to FNAF news. Because I'm still kind of keeping up, I still gotta talk about the Ultimate Guide, just overall FNAF news, the new Fazbear Fright books. And I also have a few more videos that I do want to release before the game comes out. So if the 16th or like the 17th, 18th, sometime during that time period, you see some videos that aren't Security Breach, I'm just trying to pump out as many videos as I can so I can get right to Security Breach. Don't worry, I'm still gonna be hopefully doing daily uploads on it. Because it's a huge game and we gotta get right into playing it. But just don't be alarmed if you see a few non-security breach videos during that time. So with that out of the way, what are we talking about today? Well, PlayStation just made a brand new blog post talking about the game. They just tweeted out, Childhood arcades and teenage jobs helped shape the authentic look of Five Nights at Freddy's Security Breaches Freddy Fazbear's Mega Pizza Plex. And then they have four images. The first one is of this gigantic hallway, let's say, that we all are calling the museum. Or at least that's what we think this area of the Pizza Plex is going to be. Sort of a museum exhibit. Because in the trailer, as we're walking past Glamrock Chica's Green Room, we see cases. And inside those cases are previous items from the past games like Carl the Cupcake. And you can see this is the exact same hallway.  And you can also see the glass cases. It's hard to make out what exactly are in the cases. But in this new shot of this hallway of the museum, there are two things that stick out to me. Number one, in the bottom right hand corner, you can see three posters on the wall. And they are the Celebrate poster from FNAF One, Bonnie's poster from FNAF One that's in the right hallway. And then also the Let's Party Freddy Fazbear poster that is in the left hall corner. So there are some more items from past games that are coming back into Security Breach into this museum-like environment. Makes you really wonder, what other artifacts are we going to see? We know we have Fredbear Family Diner posters. And we know from Steelewell's interview with Dawko that did happen and I do still need to make a summary video about all of that. That's coming soon, I promise. We do know that we are going to learn more about Fazbear Entertainment's past. But anyways, the second thing is the Captain Foxy pirate ship. The cardboard cutout from Help Wanton. Now, what I find interesting is it looks like it has its own area. I don't know if it's a stage and we are going to see a Foxy or Captain Foxy little animatronic on that stage. Or if it's just a little platform to have the cutout on. I'm not sure. But anyways, moving on to the second image. We have Gregory playing some mini golf or some putt putt at Monty's Gator Golf. We're going to learn more about these images in the blog post. So I'm not going to spend too much time on them right now. The third image is a concept drawing of the map for Roxy's Raceway, which as you can see is just absolutely massive. And this is only one room in the Pizza Plex. So you can see they have a garage, a crash demo area. You have a registration info area, some bumper carts as well. And then the fourth image is the Gator Golf Lobby. This is the lobby or waiting area to go into the actual golf course. And I'm pretty sure we've seen the lobby area already in a teaser or in a trailer. And so now let's take a look at the blog itself. So this is the brand new blog post. It's called a backstage tour of Freddy Fazbear's Mega Pizza Plex in FNAF Security Breach. The story of the real life inspirations that shaped the locations design. And this is by Jason Toplowski, AKA JTOP. He works at SteerWolf Studios. As you can see, he's the creative director. When the SteerWolf development team was given the opportunity to work on FNAF Security Breach, we dug deep for inspiration from our childhoods, high school jobs, and parental party planning duties to build the most fantastic pizzeria to ever exist. We decided the best course of action was to begin with the star and center figure of this particular pizzeria, Glamrock Freddy. Everything in the Mega Pizza Plex revolves around Freddy in the new Glamrock band. Just like the original game, Freddy deserved a main stage surrounded by pizza and party tables filled with fans. However, this new stage of the art and matronic band would need even more room to move and perform. We decided to add elaborate stage lifts to raise Freddy and the gang above the audience flanked by stadium-sized concert monitors. The stage would be as updated as they are. And then they show off some concept art for the main stage. Which, as you can see, and as we saw in the trailer, actually a few of the trailers, it does lift the animatronics up. And you can see in that third panel, the giant concert monitor that they talked about in the blog. Now that we had a concert venue as the centerpiece, we needed to surround it with activities and attractions of every type. We wanted a putt-putt golf course, go-karts, laser tag, retro arcades, modern arcades, dance floors, a movie theater, everything. However, FNAF is not a series about set design. It's about horrific animatronic stars. So, we decided to design a character-specific attraction for each member of the band. Due to the ongoing adventures of Freddy and Space, we immediately went to work on Glamrock Freddy's Phaser Blast Laser Game. It was the first set mock-up completed in the entire game. Not only did we want to honor the source material, but we really wanted to include solid references to Scott's super fun side scrollers. So it seems that Freddy and Space was kind of the inspiration behind Glamrock Freddy's Phaser Blast Arena. And we might even see some references to Freddy and Space in the game in the Phaser Blast Arena. That would be awesome. Everyone in the studio looked at Roxanne Wolfe and just knew she was meant to be a racer. She would become the brutally competitive go-kart champion of Roxy Racers. The art team had a blast making her a trophy-winning daredevil in the raceway surrounding art. Not only was the location heavily inspired by Roxy's rebellious look, the raceway art then informed her elitist personality and VO performance. She is the best, and she will let the losers know it. I love that line. And once again the concept drawing of Roxy's raceway. I am so unbelievably excited to race around this track. I really hope we can. We know we can drive vehicles that was in a previous blog post, so I really hope at some point in the game we race Roxanne. That would be freaking incredible. Montgomery Gator inspired the Monty's Gator Golf indoor putt-putt golf course.  Water hazards and rock and roll iconography. We wanted Monty's to have arguably the worst hazards of any course ever. Have you ever tried golfing while surrounded by ball pits?  And once again the Gator Golf Lobby. We've already talked about this. We've also already seen it. Finally, we had to put ourselves in the mindset of Fazbear Entertainment. What do they want? What are they really after? Does anyone know for sure? What we do know is that they want to squeeze as much money as possible from every visitor. We looked at a lot of real world references to develop a Fazbear appropriate list of money making schemes throughout the building. And I find this to be probably the most interesting part of the whole blog. The Mega Pizza Plex has very personal ties to me. I was a child of the 80s in Tacoma, Washington, where I grew up hiding from the rain in movie theaters, bowling alleys, arcade and indoor malls. There were also several quirky pizzerias and fun centers in the area. As a teen, I became an usher slash projectionist at my local multiplex. All of the client-facing areas were flashy, shiny neon and impressive. However, if you go behind the scenes like I did, then you witness the disgusting underbelly where the teen work staff lives. Working in filthy concession stands, cleaning bathrooms, storing boxes of soda syrup and chain link storage pens. Hydraulically compacting stacks of cardboard and garbage bags. And sweeping piles of oily popcorn behind movie screens during busy weekends. Or some of the best real world experiences I could have had to prepare for this project. And then they have a reference image of the Tacoma, Washington pizza in pipes burning down in 1999. As well as what looks to be scrapped arcade cabinets. The caption says reference arcade maintenance, picture courtesy of Ruckus Room from Bellingham, Washington. This is the final paragraph, the insider knowledge, the importance of Corpett. My brother, Colin, owns an arcade called the Ruckus Room in Bellingham, Washington. Throughout the development of the game, he was a great source of insider industry information on the actual family fun centers. Especially while all the fun centers were closed during COVID. He told us all about the importance of decorative Corpett tiles. Apparently new Corpett designs are one of the hottest items at family fun center conventions. Armed with that knowledge, we knew that the mega pizza plex had to have the best Corpett squares in the world. So if you look closely, every themed area has multiple personalized fazbearer Corpett designs. And various colors and imagery, which reflects the theme of the zone. And I do believe we've seen this, especially in Monty's Gator Golf Arena. And here is the reference image that they supply from Ruckus Room. They end off the post saying there is certainly more to discuss about the design of the building. Then we can cover in one blog post. You are going to have to experience the mega pizza plex yourself to truly understand the scope of the building. And that's the thing I'm probably most looking forward to exploring the mega pizza plex because it's freaking huge. So that is going to do it. That was a pretty lengthy blog post, but also one that I thought was very interesting. So I thought I'd make a quick video out of it and share the information and the concept images and kind of the behind the scenes of everything with you guys. So that's going to do it for this video. Thank you guys so much for watching. I honestly cannot wait any longer for security breach. It comes out so soon. Subscribe to the channel so you don't miss me playing through the entire game, finding all the secrets. And I'll see you all on the flip side. Goodbye.


Well, I'm interested in this program because I think it's a very timely topic with all transformation talk that is going on and also a good opportunity to collaborate with other researchers and also think tanks and other agencies. I think it's going to be very interesting.