presents Ed Sullivan and William Gargan. The Mutual Network in Cooperation with Family Theater presents William Gargan in The Latest Thing. To introduce the transcribed drama, here is your host returning to the Mutual Network on which he made his radio debut exactly 27 years ago. Ladies and gentlemen, toast of the town's Ed Sullivan. Thank you, Tony Lafano, and thank you, ladies and gentlemen. Tony, you're right. It was back in 1926 that I first stepped... Well, Bill Gargan said I stepped up smilingly. Actually, I stepped up rather nervously to the W.O.R. Mutual Mic after an introduction by Basil Reisdale. And on that first broadcast, I had the privilege of introducing to the country a nightclub trio from Broadway's Silver Slipper, Clayton, Jackson, and Schnauzola Durante. Lou Clayton has since died. I was talking to his widow, Ida Clayton, a few nights ago here in Hollywood, and she recalled that Lou was one of Family Theater's greatest fans. Lou Clayton, great Broadway hooverer, believed as we do, that prayer is the only way to win peace for ourselves, peace for our families, peace for our world. And in pursuit of that thought, Family Theater urges you all to pray, particularly to pray together as a family. I'll tell you more about that later. Right now, the curtain opens on our drama, The Latest Thing, starring my good friend and your good friend, William Bill Gargan. What are you pacing up and down for? Getting your bunk and go to sleep. I can't sleep. I think I'm getting stuck crazy. Kid, listen. I know what's going through your head. Don't do it. Those guys haven't got a chance to break out of here. What do you mean haven't got a chance? Scully's got the whole thing worked out. That guy's got a head on his shoulders. He knows the angles. Sure, sure, he knows the angles.  Oh, take it from me, kid. Do your time. Get out of here the right way. Sure, sure. It's easy for you to talk, cold dope.  You're wrong, kid. I didn't sit it out. What do you mean? When I first got sent up here, I was just like you. I was always looking for a chance to break out. But the chance was a long time coming, Jimmy. I'd already served eight years. This was back just before the war and I only had three more to go on that wrap. One afternoon, Grady, the guard in our block, tells me there's a lady no less who wants to see me down in the visitors room. I didn't know you had any girlfriends on the outside, cold dope. Well, to tell you the truth, Grady, neither did I. Maybe she's an old acquaintance of one of your buddies. I don't have any buddies. I'm like you gods. Everybody hates me.  Cold dope. That's a good nickname for you. Think you know everything. I know enough not to cultivate this bunch of mutton heads in this pen. They're mutton heads. But you're so smart. I'm so smart. Then how come you're doing time? Law of averages, Grady. Law of averages. A man can't figure everything every minute. Every ten stoopes that get set up here, they take a smart guy with them. Average is, that's all. Yeah. Well, I'm just a not so clever prison guard.  Well, that's where you're wrong, Grady. You can lock a guy up for a long time, but if he keeps in touch, keeps up with the lingo, the features, the pitches, the new frisks, he comes out all ready to sail. Yeah? Yeah. Things change, sure, but not that much. A blade, a sharpie, he'll get by in or out. Maybe. No, maybe about. Well, here we are. That's your visitor over there, the blonde. See? You got 15 minutes. I'd never seen her before, the blonde. She was maybe 30, tall and a quiet dresser. I'll never know for sure, Jimmy, but I think this was the first time she ever visited anybody in prison. Mr. Minofee? Yeah. You don't know me. My name's Pringle, Doris Pringle. How do you do? My husband's a lawyer on the West Coast. You're a long way from home. What can I do for you? He's interested in your case. He'd like to help you. Why me? Well, you can talk. This is a peanut's prison, no microphones, nothing. Unusual. Behind the times, they don't keep up with the new improvements. Go ahead, why me? On account of the bonds, my husband thinks you know where they are. The bonds? You got the wrong man, lady. I wasn't even in on that Brixton caper. Oh, I see. You were framed? Yeah. Sorry to hear it. I thought we could do business.  That kind of business? Of course not. We'd make the first move by helping you get out of here. Time enough after that to work out the other details. Sorry, lady. I don't know anything about any bonds. Ask around in here. My husband's pretty well known. You can trust us. With what? I'm a poor man. Think it over, Mr. Minofee. I'll drop back next week, in case you change your mind. After the Pringle woman left, Grady took me back to the block where I was able to do some uninterrupted thinking. My cellmate, Dink Baker, was over to the library as usual and he didn't get back until it was almost time for supper. Good evening, Cole Dope. How you doing, Dink? I located that book on investments you were inquiring about. Thanks. Is anything wrong? Oh, no, no, I was just thinking.  Was a lawyer, Gough Cole Dope. I've been disbarred. Yeah, but you know the business. Are you seeking legal advice? Not exactly. I was wondering. You ever heard of a West Coast lawyer named Pringle? Pringle? Pringle. Criminal lawyer, mouthpiece. Yes, Roscoe, Roscoe Pringle, I think. Thoroughly disreputable. You sure? The man is a disgrace to his profession.  Of the lowest order. Good. Good. I don't think I understand. I just wanted to be sure I could trust him. I spent the rest of the week thinking it over. It was going to be three years before I'd even be eligible for parole. And seeing how the state still had had it in for me, since they'd never recovered the bonds, I didn't figure the board would give me much of a break. Then too, Jimmy, I'd been studying the financial reports, keeping up as usual with the latest developments. And never was the foreign market for those bonds going to be as good as it was right then. Like I say, I keep up to date on things. So I thought it over hard. And by the next Thursday, when the Pringle woman came to see me, I'd made up my mind. Well, Mr. Minofee, what's your answer? You got a deal. I thought you'd come around. I haven't come around so far that I can't go back. This is going to be done my way or there'll be no game. Anything you say. First of all, what kind of help will you need to get out of here? Not a bit. I can handle this and fine. It's once I'm outside the walls, I'm going to need help. Just name it. I want a car, lights out, motor running, full gas tank, change of clothes in the back seat, 38 stout, a week from tomorrow night. You get a gas station map and find the Cornwall Road. It's about a half mile out opposite the north wall of this place. Leave the car there sometime before midnight. And then what? Go back to LA. I'll contact your husband there as soon as I can. Now who's trusting who? Suit yourself, lady. I didn't send for you. Don't fly off the handle. For a man behind bars, you're pretty sure of yourself, Mr. Minofi. They call me cold dope, Mrs. Pringle. On account of I keep up with the new changes, I got the latest dope on things, cold. So we got a deal? A week from tomorrow night. The car will be there. Cold dope, Minofi. That was me, smart. Figured all the angles, all the new twists. So I'd been in for eight years. What's eight years when you don't let any grass grow under your feet? Yeah. Are you making that noise? Yeah. Get back to sleep, Dink. I thought it was mice. What are you doing? Just making something. Get back to sleep, huh? You're using sandpaper, aren't you? You should have been a detective. You'll find out anyhow. Here. How does it look? How can I tell in this dark? What is it? Feel it. Say, did you carve this right here in the cell? After I made the pattern over in the shop. What do you think of it? I think if you're going to try breaking out of this place, you'll need more than a wooden gun. Not the way I'm planning it. Yeah. I'm using the old bean, counselor. You really going out cold dope? 48 hours from now and I'll be a free man. You seem very confident. Yeah. Maybe you shouldn't be telling me all of this. Maybe. But you get to know a man pretty well in six years. That's how long we've been cellmates, Dink. Yeah. Six down and nine to go. Is that how they say it in the Ivy League? The Ivy League and the Big 10. It's the Big 9 now, Dink. You do keep abreast of the times, don't you? Got to. Got to. Well, you're safe cold dope. I won't say anything. I've been thinking, Dink, would you like to come along? Wouldn't that slow you down? Might do just the opposite. Might speed me up. How do you mean? I'm going to need a lawyer, someone that knows law. Anyhow, especially about banking and foreign exchange and like that. I thought you had a lawyer, that Pringle person.  You know what they say, it takes one to know one.   What do you say? I want to go.  It's OK with me. No, don't worry. I'm with you. Thursday night, we came back from Chow about 6.30 and sat down in our cell to wait. The time seemed to crawl. Dink read for a while. I tried to take a nap, but neither of us could get anywhere. About 8.30, we started to shoot some casino. We played right up to lights out. After that, there wasn't anything to do, but lie there in the dark and count the seconds. It was about midnight when we finally heard what we'd been waiting for. There it is, the guard switch. Yeah, I heard it. Can you see who it is? Oh, it'll be Grady. Yeah, here he comes down the catwalk. You going to try it now? No. Let's have him go down to the end and come back. I want to be sure that guard he's just relieved is out of the picture. I hope he's got sense enough not to give us any trouble. Shh. That mutton head flat foot. Well, he looked as if he were half asleep. More than half. He's got no more sense than a pop of bear. He's almost down to the end. Yeah, he's turning around. On his way back? Uh-huh. You better get up in your bunk. Grady sees both of us on our feet. Even he might suspect something. All right. You got the gun? Yeah. Stay up there quiet until I give you the word. Hey. Hey, Grady. What's wrong with you, Menefe? I don't know. I got some kind of a stitch in my side. Uh-huh. I don't know. It feels like. OK, Grady.  Say what's the matter? You move it to your funeral. OK. OK, I ain't moving. OK, Dick. You guys are crazy. I'm trying to be quiet. Dick, get his key ring. In five minutes, he'll be after you. Grady, will you be quiet? Got it, cold oak. OK. Here, hold around on him. I'll take the keys.  I'll get in here. Right out of the lower bunk. You're making a big mistake. All over, put your hands behind your back. You're making a big mistake. Dick, hand me that towel before you start tying up his legs, will you? Hey, what are you going to do? Open your mouth, Grady. Now look here. Yeah, that's the boy. What a chatterbox. Hold your hands together. All set, cold oak. His legs are bound. Yep. There, that gets his hands. Come on, let's go. pleasant dreams, flat foot. We started along the wall of the catwalk down toward the door at the end of the cell bank. It was midnight. By now, the Pringledame would have left the car. This was the only hard part. The door led to the guard room. If we got through there OK, we could cross the compound outside and be over the wall before anyone would know what was happening. Sounds as if anyone's in there. I can't hear anything. What can we expect? One guy at the most. Supernumerary, cooling his heels. Perhaps we should have taken Grady's gun after all. Dick, a heater is nothing but dead weight. All right, but what if there's someone in there? I'll hit him and then you hit him. Just like that. Close to it as we can. Ready? Ready. I put my hand on the knob of the door leading to the guard room and turned it slowly. Maybe the man in there was asleep, Jimmy. Maybe he was goofing off down in the kitchen for some coffee. Or maybe he was standing six feet on the other side of the door with his gun train on it. But it was too late to turn back. He's goofed off. All right. That makes two guards are going off the payroll tomorrow. We're not out yet. We still have to cross the yard. OK, so come on. Let's do it. We started across the empty guard room. A single light bulb hung from the ceiling. I snapped it off and swung open the heavy door in the prison yard. See anything? Nope. How about the watchtowers? Nothing. Dark and quiet.  That wall looks pretty high. It's built like a vegetable grater. Find one foothold and you're set. What do we do? Crawl or make a run for it? Run. You all set? I think so. Let's go. We ran out across the yard. Our feet slamming the ground. The breath wheezing out from us. Three feet from the wall, we both left the ground and jumped as high as we could. The impact almost knocked me out, but I managed to get a grip on the brick-facing and I started to climb. Deep was right beside me, scraping and clawing his way up the wall like an alley cat. We bumped into each other, rolling over the top and crashed down to the darkness under the gravel plain below. Come on, Deep. Come on, right behind you. There goes the alarm. They must have found Grady. We'll make it. The car's going to be parked just the other side of these woods. Look, they've turned on the searchlights. They still don't know which way we went. I'm telling you, we're all right. Come on. We ran. Do not. Their eyes half-blind from the slap of brushes and twigs are hands-raw from swinging into them. I figured the Cornwall Road about four city blocks from the north wall. We were just about there. What are they stopping for? Is that buggy's got to be around here somewhere? I can't see it. Hold up. Look, back by the wall. Flashlights. Coming out after us. Where did she park that heat? I'm blind as a bad man. There. There, isn't that something down that road? I can't tell. That's it. Come on. Come on. Brother, brother, I thought we'd been crossed. It's sure enough a car.  The motor's running. Yeah, we're making it. Well, let's get moving. All right. Now, let's see how two dozen walking flat feet are going to slow up this spaceship. But what's wrong? I can't find. What's the matter? How did that wrangle that? Cold dope, will you get us out of here? I tried to. Maybe it's up by the dash. Man, what are you turning on the headlights for?  Are you set up, Dink? Get going. I can't. I can't. We're late. Brady, stop shooting. We quit. That's how I broke out of here, Jimmy, for 20 minutes. Cold dope, Minnify, the guy who kept up with all the latest developments. So take my advice and serve out your time. But what happened? How come they caught you? They caught me because I hadn't figured all the angles. Nobody can figure all of them. Yeah, but I don't get how. All I want you to get is the one point I'm trying to make. You can't figure all the angles. So don't waste your time trying to live by them. I'm smart now. Give back those bonds. Look, kid, you got to live straight. Forget about angles. Yeah. And I want you to promise you'll have nothing to do with that break. OK. That's better. But now tell me how they caught you. What was the angle you hadn't figured? Well, I didn't even know myself until the shooting stopped. The whole mob of guards came boiling out of the woods onto the road and surrounded the car. When Grady threw open the door and pulled me out of the front seat, I was almost as sore as I was scared. Yeah, but why couldn't you drive off? That was the angle I hadn't figured, the gear shift. The gear shift? Yeah. That was a new wrinkle in, the latest thing. They had it coming out from the steering wheel instead of the floor. It was all the latest thing. This is Ed Sullivan again. While enjoying Bill Gargan, these other fine performers, I was thinking to myself that there is no business like show business. Certainly in no other area have I, as a newspaper man, found such, well, you might call it, a crystal clear understanding of charity. Such an instinctive reliance on prayer or so complete an expression of love neighbor. You know, we might all remember that here in Hollywood, performers of all faiths have adopted more children than any other town its size in the whole wide world. When Helen Hayes lost her young daughter, her only child, she almost went insane with grief.  In another expression of spirituality, Charles Lawton one night distinguished our show by introducing his readings from the Bible in our stage. And consider what Bing Crosby and Leo McCary accomplished, almost as missionaries in Going My Way.   There is only one enduring headliner, only one permanently entitled to top billing, God. And because the people of show business recognize that, stars of the stature of William Gargan appear eagerly on this program to give wider circulation of the family theater slogan, the family that prays together stays together.  And never forget the family that prays together stays together.  To Wood Family Theater has brought you the latest thing starring William Gargan. Ed Sullivan was your host. Others in our cast were Gene Bates, Fred Shields, Howard Culver and Eddie Firestone. The script was written by John T. Kelly with music composed and conducted by Harry Zimmerman and was directed and transcribed for family theater by Joseph F. Mansfield. This series of family theater broadcasts is made possible by the thousands of you who feel the need for this type of program, by the mutual network which has responded to this need and by the hundreds of stars of stage screen and radio who give so unselfishly of their time and talent to appear on our family theater stage.  This is Tony Lafranco expressing the wish of family theater that the blessing of God may be upon you and your home and inviting you to be with us next week when Family Theater will present Uncle Jim starring Jane Wyman and Jack Haley. Join us, won't you? Family Theater has broadcast throughout the world and originates in the Hollywood studios of the world's largest network. This is the Mutual Broadcasting System.


In our latest work we have the next generation water harvester. This can work out in the desert where there is no supply of energy aside from sunlight. What it does is that it collects water from the atmosphere at very dry conditions and then releases it so we can harvest it as a liquid water by using only energy of sunlight. The key component of this device is this powder. We call it metal organic framework. It is composed of organic molecules and metals. We leave it overnight because during the night we have a lot of water content in the atmosphere so this water molecules gets inside the framework and stay there. You can imagine it's like a sponge. We are going to put the lid on the top of the box to make sure none of the water reappears. Coming out from the powder can escape from the box. We put the shade on top of the lid to direct the sunlight right on top of the mouth to heat them up. When this powder heats up the water molecules come out of the framework and we can collect them as a liquid water. We can get about one third of a cup of fresh and drinkable water and it's always possible to get more water using more amount of mouth powder or bigger box. We were trying to come up with the material with our metal organic framework which won't leave any traces of organic or inorganic material behind after we collect water at the bottom of the device. It's absolutely clean. It's 100% pure and you can drink it right away. Cheers. Our studies in the desert uncovered many different things concerning the box the configuration of the box, the size of the box, the way the mouth is placed in the box that affect how much water is harvested. This new Berkeley device is reconfigured as to be suitable for the desert. Anywhere in the world, almost one third of the world is water stressed. To be able to deliver liquid water is quite powerful. We are already working on the next generation moth material. This is an aluminum based moths that will be cheaper and more economical to scale up than the one we've already reported. So this is a tremendous boost to commercialization of our water harvester.


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Progressive Podcast. I'm your host James P. Madonna of Megalife 21, the hardest sitting internet talk radio station on the planet. And I am here with my special guest for the second time, part two, the one and only performing artist Ken Create. When he was on the Progressive Podcast for the first time, he was the writer Ken Create and we talked about writing and writing skills. Now this time being that Ken Create is a man that wears different hats. This time you are going to hear the performing artist Ken Create discuss creativity and how he puts together his performances based on the music he's using, how he studies the song, how he takes it apart, how he analyzes it, and decides what exactly he is going to do with the song in terms of his entertainment, in terms of his approach. Mr. Ken Create, thank you for joining us for part two. Okay, you're coming over loud and clear digital perfection. We are live via livestream.com at the Megalife 21 live stream channel. Okay, we're live on the internet, also mobile people who have smartphones, as well as being recorded. Now, when you first started your attempt at creativity Ken Create, it was back in the early or mid-1980s, is that correct? Yes, that's absolutely correct, but I got to go back a little further and give a background. Okay, go ahead. Of myself. Well, I was brought up in a middle-class family. I was into sports, played a lot of sports, played on all the teams, and then got older with my friend. The drugs came around, the alcohol came around, and we partied, but we were rockers, rock and rollers, and my oldest brother, he was the one that was into Motown and funky music and dance music, but he shared a big room with me and my other brother. So we used to listen to the music because it was like in our face. And there was some music that we did like. A lot of it we did because we were rock and rollers. Well, as time went by, my one friend said to me one night, he goes, you want to go to a dance club? And I was like, well, you know, I was screwed that already, and it wasn't really a good experience because I didn't have a dance and these people were having a good time. But anyway, I said, yeah, let's go. Oh, we got a little new clothes and stuff. We went to a dance club. And just turned out we went to a Spanish club in the city. And me and my friend were like, drugged up. And we were having a good time. We're partying with old Spanish people. And then, well, something that was a big circle. And people were getting in the circle, dancing, jumping out. And for some reason, I got in that circle. And I was old by myself and I had to be at least 200 people watching me. I had no idea what I was doing. Okay. And when I was done, people were like, man, I give you a lot of credit for doing that. I said, hey, look, I don't have a dance, but I'm having a good time. And they said, well, that's what it's all about. Okay. Now, that was the first time I ever did something in public. All right. Didn't know what I was doing, but it was in front of 200 people. So I think, well, are you there? I was named to be a performer. All right. So anyway, as time went by, I started going to dance clubs and I would go and have a good time. But it was like to really stress problems in your life. So I take it to the dance floor. Then one night, I went out to a club and I actually started to move. And I was like, well, I'm dancing. I have no idea where this came from. But I started to dance. So I got the bug. And then when people were coming up to me, they said to me, wow, you're a pretty good dancer. And I used to look at them and wow. So I can't, I saw a thing, you know, I thank God for it. So that's what opened me up in a way, searching for the truth. Then I would walk around in my neighborhood and ask God, what kinds of questions, why he's just going on, why he really had no answers. But my one friend, I knew he was different. His name is Rocco. He's a famous magician. But back then he was just starting out and he was a Christian. Yeah, Rocco Solano. Yeah, he could be seen on the web. Right. So one time we're hanging out by the bridge. And he said, I heard about what you're doing. And I was like, yeah, you know, I'm not bad. You know, and he says, well, I'm doing a show. I'm bringing you counsel. You do mine. I was like, what are you talking about? So he showed me a couple moves with the robot. I was like, whoa, that's really cool. I like that. He goes, come up to my place. I'll show you some stuff. I said, okay. So he showed me a couple moves. And he says, well, you pick up quick. You want to come down and bring in the counsel? And he says, okay. So I went down there with him.  I had no idea what I was doing. But I pulled it off. In fact, two kids said to me, you're good. And I was like, good. They were like, yeah, my brother does that, because you're better than my brother. I'm like, why?  I said, I just started. They're like, come on. We see I was in the rhythm already of dance. I was going somewhere because I can move now. So I did a little cover up. And I got away with it. Then after that, when we came back, he brought me to church. And I sent to Christ as my savior. And I started reading the Bible. And I went to the dance clubs, I get on the floor, and everything just started to click pretty good.  Okay. So now when I would go, I would see things that would attract the lights. That's because I want to refer to your movies, you can tell me movies, because now I got the bug. Yeah, Nicholas Brothers. Right. So now I was like, if this is wrong, me being here, then I'm seeing something that's different. So I started concentrating on steps, the lights, circles, boxes. And I was going more into creativity. Okay, forget about the music that concentrating on what's in front of me, these props. Yeah.  They wouldn't understand that. And what so which I get I went from where different. Okay, so now when I hear people coming up to me and talk to me, I would witness that. All right. So now through the years that have passed, I'm still going to clubs. But now it's gone to another level. Now, when I start to put acts together, I met this one guy who's a comedian. And I had some props in my friend Rocco. And he says, he went to a club and he looked at what I did. Okay. And he said, how'd you like to open up for me? I got a show in about a month. If you could put some together. So I had a dancing cane. I had where I could do with a mind. And I was doing something else. I said, yeah, I could put three songs together. He goes, okay, so I started working with him. So that all went down. And then later on, my friend Rocco invented these lights to call the lights. So I started working with the lights. Yeah, there are dance clubs, LED lights. And just with the Holy Spirit take over these lights, was just like amazing. For now, I looked at I had a purpose. Why am I here? What am I doing here? Okay, my purpose was to reach these people in my peers of my age bracket. So when I was done, you know, people come up to me and talk to me and I would witness to them. Because the Bible says I will give you the desire of my heart. Okay, so my desire was to reach people through the entertainment. So God started using me as a tool to reach people. And then as things evolved, and I got into the dance became then I got into the mask, and the lights now it's floating balls. So all different props. But now the way things are put together to go into my act is I'll listen to music. And if I like song, I'm saying, well, there might be some there. Okay, but I don't know.  So I'll listen to one second, but I'll put it to the side. Maybe two weeks later, and we've got a CD on, I throw it on and it's like, well, there's some here. So now what I do is I look in my drawers and see what kind of prop that would go with that music. But I don't practice. I put my headphones on, I really seem to be music, where I know that music inside and out, and every beat, every change. Okay. And then once I know that song inside and out, and every beat, now I take the prop, and I start working to the prop to the song. And it kicks. So if it's robot, I'll go into robot. But if the music changes, and it's telling me you got to spin right here, then I go into spin. But if it goes from back into robot, I'm back into robot. Now if the change is dance, I go into dance. Okay, so it changes. I like changes because when you do changes, I'm changing the moods. Okay. And that's just the whole of spirit power. And that's how we put things together. And that's how he works for me, create and for me. Now I started out in 1982. And now it's 2015. Through them years, where I first started out, now where God has brought me, and all the shows I have under my belt, doing nursing homes, doing churches, doing theaters, doing events, going to the dance clubs.  I know my lifetime and being on TV four or five times, being on VH1. I know in my lifetime of all the clubs, all the events, being on TV, there has to be at least, at least all the people that see me all through them years has to come to about a quarter of a million people that have watched me in my lifetime. Okay. And I don't have a name. So that's where God has brought me. Well, I guess the entertainment industry is a very, very fickle. It's unfortunately in the United States in our system, our rig system, you've got to be at the right place at the right time. Unfortunately, you have to know the right people. Unfortunately, you know, if it was up to me, I would do things fairly. And I would allow the people with the best talent to offer the people with the greatest minds, even if it's a poor child in a ghetto, if he's got a, if he has a genius IQ, or he has a talent, he should get that scholarship, he should be given the opportunity.  But hey, a lot of people have been in worse situations than you and they became, they became rich and famous, but that's not your priority. People think that all entertainers are the same and they want to be rich and famous, but that is not the priority of Cancreate, and they would totally be shocked if they knew how deep your agenda is. Well, because see what it is, and what it's been on voices, okay, in the past, we'd be like, okay, you're using me with this tool, and it's a powerful tool. Okay. And I'm serving you. All right. How come I'm not there? When you say you, you're talking about that always used to irritate me, because I got to work the regular job. So now I'm on my regular job, and I'm working hard. Okay. And it's like, I don't want to be here. Yeah, I want to be doing what I really want to do. Yeah, I got it. I got to take it with a grain of salt. So now, studying the word and deeply into the word, God, you show me these things. Okay, that when I go to perform, or even go to a dance club, okay, I don't even do what I got to do for the Lord. People come to me, I talk about him. If they don't, he still takes over, they see his life. Okay. And then I give it to the Lord. So when I am done performing, or I am done with a dance club, I'm out the door. Okay. And that performance, or that club for that night that I went into, that's the past. And I move on. Right. And the key thing is, I don't know who God is reaching. Okay, using me as a tool. Right. So when you know, I'm doing all this stuff right behind the scenes, God is working. Okay. So now when I'm called into the rapture, and he's going to show me my fruit. Well, the people that I brought in, okay, that I never knew about, because that's the mystery. Well, when you're reaching people, and it's not my duty to know that, I go, I do my job, I'm done, and I give it to the Lord. Well, you're talking about like, when you're out in a public area, and you're doing your thing, and you're performing, or let's say it's a dance floor, I mean, dance club, and people approach you, and want to talk to you and tell you what they think of your performance. And then if they ask you, well, how do you make this all happen? And you tell them how, where you get your power from. And now, if they continue to show an interest, that's an example of you witnessing to them and reaching that. Well, you know what James, I look at it this way, if I go and I do my job, okay, I did my job. Yeah. That's all I can do. I don't know what's going to happen after that. Okay. Yeah. And it's not my duty to know what's going to happen after that. It's out of your hands. I go to a show, and say there's 200 people there. Right. And I'm done. And I leave. I don't know who got his region. But I did my job. Well, for those, for those out there that don't know this can create also performs in in fundraisers and in churches. Let's say he he does all one or two songs performing. I don't mean singing them but in his performance could be creative creative dance. It could be creative mime and creative dance. It could utilize magical lights, props, you know. Anyway, when he's done, and if it happens to be a church or fundraiser, very often he gets to speak. Now, when he speaks, if he speaks in a church, people have to understand that Ken creates other hat is the fact that he's an evangelist.  And for those that don't know, because they might not know what you're me, what you mean by, you know, talking about your performances and then talking about spreading the word and reaching people and all that. I just want them to understand where you're coming from. Right.  You know what, that's something you notice that I didn't notice. Really? Yeah, because the cops came up to me. Yeah, stop. And so we had to shut you down because the people trying to get up three couldn't get by because the noise people will walk in or see in the crowd and they're gathering in the crowd. And it's like going on there. And it's like a bottleneck on the highway of traffic. It's like it's like a clogged artery basically there.  And then the crowd gets bigger and bigger and bigger. Yes. Before you know it, the traffic's not going anywhere. Right. And that's when they, that's when people kind of get up the street and the cops turn the music off on me. Well, that's happened. That happens when Ken create performs. Okay, and what happened to was a lady who I know who hooked me up and she's a bully or an out, she's really cool. She called me and when I went the next day to perform, she see me. I got adopted. She goes, you're performing just great. I love what you do. But you got to be kind and care. She goes, you go in certain situations where it stands and everything. Nobody's buying everybody's watching you in the merchant people are complaining. I was like, whoa, that people are not correct. People are not browsing and circulating amongst the concessions and the stands and and they're they're losing money because everybody's watching you all night. Well, because what it is, I'm using certain props, I'm using the dancing cane, I'm popping with that cane, I'm doing Michael Jackson with that cane, from Boogie with that cane. People look at that and say, that's different. Now you can't derive, they're watching. So if you can keep them where they're at, and they don't move, then you got some performers don't have because you're talking about this is on a street. And this was at a festival. So people watch, they watch, and then they move because it's a big festival. Time to move on. But if you can keep them and keep them in their tracks for 10 15 minutes, without they moving on, that's our stuff. No, yeah, without a doubt. It could happen anywhere. Could be in a dance club, it could be at a park, it could be at a carnival, like when when when Ken Cree said, I met him at the Falls Festival. I met him at a few years ago. I believe it was maybe a little longer than that. I met him at a Labor Day weekend festival in Patterson, New Jersey in historic Patterson. That's what he meant by the Falls Festival because it was near America's newest national park, which is the Great Falls in Patterson. So, you know, we we often do, we rehearse and practice. And sometimes we do open mics at the Historic Patterson Museum, which is run by Mr. Giacomo di Stefano, a shout out to Giacomo and the museum. But definitely, when you visit Historic Patterson and the National Park, the Great Falls, definitely stop by the Patterson Museum because it represents the Industrial Revolution. It is history, it is American history. Okay, so definitely stop by there. And anyway, now, getting to the point where you have a new song that you really like, or somebody gives it to you and you really like it. When you listen to the song in private, explain to people how you create a creative way, break down the song and try to match it with the right performance. In terms of like I said, well, like I said, number one, it's got it to me, there's something there. Okay, so if I see there is something there, then I listen to the music, I put my head on it. I totally break it down where I know there's so on the inside and down. I know every beat, I know every change, everything that goes with the music. And I have to be on every single change in every single beat. So when people watch me perform, it's like, I'm going perfect to the song. So when people look at that, that he went perfect at that song, that guy did his homework. But now when you look at my names and create, they're like, Oh, that's going to create. You see what I mean? Because you're creating. But James, that comes from the Lord, okay? Like you may do the full special boy, do events, I do all the different kind of things you can pick shows and stuff. When I go to perform, I don't perform to say look at me. Okay, when I perform, I release myself and let the Holy Spirit power it over. Yeah, but you're done. Right. Okay, these people are getting know. Okay, God is real. And to me, well, that's what it's about. Yeah. Well, you also physically decide on any changes that you make within the song.  I mean, they do my friend, you know, Paul Morgan. Okay, we just got to pretty care. Okay, we did the one up and they played the homeless man. So I had to hold it out. So I think it's good. And my friend Paul goes, I was really good. I said, Okay, so now we read through four or five songs. So we got done. And he said, well, we got about 10 minutes to kill. And then we got another hour to do. All right. So when we come back, what songs do you want to do again? So I said, Well, I'm not the couple ones that are on the edge of sight. He goes, Okay, we can do that. So we did that. And she's great. And he goes, I got two left. So what do you want to do? I said, Why like colors of a man? Okay, so he goes, All right, I'll finish with that one. He goes, I want to do a homeless man again. I said, No, okay. So now we did the homeless man again 45 minutes later. And when I was done, he looked at me and he goes, I can't believe it. I said, Well, he goes, You totally changed your moves. And the first time you did it 45 minutes ago. So it was totally different. And the first time I did it, which was 45 minutes prior. Right. Well, well, for these people for the people out there that are not familiar with the homeless man. And when Ken create, when he does lip syncing and acts out the song shout from the 1980s, it's all on YouTube.  And it's there. I think the the one word, the one that's on video for the homeless man, that is definitely there is when you did the show in Dover at a park. Right. Okay, but he's done the homeless man, you know, many times, and also shout up in on the Time Warner show, Keeping Country Strong. It's up in Fort Jervis, you know, he does an excellent performance of shout, but he's done it many times. So he is able to act out the song. Right. But now, if you look at the show, for example, okay, I think people are going to do that. Okay. So lip syncing the song out, maybe I'll act the song out. Okay, if he's devoted to it, I bring it to another level where if I know the word inside and out, I put prompts in the song. So I got fake money. I got a mask. I got the lights. Okay, these are things that are added in the song. Okay, now when it comes to these points, when it comes to money, I pull out fake money and throw it around. So people get that there. When it comes in the black and white, which is probably the old way racism. Okay, the black people, white people, I got a black love on, I got a white club on, I looked towards my hands that represents that. The end of the song, I got a scale that's in masks. Okay, so when I turn around, I got this mascot that nobody knows about because it is under my hat. So I got all these little prompts in there. And so on to another level, what people said. Yeah, I never seen anything like that before. Well, the part where I totally picked this part. Well, the part where you say you shouldn't have to sell your soul, you can you can hold up a Satan mask. No, no. That's where the money comes out. Shouldn't have to sell your soul. Then you the the water fake money. Yeah, okay. Yes. Okay, if you get what people do, they sell their soul for same fortune money. Well, yeah, the entertain the entertainment industry people are they're kind of I don't know if you want to say black male forced into right pretty much selling your soul and you know, they become like horse, you know, for the industry. Yeah. Now, when I do the homeless man, I'm dressed like a homeless guy. And then I got good clothes underneath. They're their products. That's a heavy duty. That's a heavy duty performance for those of you not familiar can create roll as the homeless man performance. You got to catch that you got to find out on the internet and see it. You see the one that you've seen out in Dover. Okay, that was for a trip. So I was used in my regular clothes. So you don't see the 30 plus right when you really don't right now has that song where you see me homeless with the clothes and then I change. In other words, when we when you do the theatrical version of the homeless man, right, it's a different. Yeah, you're dressed the part. Right. In fact, I'm hanging outside the theater of world performance in people. I actually think I'm homeless. Okay. So now when it comes to the homeless man song, I walk in. And I walk on the stage. And I sit there. People are like, Hey, that's the homeless thing. I was out here. What is he doing? And they have no idea. They had no idea prior that that this bum this vagabond was as part of the performance. Yes, you totally blow them away. All of a sudden, all of a sudden, you're part of the performance.  Like they're garbage. I put sunglasses on. And I look at all the people sitting there. And I just stare at them. And the song begins. But as the song goes on, I get up from where I'm sitting on the stage. And then I go into this field, three quarters into this field. The guy gets his legs together, and he gets a job. So all the homeless clothes are ripped off. And there's new clothes on the knees that I'm alive now. And then the light's coming. And it just floors people because when I was done, the pastor came up to me, but I never seen anything like that in my life. Where are you from? So I come home from Patterson. It's like preaching Patterson really giving me the number. But my number, if we talk, you come down at the farm, where I create Oh, so a pastor saw you perform in the homeless man. Okay, so I went down there. Okay, I did three songs. I got to talk to people. And he said to me, yeah, I said, yeah, because you're heavy. You come across being too strong. I don't need to be a fit. Because when you're done, people don't know how to approach you because you come across too strong. This is when I started talking to them about them. So I said, okay, some stand in our line to get food, because people are finally these people in the back of it. So one guy was in the back and he liked it. He had food smells really good. He goes, yeah, you're right. I said, I heard the food's good because he looked at me and he's like, well, your performance is great. Okay, so the ice was cold. Yeah. Yeah, if you're if you're if you're a super talent, it could be any I mean, it could be you could be violinist Ben Zabel who you work with. Anybody that that blows away the audience with talent, great talent. People are intimidated by them and they're not approachable performers.  Because if you think about talent, and there aren't talented people out there, I'm doing a horizon that's going to another level because I have a different purpose. And that's why I'm across too strong, where you guys are more approachable than me. Because my agenda is different. And then I see differently. Okay, then other people and other performers, where you want to be performing people. Okay, when in performance, they're going in performing, getting paid. Okay, focus on people around the door. Okay, that's not my agenda. I'm weird to reach people for price. So it's right from ballpark. Yeah, the average entertainer, entertainer is there to do a job, get paid and leave. Yeah, and you can be good. And you can have talent. Okay, well, you're not going to the level where I want to go because my agenda is different. I'm not there to perform, and get paid, and hang out and talk to people from the air, to shine God's light, to bring people to price. Okay, that's where God brings you to the next level. Okay, because people can perform pastors, bishops, and he said, come here, gift it. And I said, well, you know what? Every believer has to get inside there. Okay, what are you doing it for? What are you doing it for? So if you're doing it to reach people and you're witnessing to people who want to do it, well, it's not about that kind of gift. Why? Because you're serving the Lord. And he looks at your heart.  He's going to talk about me. Okay, so my spirit is going to run through him and blow these people away. Now you can be a performing artist. And you can be a very different purpose. Get paid for the people, hang out and leave. You can go into mind ballpark. Okay, if you're not doing it for Christ, and witnessing for Christ, you're not in that ballpark. Every believer who performs should be in that ballpark. Well, you see, entertainment done for the secular society, popular music and what have you, it could be jazz, it could be anything for the secular mainstream society. As soon as you mention anything about religion or Christianity, you'll get type casts and they'll stick you in the Christian music section. So you've got a word, things differently. You know, you've got to keep that side of you. And on the back burner, you know what I mean? I can go into a club or I can do the performance. And God people away. And I don't have to say one word. Okay. Okay. Right. Now, right. Okay.  You have another story. Huh? Let me see. Let me see. I'll try to grab one out of my notebook. Just give me a minute. Yeah, yeah. We got time just if you got because I figured we got another good 15 minutes.  Yeah, you have that you still got that song. I don't know. I got a hunt for it. Yeah. Yeah. Down the road. Yeah. You know what I mean? Well, I get gathered around, but I know where it all is. Yeah. Well, I just want to show, you know, in case people are wondering where the sound they're going to hear is coming from. I just grabbed my African Gen B drum made of malogany and goat skin. So I got it with me.  Let me know when you got it. Right. I got through here. Now, I have one note, but they'll be totally full 110 stories. Uh huh. Okay. That's first one. I became a believer. Right. So I had to be groomed in the word. Okay. Down a lot of that stuff that I wrote back in the early 80s. Okay. It was like naive stuff. Right. Okay. So I was taught. I was rooted in the word through in the word study of the word. Okay. So now when I write an idea comes from me, I know it's a solid message for before and early 80s because that was a new Christian. Mm hmm. It wasn't solid. Right. But I could take stuff from there. Mm hmm. Okay. And learn from even back then and put a story together if I kind of like it. Yeah. You know what I mean? Yeah. Alright. I'll do this quickly right here. Alright. Hold on. Hold on. I'm going to tell you how I wrote this. I did a show with my friend. We were done. We went downstairs. We were the whole bar atmosphere. I was bored. I had a soda. Okay. I came to me. I grabbed the pen. I grabbed the napkin and because there was not around. Right. I wrote this story. It took me uh I think two minutes to write this and when it was done, I showed the lady and was friends with my buddy. Okay. And she was totally blown away. She goes, you just wrote that. I said, you had a different two minutes to write this. How about that? I was like, huh? Alright. This is cool. He wants his over. Okay. Well, from the little boy to a young man. Right. It's definitely powerful. Alright. Let me give you one more. Yeah. But speak up. Uh speak a little higher volume this time. Alright. Alright. Let me know when you're going to do this. Alright. Okay. This one could be a wrapping. This could be a wrapping one. Wrap off like for the gospel choir in the background. Okay. In the background. When it comes into that part, you gotta get ready to sing that. Or even if I sang it. Well, you gotta sing it louder. You gotta put more power into it. And then I gave it to you in a wrap singing what I understand. I would get the right people to do it. There's something there. It's like what what what you did with that um that gospel song that uh you you did it in a in a country bluegrass style. I remember and I was playing the juice, huh? Right. What to do with it?  Oh yeah. When you put the whole thing together like that. Alright. But the problem is people I have met in my lifetime. A lot of false promises out there. A lot of false promises.   Well, you know, I'm talking about believers. Oh, oh yeah. No. Yeah. Yeah. Even even amongst uh people of a certain religion uh it doesn't matter. Even people in church but I mean look how many people go through the motions every Sunday. They go all dressed up with a suit and tie. They go to church and they and but there's no fellowship. They don't know anyone. They don't want to know anyone. Alright. You know, I mean it's a lot of hypocrites. They come across when they perform. They come across like hey wow that's great man. Wow. Here's my number.  It's not my problem. Yeah.  Yeah. Well, I'm going to put on a chair problem in front of all people. Oh, isn't it? Isn't it like um you're in a public area and you see these uh all of a sudden one or two girls sees her friends and and they have to put on a big show and scream and run over and hug them and talk loud to show everyone that it's like it's like they got a lot they got a lot of friends. They know a lot of people and I don't know what their motive is but they're showing off is what I'm trying to say. They're doing it for attention. Of course, you know, but now I don't want other people. Okay. Really cool to hook me up. Okay. So, you know, if you've got one to her real, they don't want you there. Hey, believers are living in a flush. They just got to grow up. Well, but that's not my problem. I got to do what I got to do. Let's say the Bible says work out in your own salvation with fear and trembling in your own. There you go. Your house and order. Now you hit the nail on it. You hit the nail right on the head. You got to worry about your own salvation but you know, there's a lot of hypocrites out there too. Hey, there's a lot of people that don't even open up the book. They don't even know what's in the Bible. Like a lot of these politicians. I totally agree with it. But you know what? That's not my problem. You have to worry about what I'm doing. I mean, how could how could a person like let's take some of the latest news I heard. Joel Osteen makes $600,000 a week in donation. That is a mind-boggling astronomical amount of donations when you think about it. And of course, he lives in a mansion. He lives pretty high on a log. But what is he doing with the donations if he happens to be a pastor or anything? I don't know. I don't know. And I'm not judging a man because I don't know his heart. Oh, I could see his heart. If you look, it's obvious. If you're an evangelist or a pastor or a minister and you've got that kind of money coming at you and donations, you should be doing things that are that are a Christian that are like given to the poor, feeding the homeless. When it comes to individuals like that, I don't know what he's doing. You don't broadcast it. I don't know what he's doing. I don't know what he's doing either, Kenny. Don showed me something. I used to judge people. But he showed me something in this book that I got. Then it was power from the different entertainers, sports people who became believers. Now there was one guy who was going for a contract in baseball. But there was another guy who got his big contract. And he was an orphan.  So he grew up with the family and played sports. He turned out to be a really talented player. And his stepbrother turned out to be a good pitcher who pitched for a couple teams. When he got his contract and at the time it was a huge contract, he built two orphanage houses. In fact, him and his wife took in two orphanages. And they got their families. So he had two buildings he built and he's a believer. So now if I didn't read that story and I see his contract, what I look at him and say, we're just crazy guys. So you don't know. I would have never known buying this book. So the other guy who's a boatkeeper said he was going for this type of contract that this other man got to do God's work. Now that's cool. Now David Robinson can play basketball, okay? He got a huge contract on his basketball team, all right? He built two grammar schools and took people that were poor to kids, brought them in, they're learned, they're taught. Yeah, there's teachers, they have showers, they're taught the word of God, they get all brand new clothes, cafeteria, food, the whole nine yards. This is what he's doing. Right. They don't sit another was waiting. If I didn't read that, what I look at that man is being look at this guy's contract, look how greedy he is. So he's trying to say, so when it comes to the Joel Holstein or somebody like him, okay, I don't know what he's doing. So in other words, what you're saying is, if somebody is in the spotlight and they're famous, you don't know what they're keeping hidden from the public. You don't know what they're doing because they might not, they might not make it available to the public news. People might not know about it. They might be doing it behind the scenes is what you're trying to say. Right. But like getting back to what we were talking about, it's not my job to know. Okay, I gotta do what I gotta do. Right. And they're doing what they're doing. Okay, so now if they are false, they're in deep water, but if they are, they come in their way and they're spreading the word and remind the judge. Yeah, what I'm trying to say is when a TV evangelist, forget about Joel Holstein, any TV evangelist that let's say ends up with a mega church, right, that donated money is supposed to, of course, maintain the church, the building them and the ministry.  Right. All right. Now, any extra money aside from maintaining the church and the ministry, you know, if you got that kind of money coming in, hey, that's a lot of food for the food pantries and the soup kitchens. I don't know, I totally mean it. You know what I mean? And I respect that guy for giving back to the community.  Right. You know, I think that's fantastic. I agree.  Okay. What are they doing with it? So they're going to make money at the beginning. Yeah. What are they doing with it? You know, one thing, it's not my job. I don't worry about that. You just do what you do best and what you need to do for yourself and when you leave. As a believer, you have to grow, you have to be in the word. Okay. You have to pray. You have to find and build up the body of Christ and you have to be a witness for Christ. If you're doing that thing, you're running your race. Right. Okay. That's my job. That's what I want to do. Right. Now, well, that, that's not right. Yeah. Well, that's more for another show, you know, getting into the Christian aspect, the religious aspect, as far as creativity goes, a few people that are not familiar with Ken create is he literally dissects a song and he tailors his performance to the song, to the beats, to different highs and lows in the song. And it's just amazing how he does it. Of course, he spends time listening to the song many times until he knows the song like the back of his hand, you know, and then he just and that's basically it. Now, you've added props since you first started using props, of course. Right. You were introduced to new things that you mastered. People are unaware that it took time for you to master the dancing cane to the point where you could do two of them. But I mean, yeah, well, I'm working on for you right now. But you know what impressed me, honestly, what impressed me, of course, the two canes was a tremendous ability. But what impressed me is how you did one dancing cane at a high speed. And in the other hand, you had a delight or a firefly. Right. You had another you did it at Jimmy D's working with Cooper's Dignity over at that biker bar. Jimmy D's in, I guess, was North Bergen, New Jersey. And you were doing that. And you were that's the first time I see you do that, where you're working a light with one hand. Okay. And you had the dancing cane. And the other hand. All right. All right. Being able to work the two of them two different props in each hand. To me, that was amazing. And thank you very well. Thanks.  Finish up there. Okay. Because I got a big day tomorrow. Okay. Well, any, any last word you have about creativity? Yeah, we summed it up. Okay. All right. Thank you for joining us. And I'll see you again. Okay. All right. Bye. This has been a Megalive 21 production.


I am Megan Sannakey, the Executive Director of the Drupal Association, and I am here at Drupal Camp London to support the camp and find out what is new in the UK community. People should support the Drupal Association because we're really just a conduit of taking that money and funding Drupal.org and other really important community assets that the community relies on. And so when you spend money with Drupal Camp London, they are taking some of those proceeds and helping us fund Drupal.org. Drupal Camp London has a really strong team. They're very organized and I think just from that organization people could learn from some best practices that they've been using. And I think also the content that I've seen so far while it does talk to developers and you'll learn about the top 10 best modules, it's also providing content for the content editor and giving them an experience where they feel comfortable and it's not talking about the technology and the bits and bytes, but talking about how to be a better content editor using Drupal. I think that's unique. Energizing.


All is now set for the 22nd edition of the Arnold Women and Business Conference, Wimbies. Ongoing the conference program in Lagos, the chair of the planning group Mola de Adene, disclosed that over the last two years, Wimbies has impacted over 300,000 women in various spheres of life. Adene also stated that the focus of this year's conference is on women and men who share stories of how they have excelled despite economic challenges. Wimbies has impacted over 300,000 women in various spheres. We also do, and it's beyond just people coming to the conference and listening, you know there's impact in terms of advocacy, how Wimbies has influenced policies, how Wimbies has influenced things like women in politics and women representation in politics. So the Wimbies annual conference is just one aspect of what Wimbies does. So we have women, Wimpole, which really focuses on helping women get into politics.  With a steam mission impossible to thrive, the organizers stress that Wimbies believes in personal connection, explaining that the conference is for everyone irrespective of level, career or background. The two journalists threw on what participants should expand at the conference. Other people, and sometimes, you know, you have women who feel, oh, I am not high enough in my career to join Wimbies. Oh, I'm not dressed enough. I'm too big for it. I'm too little for it. We have certain preconceived ideas and mindsets and we just want to say, look, Wimbies is for everybody. Everybody.   Honor female achievers in the aviation industry. And most of the time when you speak of aviation, everybody just thinks of, oh, pilots and pilots and pilots, but this time around what we have done is that we have identified the first female pilot in Nigeria. She will be awarded the first female air hostess in Nigeria. And the first female full licensed air traffic controller. She will also be awarded as a female achiever this year. So we're looking at the aviation industry. But we also identified that there are certain, I'll call them female legends that have lived their lives and are sort of, even in the sunset of their lives. And this year we sort of identified one of them in the creative industry. I'm sure most of you know Chief Ibedun Alisen. You may not know her by that name, but most people know Amebo from Village Shares Master. The Wimbies annual conference is different and distinct from any other female focused conference. Not only will you be hearing stories, you will be hearing the how. Many times we talk about, oh, this is the what and it all looks beautiful. You know, when we come together as women, we're all looking shiny. I mean, look at the fantastic women who are really representative of what's going to happen during the conference. But we all look clean, we all look beautiful. But there are so many stories that share how we got to where we are today. And that's what the Wimbies conference is about. It's not about the bling, it's not about the glam. It's about how we walked the journey to where we are as women today. A global platform, so we have people from all over the world who are Wimbies associates. And so we're not leaving them out. We have a virtual platform, we have an app that they can download and keep up with the conference. So for the conference, you're going to be able to log in, you're going to be able to stream, watch every single plenary, watch every single debate, watch everything. You're going to be able to interact. There are people who will be dedicated to keeping you informed on what is going on for the conference. You're going to be able to do quizzes. We're going to have such an amazing time.


Welcome folks, this is Tom O'Brien of TFNN. We go five days a week. We go seven hours a day. We go 24 hours a day on the internet at TFNN.com. Always remember folks, whatever you think about, you bring about whatever. You focus on growth, hope everyone's having a great day, safe day, make it a great day, a great week, and a great month, September 2nd. Watch out baby, holy cow. Create the perfect relationship between you and your body. Treat your body with all love, honor, gratitude, and respect. When you make it a goal to adore your body and accept yourself completely, you are learning to have the perfect relationship with anyone else you are with. Mockin' wise, let's take a look at it out here. We have the Dow Industries Up 89, NASDAQ's Up 7, S&P's Up 8, gold contract down $4.60, traded at $18.40. Silver, up 29 cents, $23.93 an ounce, light sweet crude, up a buck, $32.69, 90 cents a barrel, notes and bonds. The 10-year note, up two ticks, trading $133.16. The 30-year is up six, at $163.14, and we have the 10-year right now, folks, yielding $1.29, and King Dollar, King Dollar down 218 ticks, $92.31, Euro 118, yen, $109.98, and a British pound at $138 to one US dollar. Our phone number's<PHONE_NUMBER>. Give us a call, folks. One note's going on in your world. The world of the S&Ps, let's take a look at them. What do you have? Well, you got a high, a high. We got a contraction of volume, bottom line. We'll see where this shakes out. The contraction of volume is a monster today, too, by the way, folks, okay? So last high that we hit out here, you had 48 million, which is light volume. We're not even gonna do that today and we're gonna take it out. So the real question's gonna be inside of the spy. Yesterday we failed on volume and price on the spy. Today it looks like we're gonna do the same thing because 45307 is the number that we have to close above. We got above that, which is 45405. We're gonna have lighter volume and that's what we call failure on price and failure on volume. What that is, folks, is this is it. You get over the highs, you close under the highs, you can't hold price and you have lighter volume. Inside the NDX100. Let's take a look at the NDX100. What happened with the NDX yesterday was that we failed on price but not volume. What we have out here today, bottom line, is that we're at 19 million and it looks like we are gonna fail on price. Yeah, we're gonna fail on price. We still might get the volume. If you get right now, you're at 19 million, if you get 27 million, that'll be a failure. That would be just a failure on price. If we get less than 27.2 million, that's a failure on price as well as volume. Gold, gold contract is building costs for higher price. We're in an ABC structure on the way up. Right now, gold is backing down $4.60, no big deal. You get 108,000 contracts. Gold is in a confirmed ABC structure up with a price projection of $18.9460. Oil, you're gonna love this, man. I'm telling you, inflation's here, folks, okay? So, oil contract here. We took out the B point. Let's pull this up. Let's get this in there so you can see how this baby is. Okay, so what you have here is this. Swing point from Monday was $69.64, and we had 361,000 contracts traded. Well, we're already at 374,000 contracts traded, so you get an ABC structure on the way up. Pretty cool too. I mean, this is a big one. 69.64 is your B point, and 61.74, so we're talking what, eight bucks. Approximately eight bucks. 67.12 is the C point, so that gives you what, 73.12 in the high out there, 74.77. That's telling me it's gonna go right for the high. That's how this baby shakes out. Notes and bonds, now. This is the ever-ready bunny, man. This is something else. And we'll see how this baby shakes out tomorrow, but the bottom line is that you get a sideways move out here today. You don't have a lot of volume. You only get 771,000, so it's not telling us much right now in the note and bond market. It is holding price. Kingdala. Kingdala is not holding price, okay? Kingdala broke its uptrend. With the uptrend that we broke, we broke it with conviction finally. Bottom line is that what you have with Kingdala is that Kingdala right now is trading down 220. You're at 92, 230. Your first swing point that it's gonna go into is the 92, 174. Okay, so that is, what do we get? Well, that's almost a whole, that's a penny plus 100 ticks. Every 100 ticks is a penny on the dollar. That's how this works, folks. Bottom line, my take, Kingdala's going down to the end of it, the lower end of the consolidation, which is that 89, 535 number. That's how that baby shuts up. GDX. So let's go take a look at the GDX out here inside the gold market. GDX backing down with light volume. Nice setup. Only you're down three pennies. You got 11 million shares traded. You're going against 43 million. That's what you like to see, folks, if you're looking for higher price. We're gonna take a look at inside the NDX 100, the strength versus the weakness. Strength out here. Match.com is up 6%. You got Walgreens boots up 2.4. Makata library is up 2.3 and you got Dollar Tree up 2.3. Taken away from it. Autodesk down 5.7%. Pandora dealers up 3.9%. You got O'Reilly automotive down 2.9%. That's very unusual. Let's, let me go over here. Good old O'Reilly. This thing's been going up ever. Okay, so let's see. We got the low for the year is 424. The high is 621. And what is going on with this? Let's see. It's quite sure they're selling it off a bit today. That being, well, they're selling it off a real bit today. Oh, look at this. Okay, so O'Reilly automotive, man. You're at 575. This wants to go to 560. 560, the last time we had any volume on the way up. This is a break and it's a break with volume. And if you wanna see folks how these high volume lows are high volume highs, it works the same way. When they stick out like a sore thumb, just pay attention to them. I mean, this thing was sticking out. It had a high volume low that was generated at 579. That was generated on the 29th of July. It gets higher. And guess what? The bottom line is that this baby, oh, this is cool too. So not only that, I talk about markets being subtle and I think they give you a lot more information when they are. Look at this right here. Someone unloaded this two days ago. You can see you're going lower, very small price spread, but look at that expansion of volume. Bottom line, you get the expansion of volume. Someone is unloading this baby and this thing wants to go lower, which let me tell you something, man. We're gonna be in a correction. What you have is that O'Reilly automotive folks, okay? Always seems to be a strong stock. Now, industrials right now up 88 NASDAQ is up seven. S&P's up seven and a half. They're right there, folks. Come right back.


In this video, I want to prove the second Silov theorem. You'll recall that the first Silov theorem told us that Silov p-subgroups exist. In fact, we actually get p-groups of various sizes. They're guaranteed to exist by the first theorem. But in particular, the Silov first theorem says that Silov p-subgroups exist. The second theorem says that different Silov p-subgroups are really not that different. Imagine we have some finite group g and p is some prime divisor dividing the order of g. Then we get that all Silov p-subgroups are conjugates of each other. So in particular, if p and q are two distinct Silov p-subgroups, there exists some element of the group g so that gpg inverse is equal to q. All of the Silov subgroups are conjugates of each other. So before proving this, I want to make some statements. If this is true, which it is, by Silov second theorem, all Silov p-subgroups are conjugates to each other. And as conjugation is an inner automorphism on g, conjugation induces a group isomorphism between Silov p-subgroups. In particular, you're gonna get p and q are isomorphic to each other. They're the same group, different elements, but they have the same group structure. In particular, this implies that all of the Silov p-subgroups have the same order because the order of one will then be the other. The order of p is equal to the order of q. Now, if p to the r divides the order of g and we have that p to the r plus one does not divide the order of g, the Silov first theorem guarantees there exists a subgroup p of g whose order is p to the r. So there's someone who has this and it has to be a Silov subgroup because it's maximal. And therefore this then would tell us that every Silov p-subgroup has an order p to the r. So the only Silov p-subgroups are those who have the maximal possible order. And so that's what we wanna get. So the consequences of the Silov second theorem are very, very important. So let's prove that all Silov p-subgroups are conjugates of each other. So like we said a moment ago, let's suppose that the order of g is p to the r times m where p doesn't divide m, that's to say that r is the maximal power of p that divides g. So by the Silov first theorem, there exists a subgroup p whose order is p to the r. We were just talking about that. And because it's the largest possible p-subgroup, it has to be a maximal p-subgroup. So that makes it a Silov p-subgroup. So let's consider the orbit of this Silov subgroup p with regard to conjugation by the whole group g. So let's say that orbit looks like this. There's some p1, p2 up to pk. And we can assume that p1 is the subgroup p. Now, these are all conjugates of p. And so these are all groups whose order is gonna have to be the same so they're all p to the r. So all of these groups are necessarily Silov p-subgroups. What we wanna show is that every Silov p-subgroup is inside of this orbit. That is there's only one orbit with regard to g conjugation. Now to do this, we're gonna use the fundamental counting principle of group actions. That is the size of the orbit k is the same thing as the index of g with the normalizer of this Silov p-subgroup p. So let's play around using Lagrange's theorem for a moment. We know that the order of g by assumption was p to the r times m, where p doesn't divide m because p to the r was the maximum power of p. Well, by Lagrange's theorem, we can factor g as the order of the normalizer of p times the index of the normalizer of p. Now, by the fundamental counting principle, this index is equal to k. And likewise, because p is a subgroup of its normalizer, that means the order of p, which is p to the r, it has to divide into the p. Again, by Lagrange's theorem. So since p to the r divides this, that means there's no p's left that can divide k. So p does not divide the index of this right here. So that's a very important observation there. So p doesn't divide k. All right, so now let's suppose we take an arbitrary Silov p-subgroup. Let's call it q for a moment. We wanna argue that q belongs to the orbit of p. There's something we can conjugate p by to get q. So how do we do that? Well, consider conjugation, consider conjugation by p on the set o. So what I mean by this is that we take o here, which has now disappeared, right? O, we had p, we had p2, we had p3, all the way up to pk. Well, since g acts on this set by conjugation, we could restrict it to some subgroup q. q acts on this set by conjugation. In particular, this might partition into smaller sets. How many would we have? The number of q conjugates we would get for the subgroup p is gonna equal the index of q with the intersection between the normalizer p and q. This was given by limit 15.110, which we actually proved in the previous video. Take that out, check that out if you didn't see it already. So the number of smaller conjugates is gonna be given by this number. Now, of course, as q is a p group, all of the indices right here have to be powers of p because the index, any index of q divides the order of q. q is a p group, so its order is some power of p. So these indices are likewise some power of p. So as q conjugates the Seeloff subgroups in the orbit here, we can potentially get smaller orbits. You have some subgroups there, you have some of the subgroups here, and then we just have a bunch of these smaller orbits, right? But since q is a p group, all of these orbits, all these smaller orbits would have to have sizes of power of primes. So you have some p to the e1, some p to the e2, all the way down to some p to the eS or something like that. So we broke up into something smaller. We all have the powers of a prime. So what this tells us is that k can be written as p to the e1 plus p to the e2, all the way down to p to the eS, what we called it. So k is a sum of powers of p. Now, if each of these powers is at least one, then that sum will be divisible by p, which means k is divisible by p, but we just said a moment ago, it's not on the screen anymore, that p can't divide k, so it's a problem. So at least one of these powers of a prime has to be one. That is one of these e's have to be zero. We have to have some p to the zero showing up here in order for that to be a one here. Basically, you're saying, I'm saying one of these things has to be a singleton all by itself. And so without the loss of generality, let's assume it's just p, because again, all of these CLOF subgroups do have the same order of p to the r. So in that situation, we have that q, the index of q with npi, which we can call it one for all I care. It doesn't matter, one of them is, npi intersect q is equal to one. This would imply that the two groups are actually one and the same thing. So this tells us that q equals npi intersect q, like so. So they have to equal each other. So in particular, if we take any x inside of q, it's gonna belong to this normalizer. It normalizes pi. So xpi x inverse is equal to pi. But lemma 1519, which we also proved in the previous lemma says that if an element of p prime power normalizes a CLOF subgroup, then it has to belong to that CLOF subgroup itself. So x belongs to pi. But as x was an arbitrary element of q, this shows that every element of q belongs to pi. But q is a maximal p subgroup, it's a CLOF subgroup. Therefore, if a p group contains a CLOF subgroup, they actually are the same group. So q equals pi. But pi was a conjugate of p. And so as pi is, since the subgroup q was an arbitrary CLOF p subgroup, this says that every CLOF p subgroup is a conjugates to each other. This then proves the second CLOF theorem, and then we gain all the important implications of that theorem.


Your Excellencies, Distinguished Delegates, Dear Colleagues and Friends, Ladies and Gentlemen, I fear deeply moved that you have unanimously and enthusiastically elected me as the new Secretary-General of the ITU. In choosing me the honor of leading our beloved organization for the next four years, I sincerely thank all of you for your confidence in me. At this happy moment, I would like to express my profound gratitude to the Government of China for presenting my candidature. I would like to thank His Excellency Mr. Liu Lihua, Vice Minister of MIIT China, and to the Chinese delegation to this PP14, as well as to all Chinese friends who have worked very hard to promote my candidature over the last two years. I would like to thank all delegates of ITU members, ITU member states, sector members, associates, academies, and experts and friends of ITU members and their others, and to thank the ITU staff for their invaluable support and encouragement shown to me since my candidature was announced two years ago. The last but not least, I would like to thank my dear wife, Ehua Jiang, who has always assisted me in serving the ITU and is now here in this room together with my son, Bang, to support me in person. Thank you. Thank you. I thank you all. Mr. Chairman, at this special moment, please allow me to express my gratitude to the outgoing team of the ITU management. My first heartfelt tribute is to Dr. Amaran Ture, Secretary-General. He has done his utmost to lead the ITU with many achievements. Over the last eight years, he and I have enjoyed working together in an excellent relationship. He is a great son of Africa and my life friend and brother. I wish him and his family all the best in the future. I would also like to express my gratitude to my colleague directors, Mr. Michael Johnson, Director of TSB, Mr. Francois Ranci, Director of BR, and Mr. Brachy Masano, Director of BDT. It has been a very enriching experience to work with them. Mr. Chairman, ITU will celebrate its 150th anniversary next year. Over the last 150 years, ITU has demonstrated its ability to lead telecom ICT development in the world. Over the recent two years, I have seen an ever-increasing support to ITU by our members and a very high expectation of ITU's role by ITU's friends and partners worldwide. As a newly elected Secretary-General, I would like to assure you that I will do my best to fulfill ITU's mission and through our close cooperation to make ITU deliver services to the global telecommunication and information society at the level of excellence. So, Mr. Chairman, dear colleagues and friends, once again, I present my sincere thanks to you all and I count on you all for the brilliant future of ITU, your harmonized information era. Let us work together for a common goal, better telecommunication ICTs, a better life for all. I thank you very, very much. Thank you.


Live from Barcelona, Spain. It's theCUBE. Covering Cisco Live Europe. Brought to you by Cisco and its ecosystem partners. Okay, welcome back everyone. We're live here in Barcelona, Spain for Cisco Live Europe 2019, CUBE coverage. Three days, we're in day two of three days of coverage. I'm John Furrier, your host with Stu Miniman, as well as Dave Vellante has been on, interviewing our next guest, Seraf Prasad, Principal Engineer in Technical Marketing at Cisco as part of the Cisco DNA Center platform. Welcome to theCUBE. Thanks for joining us. Thank you. So you guys having a DNA takeover in the DevNet zone. That's right. All week. This has been a real revitalization within Cisco DevNet, cloud native. Cisco coming together. The DNA Center has been a part of this from day one. Yes. What is the DNA Center these days? What's happening? Okay, so let me take you a bit back in time, right? So back in October, 2017, is when we first launched the Cisco DNA Center. Since then, we have added a lot more application workflows within the DNA Center. And last year in May or June of last year, 2018, is when we launched the DNA Center platform. And this product got FCS sometimes during October of 2018. So we now have the DNA Center platform, which essentially is an open platform which lets our developers, our partners, our ISVs, build applications on top of the DNA Center which will let them talk to the network. And the way to do it is using our APIs, our SDKs. And then we have a lot of other modules which help them interact with the network via the DNA Center. Now, the benefit of this is not really with respect to APIs or SDKs. It's more about we give them a very easy way to talk to the network. Instead of talking to 10,000 network devices, they talk to one DNA Center. So that's the idea behind the DNA Center platform. Well, yeah. We're wanting to expand a little bit. When we've been talking about platforms in general for many years now, and it's one thing to say you're a platform, but the proof is, who's actually building on it? What can they do on it? So you've got the platform, FCS, first customer ship, it's available, it's launching. What can you tell us about real customers, what they're doing, give us a little bit of the spectrum as to what we see out there? That's right. Before we FCS our platform in October, we actually were on early field trials for almost three to four months. And in that time, we were actually working with our 15 top partners. And this is across the world. So they were actually using the platform to build some integrations from their side, which was beneficial for them. So these are partners like Dimension Data, Accenture, WWT, and I'm just naming a few of them. These are all listed on our DNA Center portal on DevNet, but then we were working with them and we were actually looking for feedback on whether this is useful. And we found that it was really, really useful for them. They built some good applications, good workflows, good integrations, and that helps them drive their own business with their customers. So what's the mission of the DNA Center? What is the purpose? Why do you guys exist? So the DNA Center is built to provide you intent-based networking. So instead of you having to go to each and every network device and provision things on the network devices, you now go to the DNA Center and say, here is my intent. And an example for an intent would be, I want to prioritize Cisco-Jabber traffic. It should be high priority. Now that means there is a lot of network devices where I need to provision quality of service. I need to make sure I have the right queuing structures in place. And guess what? We have so many devices, each one of them might have some different CLIs, different architectures. We now give them one single place where you provide an intent and not worry about the device level details. And I'm just giving you one example. There could be a lot more where, for example, I'm getting the telemetry back from a network. Each and every device is saying, I'm having some issues, but they might all do the same issue here. What DNA Center takes all of this issue provides you an insight into what really is happening in the network. So that's the idea of DNA Center.  Who doesn't want to use this?  I mean, think about the manual labor involved. Just going out and doing all this stuff. So it's an action center, basically. You take action, one spot, window into the network, policy, whatever it takes. So it's driven by, and now applications can come in as well. Is that, am I getting that right? That's right. So the way this works is, again, and this is what we do with platform is different partners, different customers might have some different workflows. So within the DNA Center, we have decided here is how the workflow should look like. So if I want to do an upgrade of a network device, here are the steps I might follow. But when you use the APIs, you can almost define your own workflows, right? So this allows you the flexibility of building your own workflows. That's one example. Other is, say for example, I need some feedback from a different system. Not the network, maybe some other IT system. I need to get some information from them and based on that, I need to configure something on the network. You cannot do that automatically. There has to be an application in between which talks to both of these systems, one of them being the Cisco DNA Center. Now this allows you to do that. If I have the APIs, if I have the event framework, I can do all of that. So that's the benefit of using these. What's the alternative if someone doesn't use the DNA Center? Because this is a no-brainer. You got, I get the device piece, that's just a nice window. Now the platform allows applications to integrate and be programmable with the network. Yes. Why wouldn't someone be using this? This is a no-brainer. Yeah, I mean if you don't use this, what you do is you go to each of your 1,000 network devices, talk to each one of them and take care of all of the device-level details and do it. Again, it's doable. People have been doing it for years now, but now we are making it a slightly more easier, right, to make it faster. Well, you know, it comes to, we've been talking for years, the need for scale. And if you don't have good automation, if you don't have tools to be able to help you there, you're not going to be able to reach the scale that you need for your business. Hey, explain why this is important from the... Yeah, so like, I mean, if you're, like for example, what you've seen is, and we have been talking about the digital networks for some time now, and what really is a digital network? That's a key point to understand here. What you're seeing is, there was a time 10 years back when you had to roll out a new service, network admins, network architects had six months to provision that. Nowadays they don't have that. Six hours. Yeah, they probably have six hours. That's right. Six minutes. So in order for you to do all of that so fast, you really cannot go into each of the device and talk about it, you have to abstract some of that and that's what the DNS Center provides. And using our APIs, we are now adding a new level on top of it which really makes it much more easier for you to scale. Again, not just scale, also integrate with other ITSM systems, other IPAM system, other reporting systems. So this is all happening automatically instead of you having to manually touch each of these systems. Talk about the plug-and-play process. Okay. How does that fit in with DNA Center? Compatible, not compatible? So plug-and-play is an application or a workflow within DNA Center, right? So when I look at plug-and-play, now every network device in Cisco has a plug-and-play agent running. Now I'm going to get into a bit of a technical detail here but they have a plug-and-play agent running. And so when this device comes up, say for a day zero onboarding, you open up the box, you take out the device, power it up, the agent fires up. And what it looks for, it looks for the plug-and-play server. The Cisco DNA Center is the plug-and-play server. So now I'm allowing you to onboard new devices, right? I mean you could roll out a new site with 25 network devices, 100 network devices. So all the configuration gets pushed down from the DNA Center. So you build your own profile in DNA Center and you attach the templates or the configurations. You say here is a serial number and when this device comes in, I push in all the configuration. I provision a new software image on it. So your device or your site is up and running. Great for campus, great for remote sites. Exactly. So you really don't have to send a network admin on every remote site to do that. Will it take policy? So if I set policy up in the DNA Center, will it automatically take that down through? Yes, yes, yeah. So I mean, once the device is onboarded, it gets added to the Cisco DNA Center. And once I do that, now I can throw in policies, any kind of... I didn't mean to get in the weeds. Sorry, so go ahead. Yeah, so what's great about a platform, you've talked about some of the partners. My understanding, not just some of the integrator partners like WWT that you mentioned, but even some of the technology partners like IBM have services that plug in this environment. We've seen in platforms where you can, one of the other dimensions is the customers and what are they asking for and how are their feedback there? So is there anything in the DNA Center platform that if one customer is asking for something that more customers are going to get value of that? I think back to the day of Salesforce. When Salesforce gets something, we add a new feature and that's something that can roll out. We can learn from all the customers. You get that flywheel of development in a platform. So what we're doing here is we're actually working very closely with Cisco DevNet on that. So they have a partner ecosystem exchange. So what's happening is a lot of this, channel partners, technology partners, ISVs, when they build something, they go into the ecosystem exchange and they can post it there. So it's not just, which is useful for them. There are other partners, other customers, they can use it. They have a GitHub repository of all the core, sample core. Again, not everybody shares it to the extent what we would like, right? Because there's a lot of intellectual property which they have built and they might want to monetize on it. But that is the whole idea behind the ecosystem exchange where I am allowing partners to share what they have built and this could be used by others. So I'll talk about the success. What's the uptake? It must be well received. Obviously, we see a lot of action here in the DevNet zone. Give us some color commentary on what the momentum has been. Who's using it? How? So from our side, and I'm from the business unit which is actually building this product. The way we judge whether this product is getting traction is, what is the amount of future requests I'm getting? So we are getting a ton of future requests with respect to new APIs that we want to expose, with respect to new documentation that we have to build. I mean, what we don't want is we release a product and we got no feedback. So what's the feature request? Backlog big or what's going on? Oh yeah, so for example, when we launched we had a limited set of APIs available. Now since then with every release, now we have a release almost every month where we are adding newer APIs and new functionality release, we are actually adding more and more APIs. And again, there's much more to add, but that's the process and we will- Just keep jamming and taking it in, backlog it, get it out there, iterating quickly. Yeah, exactly. And again, I think the one point to add here is we are not really just exposing this API. We are exposing an intent API. So it's got slightly different. So instead of say for example, I want to provision a wireless network. That's probably a 10 step process even within the DNS center. What we want to give you is a single API which will do all of that, right? And all of the heavy lifting will be done by the Cisco DNS center platform. So we will internally call the 10 separate APIs. So for a developer who is building this, he or she may not be a network expert. They might not be an expert into how the network works. So all they have to do is call one single API and all of the details or all of the heavy lifting will be done by the platform. So they don't really have to worry about some of this. So this is where the automation will get done on behalf of the customer. Exactly. They'll come in, deploy DNA center, understand what's going on, and that's where they do all their work. Figure out what to do, get it done there. Yeah. What's the biggest use case so far? So a lot of use cases, right? Like we have a partner who is actually building a mobile app, right? So we have a DNS center which is sitting on-prem on in their own data center. They can go and look at the, you know, go to the browser, open up the Cisco DNS center console and look at the various workflows or see what's happening in the network. They might see there's a router which is just crashed, right? Or an application which is having some application performance issue. But what you want to see is also send this event send remotely and now their network admins could be walking in a grocery store for example and the mobile that alerts shows up. Guess what? That application is having an issue. So let's do the debugging. So we will provide you all of that details within our APIs which can then show up in the application. So DNA center platform has a takeover going on in the DevNet zone. We see classrooms, we send labs. Give us a little bit of the flavor of, you know, the solutions, you know, for the next hour as well as at the show in general. So in general here at the Cisco DevNet zone we have a Cisco DNA center takeover going on right now. We have workshops. We have sandbox labs. We have learning labs. You can go to any one of them and try it out. Again, that is not only for this hour. That is there for throughout the show. But for this hour, we have a tech talk going on from one of our distinguished sales engineers, Adam Radford. He's talking all about DNA center platform in deep dive. So showing live examples. We have some demo systems up and running here where you can actually see how we are able to generate events, how we are able to send events to external systems. So all of that is going on. And plus we have all of our experts. So a lot of our experts from the engineering team are here on the show right now in the show floor. So if there are any questions around DNA center platform there will be more. The range for us is here. Yes. In my understanding, I mean, when I've talked to people the DevNet group has labs running all the time. And that's what's great. I've talked to customers that say, you know, I need to get to be able to play with this and hear something that's online. It's in the cloud. You know, I just kind of do with it whenever. Yeah, and just to add to that like, so of course for our customers, our partners or developers who want to try this out, they are more than welcome to come and join us on the Cisco DevNet zone here. But even if you're not a Cisco live, these sandbox labs are live online. And we have, I think, around five or six of them and we are adding more to it. And you can go anytime, try out your own, our APIs on the sandbox. You don't really need to have your own environment. Now, of course, when you go production with it, you will, but just for trying out or building some applications, you can do it on the sandbox. So, Ralph, thanks so much taking the time, sharing some technical insight, went a little bit deep on the program play, but appreciate your time coming on theCUBE. Thanks for coming on, congratulations. DNA Center, the Cisco DNA Center platform, the official name, really an oasis, a place to go in and configure the networks. No brainer, as far as I'm concerned. Check it out. theCUBE's bringing you the DNA of the show here, which is all the action coverage. I'm John Furrier, Stu Miniman. Stay with us more here live in Barcelona. And we'll be back after this short break.


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