Nope, thank you everybody for coming back Hello clap wads clap twice It works with my five-year-old nephew and it works with all of you really impressive Anyone want to claim this? All right, Scott. I'll find you anyone want to claim a Adapter iPhone I took home sunglasses last year. Maybe I'll take home an adapter um Very quickly. I just want to take a moment to thank the folks that have served on The board and the exec slate during my tenure as president So if you are one of those people would you come join me on stage? If I were a better person, we would have presents. We don't have presents, but I just want to say thank you To this astonishing group of people They work their asses off They get emails at two o'clock in the morning and they save the day they do it with extraordinary charm and good humor and intelligence and Comradery and I am grateful to every second I have had as part of this organization since my first day as a member at Brian Quartz Toronto conference So thank you all for being who you are So in the goal of keeping everything really short and on time there is a bio for mr. Louis Alfaro in your handbook and online So if you have not read about him, I encourage you to do so if you have not read his work I encourage you to do so if you have not seen his plays, please produce them and send him some royalty money In addition to being a playwright and an activist he is also sometimes a performer and although tonight is not Officially one of those performances. I am utterly delighted that he agreed to join us and give you just a little taste of Who he is I have known Luis for a very long time And had the luxury of dipping in and out of his work over many many years and made a list of just a few of them Straight as a line at primary stages in the year 2000 a play by a Latino playwright with an Asian cast Electricidad at the Mark Taper Forum in 2004 and the film he wrote from Prada Tanada in 2011 So it's been a long journey of love to have this moment to get to share him with all of you So with no further ado, I give you the extraordinary Louis Alfaro Hello everybody. Oh Wow, I Was so nervous about coming here today because a lambda it sounds like a British Thing but it's so great to see all of you so many people. I know I want to thank Beth Blickers We were both at at Abrams artists at the same time I was a client and I was a terror client for that agency because I am a yes artist I say yes to everything and I have a really favorite memory, which was that I said yes to tree planting ceremony for the city of Anaheim, California And I remember that they had to do the contract for that and it's really great I Just I think what I want to say is that you know, although I work in the Academy. I teach at USC I really would just love to keep it really real It's a short little speech and I'm gonna try to include as much gossip and as I can include some images hopefully inspire some thoughts about new plays Development community building. I have had a really sort of extraordinary journey these last I'm afraid to say it, but I'm gonna have to say it these last 30 years There's something about saying that that that number and I think it's a that more and more I keep hearing This is a young man's game.  I'm really happy I was raised very Pentecostal and very Catholic so essential to key to my work is this I think a sense of humility a sense of appreciation for For these opportunities and I have a lot of opportunities right now in my life I am the resident playwright at the Oregon Shakespeare Festival. I was just yeah, it's a great gig I am I Am a resident artist at the Magic Theater in San Francisco at Victory Gardens Theater in Chicago a little company in LA called playwright Serena and Really kind of not because I want to but I think it's the new reality of how we work It used to be in the old days when I first started you were at one theater and and there was a kind of loyalty at one theater Right and it doesn't work like that anymore You kind of go around the country you're kind of a bit of a nomad and so I have spent the last 30 years Kind of traveling around the US and I do something a little different which has said I don't Just show up, you know for a table work and then and then you know You leave at the end of rehearsal and then come back for opening and then that next morning That's 6 a.m. Southwest flight that they put you on and send you home I actually stay I stay so I have been doing a series of what I call long-term Residencies at regional theaters across America. I stay for up to a year and I stay normally and kind of Cities that are wrestling with something with themselves. So I was in Tucson, Arizona for a year I was in Hartford, Connecticut for a year I was in Houston, Texas for a year So I've been kind of all over the country and one of the realities that I face as a as a person of color Doing theater in the regional theaters is that I not only bring my play I also bring the audience with me or I go and find them And so I thought today tell you a little bit about how I do that and also how I how I work inside of a company I have these little tricks, you know a box of donuts works really really well I am a notorious for bringing that first box of donuts to the box office and generally when I come to a company I start at the box office and then I move into marketing and then when we start working on the art I work I move into literary and so it's a way of Making sure that the signal we're giving to the community is the one we want to give It's also a way of making sure that when you have that first experience Coming to a theater. It's the most positive experience you can have so I am Kind of crazy about things like working with the parking lot guy I'm working with the people who do facilities because I do think that's where the first experience starts It starts with having a really good parking lot experience so that you want to come back.  That's the title of today's speech.  That's where I start. This is where I learn That I need to be told everything about a community. So when I go to a new community I do something that I learned from a woman named Rachel Ray who's a TV host a food host Yeah, and she says that she goes to these different cities and she'll say hey Where's the best place for me to have breakfast and if three people tell her the same place, then that's the place That's the local place, right? I do a little variation on that. Who should I talk to? And so that's where it starts and it's not usually the mayor It's usually that guy that does the activism work or this lady who is keeping these things together in town Or somebody who is kind of like the town gossip Whoever it is they usually are the first entrance into a community I am trying my best in my work to be as authentic and as truthful in the creation of the work Not only for the audience, but most of the time I am working with the community that are in essence kind of my dramaturgs I was born and raised in downtown Los Angeles in a very poor and a very violent neighborhood called Pico Union I generally don't like to tell this story because I used to have a lot of shame about it But I'm gonna tell you because I think it's really important as to how I started So my mom is at born again Pentecostal is at prayer service. It's a Wednesday night My dad is at the Hollywood Park racetrack and I am babysitting my little sister There is a bar at the corner called it Gloob Halisco and there is a fight at the bar I know this because a guy is walking down the street with a piece of a pool cue sticking out of his stomach And he starts to walk towards our house and lo and behold He falls and dies in front of the house Our dog Toro later to be renamed tortilla when he got run over jumps on this guy and starts to bite him and there is panic. There is chaos. There are some police lights There is ambulances there's all kinds of stuff now what what I think is happening even though I don't know the word yet is there is opera There is something extraordinary going outside on outside out that window And it is the beginning of my journey towards storytelling so guess what I was in the fourth grade and We had to write an essay and it was just lucky that that happened most important thing that happened in your neighborhood So I write this wonderful essay about this guy and the pool cue and my dog and the ambulance lights And I'm you know already using metaphor It's like a circus and you know I'm going on and on and on and so my mother gets called in by my teacher who has read it My mother and I have to go visit the principal who Suspends me for a week and I have to see a therapist so Wonderful right and here's the thing that's so amazing about it was raised by two form worker parents from the Central Valley of California Delano, and so we were raised in the United form workers kind of political family and my father used to say to us when we were kids We must bring to light that which is in the dark which is abuses Which is oppression which is all this stuff and in that moment when I am in that principal's office I realize that somebody is trying to stop me from telling the truth Yeah, and so it's the beginning of writing for me My mother went and bought me a bunch of little books and I started to journal write and I never stopped It was the beginning of Intro into poetry I spent 10 years in the poetry world and then I spent another 10 years doing performance art In the u.s. I went to europe I went to canada I went to latin america And I'll just very quickly tell you that the theater of performance art was also Away into discovering theater. So I have two famous pieces I'm looking at meat hunter because I think you've seen them both in a disgusting manner I drink a bottle of tequila on stage and then I work out so kind of crazy statement on machismo and How much can my body take and and I call them these modern bodvills And the other one is I eat two boxes of twinkies and then I type rope walk And so, uh, I know you're thinking. Hmm. Okay. Who did they get for the keynote? But it did get me to europe, right And he got me a macArthur award so Uh, but that was really just the beginning for seeing my art really kind of in two ways I think of my playwriting life as My life before maria iran foreigners and my life after meeting iran So I was a student of iran foreigners says and it changed my life In many ways, um, I belong to an ancient tradition. I don't have any formal Education in terms of the art. So I was really I come from that ancient tradition of mentoring I was mentored by iran At a certain point iran said now you must go to paula vogel So I was paula vogel's assistant for a while and I was mentored by her paula sent me off to mac wellman That was very very interesting In fact, I'll tell you my little well mac wellman story because I got gossip. I have to do a little gossip, right? So mac and I are at a bar in la called, uh, l coyote And yeah, the dangerous dangerous margaritas. I'm underage, but I have a I have a fake idea. So it's all okay, right? And um, I'm wasted and he hands me a napkin and he says You're not very well read and it's going to haunt you for the rest of your life So I suggest that you read this list and you start reading all these pieces on the list The first listing is the bible And it's the coran and then it was like tennessee williams I mean it kind of just went down the list, right? And um, maybe one of the greatest gifts I ever have and the mac, uh Turned me out to len jinkins And there I went for the next 10 years working, uh, non-stop So a lot of what I did was I was assist people in exchange for being in their workshops or for Being in the room with them. Um, I feel like everyone that I work with is capable of writing a great play And I talk about children and I talk about community members that I work with and senior citizen groups I feel that everyone can write a great play I feel that everyone could write a probably a great song a great poem But very few of us can write 10 of them because that requires this Right and all that writing is is really about technique and craft So for me the alchemy of writing really happened in play writing It really happened when I committed that thing, uh My my sort of chicano tongue to a pen and it landed on a very kind of american paper And somehow I've been sort of wrestling with one foot on each side of the border And sometimes the border is the us in mexico, but a lot of times the border is between um being a Queer and being in a straight culture being a person of color and being in institutions where I'm the only person of color So a lot of times, you know, I'm I'm having to sort of negotiate a lot of a lot of this So my first class with Irene forness Was with an amazing group of people honong. I don't know if you guys know honon Bridget carpenter Naomi Zuka Caritas bitch Alice twan and I reen asked what kind of play I wanted to write And uh, so I had by then I already had 16 arrests for civil disobedience I'm a political person and uh And at one point I even worked for the aclu teaching people how to get arrested And I blurted out that I wanted to write political plays and Irene forness says I hate people who write political plays The irony right and I didn't know her work, but it was like, okay As she said if you want to write a political play, I suggest that you stop writing right now And that you go do your work go do politics and then come back and write a play about nothing write a play about a rock And I promise you it will be political A cliche I know But it was um, it was a truth that really helped me. So I stopped writing I worked in HIV AIDS prevention Uh in a hospice and then I did field work I had a job where from midnight to 5 a.m I would go to griffith park, which is the largest park in alley county and I had a Flashlight and I was that super obnoxious guy that would go into the bushes and go Hey, are you guys about to have sex because uh, do you need a condom? And uh, do you know how to put it on because I could teach you I have a banana And I had a little safe sex show I did and so um, so true to performance art But true also to my activism and theater right and so I was doing a lot of this stuff And then I went to work for SCIU the the largest union in the country On a justice for janitors campaign and I came back And I did exactly what I read foreign assessment to do which is to write about nothing And of course the world entered right and my career took off So I spent 10 years at the mark tape reform. I ran a program called the latino theater initiative commissioned over 150 artists Um, and then I ran the new play development for a while and like all good things regime change happens and it ends And this is the challenge with the american theater at the moment when you finally learn how to be a good producer You get canned, right? So, uh I I was sort of lost. I didn't really know what to do and as beth was telling you I got hired to write a tween film an adaptation of sense and sensibility called from prada to nada and the woman I was working with was a French event as well and filmmaker named fina torres And uh, you know, we were working they put us up at a house in ohai, california And I was sort of depressed, you know, I'd worked. I think all of my life I think I had only taken one day off during my entire time at the taper And uh, she said what's the matter? I said, well, you know, I'm not sure I missed a job But I sure miss all the people And being a french rude woman She said the only thing that art asked you to do is to change get over yourself And it was the best lesson for going into long-term residencies What sometimes can be a little lonely, which sometimes when you're working in cities That are struggling you meet a lot of different kinds of people So I did a poverty study in hartford connecticut as many of you might know Do you guys know hartford connecticut so hartford state? So hartford, you know quadruples in size during the day, but at night It's 43 port a weekend and 40 something percent african-american Huge drug addiction problem So I spent my days at the local parish with the priest In the poorest parish in hartford and hartford is the poorest city in the richest state in the nation And so, um, you know, I would sit there and people would come in and they would Ask him to do final rights or they would want to rent the hall for 10 dollars and so it was like a kind of Amazing experience to just sit and know nothing and to learn everything about a city Um, I was in tucson connet tucson, arizona at working at borderlands theater in a lane romero's here Who has been a long long time playwright friend? And I did a project where I worked with young teen girls and I met a little girl 13 years old who had murdered her mother. It was a poetry Program and I'd like a juvenile juvenile Detention center and she had murdered her mother because the mother had put a hit out on the dad Who was a drug dealer from the south side of tucson? And so Terrible terrible story a beautiful young lady a great poet And so that night I would go to the arizona theater company to see a play and I remember it was a comedy It was called the mystery of arma vep And so I needed something to raise my spirits and I went into the little arizona theater company store And they had a collection of the greeks, which I'd never read 10 greeks for 10 dollars dollar greek pretty good, right? And the first Play that I read is electro the story of a young girl who murders her mother to avenge her father's death And something shifts in me, right? I'm going to tell this story beat per beat And I'm going to keep it modern But I'm going to take all of those beats of the greeks and I'm going to teach myself How to write a really good play in 90 minutes with life and love and death and Family and all the good stuff and and it sent me on a journey So for the last 10 10 years or so I've written a four greeks I wrote a play called electricidad that was done on the main stage at the goodman marked a perform I wrote a play called edifice l ray That's been all over the country And then most recently I wrote an adaptation of medea called bruja for the magic theater And then because I'm a glutton for punishment. I wrote another version of medea called mojada Which is kind of really making its way around the country So I thought today that I would show you a little bit through image because you know, I'm not that beautiful Do image some of the programs that I do how I do them and you can get a sense of how I travel through the theater And and since we have so few moments. I thought I'd kind of like Plow through this and so forgive me if If I'm kind of going a little too fast. So This is a project that I did in santa barbara Teen young teen gang members with senior citizens six months the senior citizens play the kids the kids play the senior citizens One of the most extraordinary experiences. I'll tell you why I had a young guy His name was osso, which in Spanish means bear And he decided at the first rehearsal that nobody in the gang was going to come to rehearsal What do you do about that, right? So I'm sitting in santa barbara, which is about two hours out of LA Trying to figure out what to do. I'm at a starbucks and I wait till 10 p.m. And I go to osso's house Knock on the door his mother answers and I say hola está osito so I have to take him down a few notches, right? And um, she was So she sends me upstairs. He doesn't know I'm coming he opens the door There he is and his boxers and his undershirt and I said so here's the deal I know that you want to be in charge And I don't need to be in charge right now. I'm listed as the director, but you can be the director I will tell you everything you need to do And you will get the credit in the program But you have to guarantee that the the young gang members will show up to every rehearsal and they'll never be late And sure enough six months not a single absence Not a single tardy and when people were like racing Also would get on his little phone and say get here and they would get there, right? So one of the greatest accomplishments that I learned early on was how to negotiate with community And I love the program because the program says directed by osso assisted directed by louise alvaro And this little lady her name is china is the dramaturg and so I was hoping she'd be here today, but Clearly she hasn't followed the craft Um, uh in my journeys. I also do a lot of crazy things like playwriting workshops with the red-headed ladies of palm springs Isn't that fabulous? Uh, so I started to I started to work and Build plays and one of the plays that I built was a play called breakfast lunch and dinner about a woman who gets So impossibly large that she starts to float I had always been my dream to to make theater.  And I'd say can you make somebody float on stage and then you know like I don't know like Annie Kaufman would say no And they go next and so Lisa Peterson said yes, I will make your floating person So we worked on this piece. This is Diane Rodriguez who is president of the tcg board and now on the national council of the arts She'd be thrilled that I'm showing this picture of her and that equalled um this play At heart for stage So I kind of got to see my fat woman fly And it was really kind of extraordinary But the thing that was most extraordinary about this Was going and working with the box office because when you have 43 percent Puerto Ricans in town You need a Spanish speaking box office person And maybe the biggest activism I did at heartford was higher a Spanish speaking box office person who's still there 10 years later And so little by little that is the kind of politics that take over So although I see these images and I think about how much fun this play was I think about creating access for the audience to enter into the world of the play And then I went to Oregon Shakespeare Festival to do this play. This is Sandra Marquez the newest member of steppenwolf ensemble If you guys know Sandra, she's not this big at all. She's super thin And uh, this is one of my favorite pictures. Louis Douth at the Is here from osf as well and um, we had an amazing journey 10 years ago Which has said my boss bill roush told me we need to get the numbers to change the numbers And if we're doing a latino play we need to see latino. So he gave me 10 000 tickets at a discounted price I went into town I had an office not at the uh, Oregon Shakespeare Festival But at a place called la clínica del valle in two towns over And uh, la clínica del valle is where all the migrant farm workers go and I learned things which I love as a play Right, which is I learned things about states. So Oregon is an organic state. They don't put anything in the water That's not organic to the water. So they don't have fluoride That summer a young 11 year old migrant farm worker died of a tooth abscess So that started to fuel A whole ton of stories and when you're in a clinic, you're learning this all of this in really immense and profound ways But the other exciting thing is freda casillas who is our community outreach person? And I went to medford and we found this woman who had this taco truck and we said to her Um, would you come and she said no, I'd never make any money So we guaranteed her three thousand dollars as she would come for our big latino opening weekend and we had a Conjunto that we brought from sinaloa. We like really built this thing up, right? And so she agreed to come and she made ten thousand dollars that first weekend So now she is an institution taco truck tuesday at osf We had to take it off the bricks because the shakespeare purists were really really mad. So now it's over by the new theater She's joined the hispanic chamber of counts Count commerce and she gives us 10 percent of all into the hispanic scholarship fund We can do it, right? We can write the play We can bring the audience and We can bring the taco truck So I read that five percent of all plays for young people only five percent have a female lead I don't know if that's true. Is it does anyone know if that's still true? So I wrote a play called black butterfly has a really long title took it to the kennedy center twice And I was a big hit Just wrote it on a lark really because I was so dismayed But the fact that most young girls in place support the little boy who goes on the journey, right? So could we have five females talking about being poets and this play has had about 13 productions And it was seen in la by 135,000 kids Right You can do it Here's another kind of activism. I wrote a play called hero right after the iraq war comedy I read about a guy from lajabra california who fell off His truck While he was protecting water in iraq and he got the key to the city and I was like, wait a minute I want the key to lajabra california, right?  We started rehearsing latino cast We noticed that all the reservations are only latino. So the next day john revera the director hires an asian cast So on thursday nights latino cast friday nights asian cast saturday latinos sunday asians And you know what happened only the latinos would come to the latino show only the asians can relation show So we had to mix the moms and the minute that happened Diverse audience Yeah What a lesson I wrote a play for cornerstone theater company called body of faith.  What is it? Questioning I don't know and i'm gay I could be thrown out of the tribe for that. So um, I wrote this play interviewed people of faith Lesbian nuns everybody and I met two transgender people And one of the transgender people in the play told me that he was from santa She was from santa june, texas and um was going to jump off a bridge So depressed and the parents came the fire department was there It was a big big thing in the news and uh The mother's crying and she says don't jump. We love you.  I'm transgender and the mother says jump So right so like core beliefs right and she says that is the moment when I realized That the only thing that was going to get me through this journey of changing my body was faith So the t in transgender is the same t in transformation It's the same t in transubstantiation I got in so much trouble with the catholic church I got a note from my parish telling me that we're going to kick me out It was amazing, but you know what nuns came Priests came and I didn't realize we had so many gay and lesbian Uh nuns and priests in alley county extraordinary And it won the pen award for drama. Thank god. So here I go into the greeks um, I love What happened and I started in tucson at a little theater called borderlands And I really loved working at borderlands because although it's a non professional theater writing a new play for a non professional theater requires A lot of craziness like people not showing up and nobody ever kind of really actually learned all the lines But the thing that was extraordinary was I needed to get the essence and the authenticity of the language And that is what that community gave me they gave it to me This is a pima community college where we ended up doing the play And they gave me this wonderful gift and that's what equalled a main stage production at the goodman theater um It was a very interesting experience at the goodman because it was I think the first Outside of zootsuit and a few others the first kind of large scale latino new play And I'll never uh, tanya saracho. Do you guys know the playwright tanya saracho? She's a good friend of mine We were at the box office because she was in the place She was in the chorus and a person came up a very innocent wonderful older woman Who didn't realize it but went up and said is this play in spiky knees? and the box office guy said Oh, you know, he's wrestling with that, right? And and she goes, you know spiky knees when it's like spanish and english and he goes I don't think that's a word right and uh It was basically my experience of how powerful it was to be at a big gigantic theater like at the goodman And also to educate the audience so I started to do post plays and now I believe Really strongly in post plays and so I did kind of a post play every other night um Just to so these are steals from the play And then there was a production at the mark tape or forum I'm just going to go really quick through them because my minutes are up Lots of productions everywhere dallas Uh, the old la city jail. How scary was that? Of the first def production Fabulous, right? So I went into edifice. All right. The thing I love about the greeks is there's a question we're asking, right? So if electra the question of electra is is it possible for us to forgive The question of edifice is is it destiny or is it fate? Right and so I read that uh 62 percent of all young men in the california state prison system Uh, we'll go back at least once into prison once they're released 62 percent Where are the new kingdoms? Yeah, so we started at the magic theater with the very simple Kind of staging of the play moved into victory gardens theater chicago This is the eighth production of the play and as a playwright. I have to say um This is finally where the play landed So it takes me a long time usually first productions Are not really kind of my favorite or i'm still working There was a character named uh creon creon se crea muy creon Which is a play on creon and um, I never kind of got that character in every review seven productions previous would say Something's wrong with the creon and then you know, you meet an actor And he brings something to the experience and it was a young guy just out of depol And he would sit at rehearsal with this little pad and he would write the most amazing notes Thoughts for himself as a character and something Switched for me too and it was the first time that I met an actor who actually wrote his part He didn't actually give me the language, but he gave me The soul of this character and then uh, this play really took off It was like christis jones's uh only four stars that ever got from him It went and it ran all summer and it and it got picked up everywhere So here was my experience in chicago 35 performances Every day I'd get up in the morning and I'd take a subway like the kedsey line All the way to its end and then I would take a bus all the way to its end And then I would walk about 10 blocks in the 95 degree heat and I shaved my head I did all kinds of crazy stuff just to like survive it and I would go meet a non-profit leader that was working with issues around young men just out of prison Gang prevention and then that night they would come to the theater And they would be my guest at the at the post play So we show up for first performance and the audience Beautiful audience is about 65 and older White Very loyal, but doesn't look like the city right? So I got up and I went out front and I said you guys we have to do something about this So Yes, yes, so this is one of my favorite productions because I think it just the audience was changed and I was changed So here's my sad story about casting the most amazing actor He's having the most amazing career in chicago's names adam pos. Have you ever seen him? I saw him because I saw him in a rajeev joseph play at theater works in uh, palo alto And um, he came into audition. I said, I'm sorry. I'm so I feel terrible about this But I'm gonna ask do you not to audition because I'm really working towards a kind of authenticity with play And I'm really looking for latinos and he goes. Well, you know what? I've never played a latino and I'm porto rican And I go, oh my god. I've seen you in like three rajeev joseph plays. He goes. I did a lot of good accent work at de paul And and so a kind of amazing journey with this actor He's in kind of everything I do now in chicago, right? So not only am I building the play I'm building the audience I'm building the community of actors as well The only way we're going to be good enough for these regional theaters is if we we become veterans in the field Uh production in minneapolis with carlyle brown as teresia's How amazing is that? you know Uh woolly mammoth a big lesson I learned Eastern european designer. He says to me, what's your favorite tv show? I go america's next top model. I love it and uh He brings in this set at the set design And uh, he took out all the chairs if you notice up there and he built a ramp a modeling ramp And the entire place took place on this ramp. So you have to be very careful about what you tell designers This is the famous uh road rage scene in in edifice. So that was the drawing and this was the actual design I learned a big lesson the audience was terrified. You must never Sit them that close when there's blood and violence. They were um, they were beyond terrified Uh, I never saw a single person of color at their production and the poor, you know, I love woolly mammoth God bless them. But the the crowd that came was like, oh my god I can never go to the inner city It was terrifying for them This was the set So one of my greatest experiences working regional theater woolly mammoth While i'm doing edifice. I'm also working with 12 adults People in a y in a ymca program Literacy program learning how to read and write for the first time in their lives They come to first rehearsal They come to table work. They come to design meetings They come to opening night and they come throughout the run and uh, they learn Uh to read and write with the play called edifice. El rey. How fabulous is that?  This woman gave me a lot of trouble You can almost tell the ones that give you trouble, right? Uh production here, I wanted to show you this because this is a production here in portland And with wonderful Olga is Olga here Is Olga here? That's Olga Sanchez the wonderful Who's taken a breather from uh acting to get her phd Fabulous Fabulous Fabulous uh seattle Uh denver Not denver. Yeah dem. No dallas theater works and then um a production recently in san diego so um And then I and then I started working on this media. How crazy is that this actress? I met when she was 12 years old Her mother is the famous land water rights activist Maria Varela We met at a macArthur gathering and she said my daughter. This is my daughter Sabina and she wants to be an actress And you're like all right. Okay. Good luck She shows up a few years later in my life and she's my student at usc And then um, I find out that she had done Electricity at the new mexico arts festival And then she did adepts at dallas theater center and then she played medea in this place So she's done all my work. Um, that's the way we build community. That's the way we build actors This is a guy named Sean San Jose who has a company called composanto the legendary company of san francisco We've done 18 works together Some people just get you right And then of course I decided to do another medea because Um, I didn't really think the one I wrote was good enough really And so I met I went back to chicago and I started to meet these people called the dreamers People who hang out on the street and they counsel people who are undocumented About where you can get uh services everything right? Um, how to avoid getting arrested and um I write this piece in the middle of this play Based on this woman's narrative Um, so then another piece of information pops up to me like the greeks give you right More than half of all women who cross into the u.s Undocumented from latin america are assaulted most of the time.  So I decided I wasn't going to take a stand on immigration because it was It was uh, like people were very dramatic about it senator dick durbin came and did one of my post plays and We decided that what we were going to do was try to not talk numbers of people But show you the humanity of people who are undocumented in this country So could we just show you what it is to live undocumented in america and that is the journey of this play It's all the beats the media The other thing when you're looking for authenticity Is the house So I spent months and months in pilson, which is the mexican american neighborhood of chicago And I started taking pictures of houses Because I knew I wanted the house to look Of the way that my audience might really buy into it. So this was the original Design that you know of the picture of an actual house that I found in chicago And then the amazing set designer, you know, of course did her magic And you know, it's interesting the minute that sometimes when your people walk into a theater and they go Oh, yeah, okay, and then they sit down and they don't do this, but they do this right extraordinary And that was design Uh, thank you to norman frisch who's also here. I remember all my friends are here. I'm so excited Norman frisch. I don't know if you guys know norman norman stand. Yeah, there's norman norman. Uh, yeah, he's the big wick I don't think I'd be doing the greeks if it wasn't for norman He worked at the getty and he got me interested in telling these greek stories And I went up there and I met these scholars that were extraordinary And once again, he came to san francisco and he saw bruja and he thought I could do better I think uh, you asked some pretty pointed Questions that weren't that were kind of critical but sweet and then This is I'm messing with them right and uh, and then uh, this this production this big production just happened And we just won the los angeles drama critics circle award and it won the jeff award for best play So it's had a kind of and it's opening at oregon shakespeare festival next season And then at the end of next year, it'll be a portland center stage so finally this is a good example of um Of another great lesson I learned isop in rancho cucko monga You get hired by a city to write a play for children and it has to include isop And you have to meet the city's founding fathers and they're going to take you all their museums And and you still don't have enough creativity to get through it and nothing was sort of kicking in And they said we have this native american woman named barbara who wants to meet you Can you go to the hot dog on a stick at rancho?  I hear you doing this play I have two requests the play if it's for children should not feature humans. It should be animals I go, okay. That's all right. Just we all have animal spirits, right? And then she goes the other thing is I have to take you and show you our herbs So I was like, all right, whoo, it's okay. So we get in the car and we go to the 210 freeway Entrance ramp pull over we get off all the cars are getting on the freeway And she's picking the herbs and we're eating the herbs that were originally there And something about the idea of reaching under And looking to see what's underneath the city Started this play. So I wrote this crazy play about a little bear named isop Whose family dies in a in the big foothill fire the parents were super pissed That's a picture of the actual foothill that went up in flames. So it was based on a true story And she there's her clan and they do this wrap when they come out and then the fire comes and they all Leave except for her And then I just started working with all these Native American images to belong to the Tongva tribe of that region Rancho Cucamonga So every night the moon dies so that we can have a new day so that the sun can come up So the moon speaks like this You thought I was I don't know the parents were livid right now i'm doing bears I'm doing death. I mean they like the and of course we started doing Nighttime shows for the parents the parents wept because of course what happened is in the middle of this my father died And I didn't know how to process anything other than the day That my father died I went to rehearsal Because that's how crazed I was and I didn't know where to take all this grief and the sorrow So I wrote this play about a little bear that has to Be confronted with loss and grief. So she meets these retired lizards who take her in She meets these cactus 100 year old cactus did tell her about the history of Rancho Cucamonga She meets his salmon. She meets ants. She meets everybody right and in the process of meeting them They all do this crazy little ritual that we learned from they learned the entire play How amazing is that? So I'm pretty sure my time is up, but I think what I want to leave you with this I'm doing Pena costo plays now. Look at me. It's so sad Um, so I would like to leave you with one last start. So I did um when I was doing edifice I met a father greg boil of homeboy industries, which is a gang prevention center in los angeles And he said I have your edifice. I want you to come meet him And it was a guy who had just gotten out of something called the shoe solitary holding unit in prison. He had been in it for 16 years I'm his first like client that he's gonna meet in a room with no windows I go in the guy is completely tattooed and he won't look at me.  He had a fight and he murdered a guy in prison So he was put in this solitary holding unit So from the age of 16 to 32, right? So he says I say wow, that's interesting. So and you know me. I'm like a playwright So I'm like, do you know women and he's like, no, I'm a virgin because well, of course, right? And I go to you like What was your family? I never knew my mother and I said, oh, this is like extraordinary He's telling me all this stuff. I go. Have you ever heard of the play edifice?  They give you $150. They give you a bus voucher They give you that your stuff and waiting outside of the gates was the guard who had retired And the guard was waiting for him and the guard said, can I hug you? And he said I have I know I don't know the touch of another person I don't know woman. I had never knew my mother and nobody ever touched me.   Thank you so much Thank you Thank you, thank you so much to louise alfaro Thank you to louis from osf for making this possible. Thank you all for staying and listening Thank you so much Can I just say? I think you know the thing is I don't think I always have trouble like when I do these things because I'm in a room usually with like people who are you know in jails and stuff So it's like a kept audience right a captive audience, but I think what's so extraordinary is just look out here Mead norman louis All so many of you I've known over so many years. We are on a journey together I know that we're not always at the same theater But I think it's extraordinary that we are part of this ancient tradition and we're still doing the work Isn't that amazing and that when we feel like we can't do it We have to remember that we're part of a very special tribe. We're the translators, right? End of day one.  You're welcome to do that Have a great time ask the volunteers if you need help with anything and we will see you back here at I think 9 30 tomorrow morning anybody leave


Number one, breathe slowly and deeply. Do it with me. Shallow chest breathing makes your heartbeat faster and tenses your muscles, so you feel more stressed. In contrast, breathing slowly and deeply helps you feel much more relaxed. Number two, visualize yourself being calm and relaxed. Imagine all your stress being washed away or visualize yourself in a peaceful scene such as lying on the beach or in a garden with a book. As you focus on the little details, you'll start to feel less stressed. Number three, smile. Research shows that when we force ourselves to smile, it actually improves the way we feel. Number four, don't grit your teeth. We tend to hold stress in certain parts of our bodies. The teeth and the jaw are one particular part, so when you start to feel stressed, repeat the following exercise. Put the tips of your finger on the joints below your ears. Clench your teeth, inhale.  Number five, write your feelings down on paper. Writing gives us a way to express how we feel and it helps to release our pent-up emotions. So go get yourself a journal and a pen and just start writing your feelings, man. That rhymed, couldn't even start a rap, you know? And that's it for today's video. Thank you guys so much for watching. If you wanna check out the full 10 tips, you can click the link in the description below to the article. Don't forget to comment below what you think. Give it a big thumbs up, subscribe, and you can also subscribe to my channel and make videos every single Thursday. The link will also be in the description below and I'll see you guys next time. Bye.


Okay, we're back. This is the Dell Storage Forum, and we're live. This is theCUBE. I'm Dave Vellante with Stu Miniman of Wikibon.org. SiliconANGLE is here. This is our spotlight on the customer. We're here with Bob Plankers, who's with the University of Wisconsin. Interestingly, Bob is a virtualization and cloud architect, which is a new and emerging title. You hear a lot about storage admin, and sysadmin, and VMware admin. And Bob, first of all, welcome to theCUBE. Thank you very much, Dave. And we're witnessing the transformation of many companies. We're obviously here, seeing Dell transform, but there's a transformation going on within IT in terms of people gaining new skills. And so I'm intrigued by your title of virtualization and cloud architect. What is that all about? That basically means I talk a lot about a lot of different things all the time. I liken it to, I think on Twitter I call myself a hardcore IT generalist. And being a virtualization guy, being a cloud guy, you end up being a little bit of storage, a little bit of networking, a little bit of server, a little bit, and a whole lot of process, a whole lot of policy and procedure, because that's really what I see the cloud as is more about people than technology. So virtualization, technology, cloud, people, and process. So by the way, he's at Plankers on Twitter, so go ahead and follow him, he has great tweets and Bob blogs, he'll tell it like it is. Yes, Dave, so Bob, what I love about these is we have these conversations at the conferences, Dell did a good job of bringing in a lot of the influencers, press, and analysts. And when we talk about things like convergence in cloud, there's technology issues that need to be addressed. Big companies with lots of money and smart people working on that. But it comes down to the people where we really have trouble getting traction. So we know, especially the storage guys are very conservative and they need to be dragged kicking and screaming towards those new technologies. We just had Piedon talking about how even something is, you know, we would look as simple as deploying an equal logic storage array. Great stuff, scales out, easy to use. His users were nervous about it. So what are you seeing in your world? Other things, like you said, it's tough to get some of these folks that are traditionally very risk averse, storage admins being one of them. Everything is built on storage, a virtualization. You've got these giant crystal palaces built on storage. And if something goes wrong, it all comes tumbling down. They don't like being yelled at, nobody likes being yelled at. But they don't like having the finger pointed at them, the blame game where they're at fault. So they're very risk averse. They go for technologies that are stable and proven and straight out of the 1980s, you know? And... That's the old nobody ever got fired for buying from IBM mentality, or you know nobody ever got fired for coming on the Cube either, did you? Oh, really? I certainly hope not. You know, like that would be that music to my ears. But the other thing is that, well, yeah, storage admins are risk averse. A lot of people are risk averse. Network admins feel like they're being left out of the conversation. So the whole people side of cloud, you end up just trying to break down some of those barriers, some of those silos that have formed for years institutionally around the different teams, the networking team, the storage team, the sysadmins, and you need to all just work together. You know, why can't we all be friends? So Bob, an interesting comment. You said the networking guys feel left out. So you know, we've got a bunch of friends that are at Cisco Live this week down in San Diego. You know, there's been a bit of a lack of innovation in networking. I think until recently, there's a lot of buzz going on, but you know, is there hope for the network guys? Oh yeah, absolutely. They're very smart people. But you need them on your team. You need them up with you. They need to be part of the plan. You know, virtualization sort of took them by surprise. No one was telling them about it. Well, in a lot of cases, a lot of organizations had, you know, a couple of servers doing maybe VMWare. They were trying it out. And then somebody's like, let's go whole hog. And nobody told the network guys that all of a sudden the traffic isn't going to be north-south. It's going to be all this crazy east-west stuff. And they didn't build their network to be like that. And so they've got to redesign things.  They don't like to be surprised. And bad things happen when you surprise a bear in the woods. You surprise a network admin and force them to change what they need to do, force them to change their whole setup. They're not going to be super happy about it. So it's about communication. It's about that sort of thing. So Bob, you work for the University of Wisconsin. I do. Can you give us just a little bit of flavor as to what does your environment look like and what are the biggest challenges that you guys are facing with your infrastructure? Our infrastructure, we're on the path of virtualization, you know. And we're just starting to look at the cloud side of things. So can you quantify it from virtualization? Are you at 30%, 70%? I'd say maybe about 50%. We've got a lot of apps. And that's one of the things that we're looking at is, you know, the move to a private cloud is centralization, standardization. And that's something that the organization is doing right now, is taking a look at all of the stuff that's been built campus-wide. All the departmental file servers where we could, you know, we've got central file servers but, you know, somebody invented a file server because it better or more closely met their needs at one point, you know, 10 years ago, 15 years ago.  We're doing a lot of work in that regard. But, you know, it's a process. It's a long process. It's a slow process. Unwinding a lot of the stuff.  The VM is slow. That's one of my favorite comments. The VM is slow. How? You know, is it quantifiable? Can we, you know, can we quantify exactly, can you give me a number in a repeatable sense? So, you know, there's a lot of unwinding that, a lot of putting metrics on things, figuring out what people don't like about stuff so they're not subverting you. And yeah, we're like many other companies, many other large corporations, we're on that path, you know. So you've adopted server virtualization quite a bit. On the network side, have you gone into or tested any of these fabric technologies that are out there? Yes, our network engineers are always looking at that stuff. And right now they're kind of positioning themselves for, to redesign the network in the next couple of years to accommodate new things. They're trying to decide how they want to do, how they want to do that, how they can be flexible in the future to, and rebuild the network. You know, not just speeds and feeds style, you know, not just bump everything up from one gig to ten gig and ten gig to forty gig, but also sort of redesign things that make better sense given, you know, all the new technologies that are coming out. Okay, does Converge Infrastructure play into your environment at all? It does. It does. We've traditionally been a big fiber channel chop, we're starting to look at ice guzzies.  It's been around for what, 15 years or longer than that? The standards were done in 2002, but the technology was, you know, late 90s. It's a pretty well-known thing, so ten years, 2002. Yeah, I mean, as we've talked, as a networking person, you know how it works. Yes. And from a storage standpoint, there was more of that political friction once again. But you know, again, the data, the networking guys, their network has never really been used for storage. So the way they handle the network, the way they do maintenance, the way they treat everything has to change just a little bit. In order to just give them their own network for storage and they can have the quality of service and that's what they need. Yes, yes, but somebody's still going to maintain it, keep the switches up to date and that'll probably be the networking guys. Can you give us a little, what's the size of the staff and how many guys do you have working on storage and networking? So storage? Do they just throw stones at each other? No, no, no. We've moved on to more advanced weapons and stones. But the, I joke, the guys I work with are wonderful. The storage guys, the way we're set up is that there isn't a true storage guy. There's, you know, there's a lead storage guy. I'm the lead virtualization guy, you know, and then we have teams that work with us, but these teams are maybe half time people. Most of my team is like a half windows guy, half virtualization guy, that sort of thing. So we probably have four full-time employees total working on storage for full-time employees, worth of time, I mean, working on virtualization and stuff like that. I'm the only guy that's full-time virtualization. And like I said before, full-time talking about clouds and, you know, what is the cloud and all that stuff. So all the other guys are actually doing all the work. So you're predominantly a Dell shop, is that right? We're predominantly a Dell shop. Running a lot of Windows apps. A lot of Windows apps, a lot of Linux and stuff like that. Educational environments tend to be more Linux friendly and things like that. So in our virtualization environments, our main ones, we're about 50-50 Windows Linux and the storage is what? Storage is all over the place. We've got EMC. We've got NetApp. We've got Dell Compellent. We've got Dell Equalogic. We've got, well, I suppose they're EMC Isilon storage. So some of it's coming, some of it's going, the Dell stuff is coming. The, and that growing in popularity and it's been pretty cool in that regard. But yeah, we're mixed all over the place. We've got Windows. We've got Linux. We've got AIX. We've got, well, and storage side, we've also got tier one stuff with Hitachi as well. So yeah, we're all over the place. So what do you make of the messaging that we're hearing from Dell today? It basically, which essentially, if I could boil it down, is legacy bad. Dell, new and good. Okay. And that's the traditional vendor, right? Okay. Message, yeah. But legacy is a euphemism for that old clarion stuff that we use to sell.   And so my observation is, you know, technology sort of proceeded at a similar pace. And, and, you know, the vendors out there, they're all well funded. They're, they all do a good job. They've all basically got, you know, very similar technologies. What, what differentiates them in your mind? Well, Dell, the whole no forklift upgrade thing is a big differentiator for me for Dell. The idea that the first compelling to raise or first rather, equal logic arrays that are out there are compatible with all the new stuff.  But you can just plop another one in next to it, let it migrate everything. This is the same thing I do with virtualization. You know, I plop a new server in there, let the cluster figure itself out. And then I just decommission an old one, you know, and it's pretty seamless. The doing that same thing with storage is really nice. The auto tiering stuff that they've got going on. That's, that's a key thing to manage performance, but also to save money. You know, these traditional, if you will, the legacy vendors will just take SSDs and just sort of tack them on the top of everything and charge you a whole bunch of money for it. You know, what if you could be intelligent about what we're storing there? And it's hard to tell. You know, I might know that, you know, I've got a database that's one terabyte in size, but only a little part of that is probably hot. You know, I don't want to buy a terabyte of SSD and pay all the licensing and all the costs for that when I can just buy, you know, 100 gigs of SSD and just put the stuff that really needs that performance right on there. And so, you know, the compelence block level tiering and things like that. That's pretty cool. Yeah.  I know forklift upgrades that that is a differentiator. I think it may not be unique to Dell, but it's certainly unique relative to many storage vendors. I mean, everybody's got tiering. Everybody's doing something with SSD. Are you are you saying that there's unique value that Dell is bringing to your organization in those areas? For example, yeah, just the way they're approaching the whole thing. The attitude that they have towards it, you know, you're right. They're not the first people to have SSD. They're not the first people to do auto tiering and that. But I think there's actually compelling was the first. Oh, yeah, you know, my other than I'd be a mainframe. But yeah, well, main framers smug. Here's a quarter go buy a real OS Phil Soren's an old mainframer. Come on. Yeah. The but being being able to sit back a little bit and look at the way other vendors are doing things and do them in a way that that's more elegant. If you will, I think that's the word I'm looking for. I was just in a conversation about some of the kluji natures of of the new technology, how SSD is being bolted on to things and that. And it seems like Dell is always searching for a more elegant solution and where things just sort of work. Right. Defined by its simplicity. And they really treat staff time as a prized resource, you know, trying to make things easy for easy for customers, the people that the people that are working on these things, you know, what if I could, what if I didn't have to hire a new storage admin to run all this new storage? What if I could actually get a whole bunch of my storage admins time back to do more important things? What if you could automate a lot of the scutwork, if you will, you know, of doing all this storage administration and so that the storage guys could actually spend their time on more interesting problems. Do you feel like some companies, some vendors purposefully keep things complicated so they can sell more services? Is that something that historical? I mean, obviously that can't continue indefinitely, but do you feel like that was a strategy of some suppliers? What's the quote, never ascribe to malice what can be explained by stupidity or something like that? I don't think it's intentional. I don't think it's intentional. It might have been. But there was a disincentive to simplify, was really the point. So maybe it's Machiavellian, but maybe it's, hey, we're making a lot of money and let's solve some other problems first. You know, where you've got not to, engineers are wonderful at solving problems. They're not so great at people stuff, you know. Typically, you know, I'm just, I'm generalizing here. There's a lot of great people oriented engineers. But when it comes to user interfaces and stuff like that to make my life easier, the work that Dell is doing, the work, you know, people talk about Apple and easy to use and that, you know, Dell is doing some of that same work thinking about, you know, how do we preserve the time of the people that are working on it? How do we make it less error prone? How do we build better interfaces that are more helpful to the people that are working on these things? That sort of thing. And that's the attitude I really like, you know, and that you don't see everywhere. I'm pushing because you are a mix shop.  Okay, that's cool. But you've got experience with a lot of different, what about services? How important are services to you as a buyer and what do you look for in services? Services like professional services. Professional services? Well, I'm in an organization that's fairly unique. We've got some really, really highly technical folks. We don't rely on services all that much. Cause we figured that we're going to be the guys day in, day out, three AM, responding to emergencies. Hopefully there are none. But we're going to be the guys that get the call at three AM, not a professional services guy that went home at five, that sort of thing. And so we really take it upon ourselves to know the technology very well, get really deep into it, you know, and become experts at it. And in fact, that's one of the reasons I started blogging was to share a lot of that, the stuff that I was finding on that path and probably also to complain about it too, like most bloggers do. But the- It's cathartic. Yeah, yeah, it's dangerous too. You need to really watch what you're saying. Sometimes keep it positive. But the, the, so yeah, from my point of view, professional services are nice up front as a knowledge transfer. But beyond that, my folks and I, we tend to just get into it ourselves. So I had two last questions. First one for me is what's the one thing that drives you crazy that vendors do that you would tell them? Just stop doing that. Yeah, Bob, if I was reading your blog, some of your recent updates, and you use the phrases we can all stop using. So it's marketing people. If there's like one or two things that they could just shut up about or give you the truth on, what would it be? Everyone, that's a hard question. And it's loaded, thank you. But more transparency is always nice. There's this fine line for marketing people especially between telling people what they need to know and tipping their hand to the competition and stuff like that. So I'm always in favor of more transparency, more information, because that's kind of guy I am. I want to know dates, I want to know speeds, I want to know capacities, I want to know all that stuff. And so not having that, announcements, especially announcements that have vague release dates, those drive me nuts. Fall, you know, not to pick on Dell, but some of the recent announcements have been in the fall, you know, when is that? All companies do that though, you know? And quarter three, and then they clarify, quarter three. Well, okay. That's fiscal year, calendar year, sorted out, slide in a little bit. So I know Dave's got one question, but before he does, you know, hot topic that I know we've been at least talking about on the blogosphere and Twitter and everything. SDN, you know, what's your take on it? It's the future of networking and the, taking a lot of the logic, basically making the switches themselves sort of dominant, taking a lot of the logic back out to a central place. There's a lot of powerful stuff you can do with that. And I think it's so early, it remains to be seen exactly how it'll be used. Indiana University is doing a lot of cool work with that. Their labs there and the, converting their campus over to using OpenFlow. And it'll be interesting to see the lessons that they learn there. Everyone's looking at it. My network guys are really looking at it too. We've got some small deployments of it, nothing serious. But yeah. Yeah, absolutely. Seeing it in the university, seeing the service providers talking about it, I think the advice to customers be, it'll be ready by the fall of some year. Yeah, it'll be ready in the fall. You know, just don't say a year, you know? Yeah, exactly. And in fact, that's one of our jokes at work is, yeah, what year are you talking about? I mean, how do you freeze the market if you have to be that specific, Bob? Yeah, you know. Yeah, you know. All right, Bob Plankers, really appreciate you coming on the queue. Thank you Dave. He's at Plankers, follow him on Twitter and keep it right there. We'll be right back with SiliconANGLE.tv's continuous coverage live from Dell Storage Forum in Boston.


Okay, we're going to look at an example here. I'm loading in December average temperatures for state college Pennsylvania for a hundred and seven year period from 1888 to 1994. So let's plot out the data. That's what they look like. That's a scatter plot, or if we like, we can view them in terms of a line plot. If we look at the statistics tab, it tells you that the average of the temperature is 30.9 just under 31 degrees Fahrenheit. So the average December temperature in state college Fahrenheit Pennsylvania is about a degree Fahrenheit below freezing. The standard deviation 3.95 just under four degrees Fahrenheit. So the fluctuation from year to year in the average December temperature in state college is a fairly sizable four degrees Fahrenheit. One year it might be 30, the next year it might be 34, the next year it might be 31, the next year it might be 27. That gives you some idea of the fluctuations, and of course we can see those fluctuations here in the plot. Now we can calculate a trend line. Let's go to the linear regression tool. That calculates the linear trend in the time series. It tells us that there is a trend of .025 degrees Fahrenheit warming per year, or if we want to express that in terms of a century, 2.5 degrees Fahrenheit warming per century. That's the warming trend in state college Pennsylvania. Now the correlation coefficient for that regression is r equals .193. If we look that up in the statistics table, put in 107 years for the length of our series, put 193 for the correlation, and we calculate the significance, tells us that the p-value is .023 for a one-tailed test, .046 for a two-tailed test. So in either case the correlation, the regression, the trend in the series would be significant at greater than the p-equal .05 level, it would be significant at the 95% confidence level. Arguably we should go with the one-tailed test since we're really testing the hypothesis that there's a warming trend in state college. Since we know the globe is warming, our hypothesis was unlikely to be that state college showed a cooling trend. We were interested to see if state college showed the warming trend that we know is evident in temperature records around the world, so one could, in fact, one would typically motivate a one-tailed or a one-sided hypothesis test. And so the trend passes that test at the .02 level, it's fairly significant. We go back again. We can see the standard error in the slope is .012. So if we were to take the value .025 and add plus or minus 2 times this number here of .012, it would give us the range, the 95% confidence range in the trend, in the slope of this warming trend.


Hi everyone, Joe for jaskiescasebrakes.com. Happy new release day. Happy new release Wednesday coming at you with 2021 Panini select baseball four box random team break number one one spot gets you three teams in a four box break Also all card ship, which is great. There's so many different parallels and levels and whatnot. So we got to ship everything So take advantage of that That's the box break configuration right there a lot of tie-dyes that we can chase and all that Wonderfulness big. Thanks to nobody apparently. Let me grab those names big thing so eager to start this break Big thanks to this group right here For getting to break number one. So let's triple you up. There's one There's two and there's three and I probably didn't grab the team names either No, I did not so there are the all 30 teams are in right there. So let's roll it. Let's randomize it Three times one and a two one Two and three a lot of roberts in this break. Thanks robert. Thanks everybody for getting in for giving this a shot All right one and two three times for the teams two Three easy got white socks and Orioles top and bottom All right. So Robert has a bunch of teams Might be easier if we do it this way So Sean you have the Yankees David with the diamond back Sean with the Mariners Arthur with the Indian Sean with the Giants Arthur with the Angels and the Rockies David with the Mets David with the A's and Reds Nationals and Orioles Robert you have the rest. All right. So now let's get let's sort this by column B alphabetically by team and I also wanted to Group rate checklist calm does not have that checklist up yet But I think cardboard connection calm. Yeah has a checklist up with all the Maybe they don't have a check no they do have a checklist. I'm sorry. It is twenty twenty one Panini select baseball So if you click that link, that'll take you to that page And if you go to set checklist and scroll down you can control F and then find your teams Let's see what you can possibly get now while you're doing all that Let's flip to this screen right here and here select baseball this open Let's see which four boxes we're gonna do. Let's just create stacks of four right here There's four right there Slide this over kind of random here. It's four right there And then four right here So On the dice roll when I select a die will go one two three four five six and it's five one two three four five six We're gonna do the far right stack and then here we'll mark these So we're gonna mark all those boxes RT right here. So, you know, they're for the for the random team breaks Let's set those aside Over here and we actually have another one of these coming up. So We'll do another dice roll to see which stack we're gonna do on the next break. All right I'm gonna pause the video when we come back We're gonna see if there's any trades here and then we'll have the break stick around. I'll be right back All right, welcome back. No trade chatter. No deals. We're done. It's all good. Let's get right into it then Brand new release just came out today. We got picker teams on the website half-case picker teams and four box random teams Here we go twenty twenty one select baseball Got one solo on the front row two autographs and two memorabilia cards per box on average What are we looking for here color wheel rookie explosion color wheel? interesting Some hot rookies Let's see what we got. Good luck everybody box one. We got in here always like select the tie dies especially are really sharp All the different levels that you can chase to are really cool I want to get some of those Refractors silvers of those short-printed Those short-printed cards Let's keep a checklist up for me as well just in case All right There are no leading us off Clayton Kershaw silver for mere level nice And Braxton Garrett is our first hit big piece of his jersey For the fish Robert with Miami You got Christian Javier silver. That's concourse edition Trevor Bauer And we got a Nolan aeronado That's the red white and blue parallel not numbered. We got Shane McClanahan 21 out of 250 Coast of Tampa Bay, that'll be for Robert. We got Andrew Vaughn Jersey and autograph nice one for the white socks Robert 74 out of 99 that Christian Javier to 199 Both of those going to the Astros also for Robert that Cody Whitley 63 out of 99 Lion Green and we got an Andy young Jersey and autograph rookie Jersey and Otto for the Diamondbacks David Baker 180 toppling 40 out of 99 and Louise Garcia 15 out of 50. It's another one for Houston JP Crawford Kevin Bizio hot rookies Cabrion Hayes. He is a pretty hot rookie And I'll go to Robert in the Pirates Nice box one like this Brooks Kepka Bryson DeChambeau rivalry break down here All right, we got a Trevor Rogers Red, white and blue relic For the fish Robert with the Marlins 72 out of 99 Got a Jake Cronenworth 196 out of 199 Getting well against my Dodgers Robert with the Padres Good game last night Dodgers Padres. We got Alex Kierloff piece of his Jersey For Minnesota another one for Robert 001 out of 250 the first one ever made or at least first one ever stamped Trevor Bauer and Taylor Tramel Jersey and autograph That's for Sean and Seattle. Nice Jersey and autograph 118 out of 199. There's Will Crow to 99 Another Trevor Rogers And we got Sixto Sanchez 182 out of 299 Jersey and autograph rookie Jersey Otto Nice. Yeah, selects always pretty sharp Shondi. I enjoy it Football baseball basketball Jake Cronenworth 88 out of 149 Another one for Robert and the Padres It's Trevor Rogers silver Concourse level. I've seen a field level yet. I think the ones where like the little diamonds Right here. That's premier level I think this is just the regular level of concourse And that seems to be the most common That's a different parallel There's Tyler Stevenson rookie red wide and blue All right Halfway through this four box break Good luck. I mean they should pair Kepka and D. Shamburu. This force them to play together. It'd be great TV And mic them up You have many eyeballs would be on that. All right next up Got Josh Fleming Jersey and Otto rookie Jersey not a for the rays. That'll be for Robert 68 out of 299 There's will Crow rookie silver We got Jymer Candelario double oh four out of 149 For Robert in Detroit. Oh and a nice silver jazz Chisholm Concourse level Jose Abreu red, white and blue Michael Brantley Right Justin yeah, either the PJ has to pair them together We hope that they get paired together on a weekend, right? Oh man a Sunday with Kepka and D. Shambu pair together Yeah, or a match play event against each other. Oh man, Mike them up to Brian Abreu 24 out of 99 Astros Jersey going to Robert and Lucas G. Alito 007 to 199 And we got an Alec bomb Rookie relic for the Phillies Robert with the fight and fills And we got a Luis Garcia 37 out of 99 Pretty thick card stock right there to Jersey and autograph for the Nationals David Baker with the Nats Yeah, I don't know if you just heard on Sports Center in the background, but at Nationals game today Early game Nationals won 13 to 12 over the Phillies. Wow got a cracked ice Josh Fleming 17 out of 25 another ray for Robert and we've got a Glaber Torres And a Victor Gonzalez for the Dodgers last box coming up now Justin saying have to admit loved watching Bryson Blow up last Sunday. Yeah, what's the Where is it? Where is everyone? Where are golf fans siding on this?  Or are we sighing with Brooks Kepka? Are we hearing Brooks in the background? Yeah, I feel like I feel like D. Shambu does take too long It's on the course out there way too long. I feel like Kepka is more well liked in the situation in the situation here Yeah, Justin's on team Brooks for sure thing I was reading somewhere Rosario saying 65 35 Kepka so 65 Kepka I Was reading somewhere that that D. Shambu is actually a lot friendlier with fans at the golf course But outside of that it seems like Brooks Kepka is getting the most support and Kepka is not at a little more not as interactive with the fans at the golf course, but outside of that I think I think Kepka definitely At least for whatever social media is worth Seems like he's winning that battle It's fun to watch though Estevan Floriel You got a piece of his pinstripe there for Sean and the Yankees Is that right Brooks said that the on the ESPN yesterday that NBA and NFL fans and other Golfers are on team Brooks as well Here's our first tie-dye which looks really sharp five out of 20 Louise Garcia David Baker Celtics finalizing deal to hire Nets assistant E-May Udoka as head coach There's Garrett crochet Piece of his jersey going to the south side going to Robert and the White Sox There's Yaz Mike's you're Shemsky and Jonathan Stiver Jersey and autograph another one for the White Sox another one for Robert 295 out of 299 and a redemption any guesses on the redemption and A zebra print Paul Goldschmidt. I don't think these are numbered, but I want to say these probably are super short printed Maybe one per case ish I don't know. We'll have to see how how the How these particular parallels fall once we open up the other cases, but there's a Joey Bart silver for the Giants It's gonna go to Sean That Alex Kierlof to 199 got a DJ the Mayhew Lyme green 65 out of 99 Got a Justin Turner red white and blue and a Braille in Marquez Sean D is guessing Royce Lewis. It's gonna be Joe Adele nice rookie Jersey autographs cracked ice The big Angels prospect that'll go to Arthur King Arthur, I don't think I called your name out all break But you end up with a pretty nice hit Joe Adele rookie Jersey autographs cracked ice pretty sharp Thanks, everybody. Let's just take a take a quick look at what we got here some pretty nice stuff More in the store on Jasper's case breaks calm. There you go.  Thank you very much I was our first Ram team break more coming up Jasper's case breaks calm. I'm Joe. I'll see you next time for the next ones Bye-bye


Working with reluctant teachers is the same as working with anybody else in the sense that the most important thing if you're going to develop a relationship with somebody else is to let that person know you care about them and you're interested in what they have to say. People are reluctant for different reasons. It's not this category of reluctant teachers. There are people who are skeptical. There are people who have been burned. There are people who are tired of changing things from one minute to the next. There are people who have to see something work before they actually will try it out. They want to see it in somebody else's class, etc. So the first thing you have to figure out is like, what do you have in common? What do you both care about? What's on that teacher's mind? What does that teacher struggle with? What is that teacher interested in learning more about? How does a teacher go about learning generally speaking? Who are the people on the staff the teacher respects? Whose opinions do they seek out? So you may find there's a hundred ways from Sunday once you gather the right kind of information from somebody as to how to work with that person. And so I think it comes from a real respectful attitude, a real willingness to connect with somebody else, where they are, not where you want to manipulate them to be, because people know when you're trying to manipulate them. So a sincere engagement about that person's interests, concerns, history, passions, beliefs helps you find what I call mutual purpose, that opening, that place to connect. And from there, you plan the work together and figure out how you're going to do it. There's power in building a relationship with teacher practice because teachers and our work is highly personalized. We go into a classroom each day with a group of students. We do the best work we know how to do. And then we're asked to work with a coach and we're afraid. Are they judging me? Is this because I'm not good enough? Is it because I haven't been working hard enough? And the answer always to that is no, you've been working the best way you know how. The trust piece and the relationship piece, a lot of people think you have to build trust prior to working with someone. My experience is you build trust by working with someone. So if someone's really nervous about me getting in their classroom and teaching with them, they're not going to be less nervous if we wait. They'll say, oh, well, you know, maybe I'll let you in. And then after we work together and the lesson is successful and the teacher is able to do things that he or she didn't expect possible, afterwards, they say, wow, I trust this person. They led me through the process. So the way I build trust is by going through the work together and trust is developed in those hard moments of working together, not building up trust before we do the work. If your ultimate goal is for people to collaboratively design lessons, collaboratively study student work, collaboratively do things, the goal, you have that goal because research and experience tells us that groups together who are thoughtful, carefully focused and skilled are much more productive than individuals. They're much more creative than individuals. They're more innovative than individuals. All the successful startup companies like the tech companies, Apple and others, for example, they all work in groups. They work collaboratively. They're innovative and creative because of the kinds of dialogue they have with each other because of the idea of collaborating all the time that goes against the hierarchical, bureaucratic, isolated history of education. And for some reason, we are still fighting the idea of educators would be better off working together than apart. In schools, our work is to educate children toward independence and success in their lives. And all teachers and educators, principals, parents, we're all collaborating to help the students have the skills that they need. Too often in Canadian education and education around the world, it's the silos of isolation. What happens in one person's classroom is their business and no one else's business. But actually those children move among us. And by collaborating, we say what is the trajectory of learning that we want students to have across their K to 12 experience? How can all classrooms be designed to best meet the needs of those students? And by collaborating and putting our heads together as a collective, we can name best practice, learn from each other and elevate the work in isolation, we'll just continue to do what we do in our own classrooms.