Brought to you by DIS keeping companies connected with cloud-based solutions. Come on, City! Colin, good to chat with you again. Can I start by actually getting some team news, if I may, and getting an update on the situation with Danny Rowe. I know there was hope that he may make Tuesday and the effects of his cold over the weekend seemingly ruling him out. Are you hopeful that he'll be back and available for Saturday? Yeah, I think for Danny it's worked in his favour, the game obviously being off against scumfork. So the more days that he's in the building and training, he gives him a better opportunity to be in the squad, yeah. Billy Clark was ruled out of Tuesday. Is that a similar case for Salford? Yeah, no movement on that one. Billy's just been out there running today, but he's probably a little bit too soon for him, but again we're just assessing and monitoring him at this moment in time. As well as that, Richard O'Donnell, I know that he was getting closer with his injury and he's been back in training. How are things progressing with his situation? No, Richard has made a really, really good recovery, sort of before we thought to be fair, but he's been out and I think he's doing a full weeks training. He sort of did the last tender last week and now he's having a four weeks training and it'll do him well. So hopefully he's going to be back to full fitness, yeah. So Salford too soon or maybe getting into this Richard O'Donnell? I think our interest to protect Rich, he's had a tear, so we need to look after him and make sure that we're not bringing him too early. So he'll look to be around the squad, but again we'll have to assess. I'll just pick up on the final bits in terms of team use. The noticeable absentees, the long-term ones. I know, again, Reese has been back in training. Is he getting closer to a position or an inclusion in the squad? And indeed, Brysos, Anna and Lino, back one of their situations. And the closest one is Reese. So Reese is back to full training. He came in light training, didn't have any reaction to his previous injury. So he was given the green lighter to come back to full training. So again, it's a little bit similar to any play that's had a tear in the muscles. It's about bringing them back up to speed and not bringing them back too early. So we'll just keep monitoring Reese and make sure that when he does come back, the risk of that injury reoccurring is low. You alluded to an earlier point, actually, that I was going to rate, in terms of all these suspending cancellations and movements of fiction. It has meant the long-term absentees potentially haven't missed any games, as initially felt or thought. I know that the schedule is going to be pretty hectic for you on the horizon, but at least it gives you more chance to potentially have more key players available for those fixtures when they are rearranged. I think from what you've seen with the injuries and players coming back, obviously you've got Lee and you've got Bryse, who's probably looking a little bit closer than Lee at the minute. But again, with the games called off, ideally it gives them opportunity to get fit and to be in contention, but we'll see what happens. I think there's going to be a lot of fixtures coming up, that's for sure. How does Tuesday's suspension corner effect training this week, or does it change it at all? It just affects generally what we've done today. We could do a little bit more and put a little bit more through the legs because some players only played 25, 26 minutes in the snow. So yeah, these things happen. It's happened quite a lot recently to us. So again, like we mentioned in the last call, around contingency plans and making sure that we were prepared for lots of different matters. Bizarre circumstances, yes, but speaking to Mark after the game, he certainly saw value in the 30 or so minutes that he'd seen of you as a side and that you had seen a response from Saturday's defeat. OK, yes, the game has been suspended, but is it almost like a free 30 minutes to see how the players reacted and responded to the defeat? Yeah, I think Mark was right. Talked a little bit how we started and what we tried to get back into the side and we're looking out for those little bits and moments that we spoke about. You know, Mark was happy from his side and I certainly was. You know, they're a good side. I think the form is showing that and they've got a lot of injuries that have come back into the squad so it's come for a really good side and they'll be looking to be like us to pick up the points as quick as possible. From a coach's perspective, how are the players responding to all the uncertainty and the changes in fixtures? I know you'll say they're taking it in their stride but it is such a strange season. It really does alter the orthodox as it worked. Yeah, I think you could see the disappointment in the players' face when we told them that the game was going to be called off and the uncertainties when the snow was like a blizzard and the ref finding it hard to try and call the game or have a break or that decision making was tough for him and the players kind of, you know, were a little bit frustrated because they wanted to just go out and play and put a game plan together and go home with three points but from what happened, that wasn't possible and like I said, I think that they're going to be even more encouraged to go into the next game to perform even though the cancellations do happen. I said, if you can still hear me OK, just your thoughts on the discussions that took place on the touch line in that game because there was a lot of discussion, deliberation about what the right steps were to be taken not only with the officials but the opposing dug out as well. Yeah, I think Matt touched a little bit on it, you know, post-match just around player welfare and making sure that the people who were out there were safe and, you know, we're not putting anybody's safety in jeopardy so I think, you know, you couldn't see the lines on the pitch we had players mentioning that they didn't know where the halfway line was the 18-yard box, you know, the keeper's probably thinking if he had to come out and clear something or rush out then potentially he's not quite sure where his box is so I think when you kind of see the pitch and I saw a picture back and I couldn't believe what I was seeing and I was like, it was really, really bad so I think the discussions were good because they tried to give it the best opportunity to play obviously they tried the yellow balls, they tried to sweep the lines they tried to colour the lines tried to give us a break so I think they did everything in their power to get the game on but, you know, he couldn't go ahead. Away from that game I wanted to ask you more generally, Conor just about the training styles and methods that you and Mark have implemented we've seen a lot of video footage on the club's social media and indeed watching the pre-game as well the dynamic between you both and seemingly you getting involved a little bit more than Mark so what is that dynamic like and what are your methods and coaching styles? Well, you know, me and Mark have worked together for a number of years now and we've tried to find the balance of what works best for us and, you know, we have a really good relationship on the pitch and our understanding of each other is good and it's nice as a duo to do that and to sort of bounce off each other really well and we've both got our responsibilities and we're clear and concise with whose role is what and timings and things like that so we try and be really organised and we try and replicate the game as much as possible in terms of the intensity and the things that we're working on are going to be replicated into the game so we're just trying to prepare the players and support the players for what they're going to go into against different systems and against different teams so for us it's kind of a normal way to work really Where do you base your theories on what's your education when it comes to football coaching more generally? My own personal one or? Yeah, yeah I think, you know, it's different you know, I was in an academy since 7 and all the way to 18 and ended up going into sort of professional football a little bit and played abroad so I was kind of used to playing different cultures and different teams and things like that just over the years we used to go abroad every year and, you know, you find out as a player and then as a coach you sort of, you know, when I was younger I used to watch a lot of foreign football a little bit more to be fair Serial was the top gun back then so it used to be a Serial but again I think you just build up as you go along and everybody's got their style of play and what they prefer and everybody's different and I think what me and Mark do well is that we're both aligned in how we see football being and we've got kind of a blueprint of what we work from that we try and implement and that we've been trying to do for the past few years but obviously we've got laws to learn and we're learning whilst we're playing against League 2 teams and the different threats they have so we're just constantly evolving and trying to support the players as much as we can Who was your Serial side? It would have to be probably Inter Ronaldo, Recoba and Tauks, yeah That's some names You've just done the point of football internationally and your experience in being in other countries and seeing different methods and styles and stuff Is that amalgamation then of different ways of football culture? I suppose what I'm trying to get at is the way that football is played and coached in different countries Yeah I think it's different because of weather a lot of it as well you probably find you go to the hotter countries and the pressing game is more strategic the hand and blocks of pressing and setting off and it just complements the country that you're from and where I'm not going to say that this league is like the league or anything like that or Serial it's totally different but I think you've just got to try and understand different cultures and learn as much as you can as a coach and if some method that you feel can work be brave enough to try it as well I'm right in saying and correct me if I'm wrong that you guys have brought in another performance analyst in recent times to crunch the numbers a little bit more how much do you lean on those statistics? Yeah we tried to obviously we've got Robbie and Scott who worked tremendously hard the hours that they put in is so much 60, 70, 80 hour weeks constantly helping and supporting me and Mark and the other staff to have what we need to be prepared for the game so it's nice to fall on facts and factual things and to have evidence behind what you're doing and to see if the methods are working so I think your own eyes are important but it's also important to get the factual basis behind it as well How does that dynamic work then? Do you have daily, weekly meetings in terms of getting the numbers up to date and knowing the ins and outs of the game from a numerical perspective? It tends to happen straight after the game sort of on statistics and different sort of scouting reports give you the evidence and things like that and we gather that and go through it and see how it's gone for us, yeah Just a bit of the points on the training sort of things Again I've seen on the clubs videos that they put on social media about the involvement of some of the younger players in your first-team training Sukia, Nikki and Wood for being the examples there How much have you tried to integrate the younger lads into the first-team frame and how much value will that give them? Yeah, as 18s coaches when we saw that players went up and they came back down to the 18s they were learning a lot of things from the first-team players so to give them that experience is huge for their development and they're picking things up from older players and more experienced players and they're taking it down to the academy for them to pass on that knowledge so it's been good to get them to lads in and there's been a couple more as well at times In the same breath, I suppose it gives you an opportunity to see how they fare with that level of quality in training as well? Certainly, yeah and they've not looked out of place so far and as time moves on and they develop physically and as a footballer hopefully they'll be good enough for our first-team but obviously things don't always pan out as simple as sometimes it seems but they've just got to keep working hard for their opportunities Moving on to Saturday and Salford what do you make of them as opposition? They're in good form Yeah, I think we saw the result from the last game certainly the loads of energy and I've been impressed by how they play and what they're trying to implement there at Salford and Richie Wellins is there and obviously he was a good player and a real footballer and likes to get players on the ball and get them playing and have an attacking style of play so I think it's going to be a real big test When you do your analysis and your research on the opposition like Salford City and I know Mark has been asked about this previously in terms of the actual game that Salford City played against Bradford City, 3-0 for them on that day all goals coming in the first half do you look at that game in isolation or Mark answered this in the sense that it wasn't to do with you guys so you kind of put it to one side but will you look back at that game and see how the existing players in that performance responded? We've not done so far obviously Bradford on the night is a completely different system that we've played with this group of players and certain players were available and we brought new players in so I think it would be probably not right for us to go back to that game because we didn't know what had gone on in terms of what the game plan was for Bradford City and Salford have also changed the way that they play and they're playing a different system so I think we're going to generally go off to the more recent games to give us a better idea of their strengths Good luck Bradford, I'll have to thank you for that cheers Thank you Jay, thank you One of the biggest stories that leaked in this week has been the costs on the pay cap how much of an effect can that have on a club like Bradford City? Yeah obviously seeing the news come out regarding the salary cap it probably does change things for other teams but for us at the minute there's not too much that's changing obviously we're in a position now when the transfer window's gone so not much talk has been in today about it And obviously with the way the weather's been and the forecast up to Saturday have you been in pretty constant contact with the ground staff at Planet Parade this week? Yeah we've just been getting updates really on how the pitch is and just sort of what maybe issues are there on things that they've done well on so yeah that's constant communication if anything's wrong we'll get a phone call but again people work hard down there to make sure that the pitch is playable I think it looks at the moment there's no danger of the game up here though Yeah it's fine at the minute hopefully the pad weather stays away even though it's coming quite a lot Thanks very much Good luck Saturday I thought you were sort of talking about obviously the pitch situation and the post-ponements and what have you I mean you touched on it the other day about possibly extending the I think Ryan's said the same thing I mean a few class are sort of saying that this fixture congestion is getting busier and busier and there's a very little leeway now isn't there so it is getting a situation where sooner or later perhaps they might have to make a decision to relieve Yeah it seems that way you know from my side I think I said it mentioned it last time I think you know yourself mentioned it as well regarding the effect that you could have on other things that are going in and on in the summer and things like that but I think you know if things do get a lot worse than they are currently then it's you know there's certain things that the EFL might have to do to come up with a solution but until then we just crack on Well I think it's 21 games and 12 weeks you could have a lot of sort of space there shouldn't there be another you know frozen picture or what long picture or what have you is there? No it's true it's true and I think regarding like the game in the snow is about player welfare and you know things might come into fruition of you know teams are mentioning that they've got players maybe injured or there's too many games but until that happens you know it's probably not right to say Let me say the other parts of the coin as you said about players coming back from injury you know you are going to need every single one and suppose they're missing less games at the moment aren't they so that when it becomes really busy hopefully you've got plenty of options Yeah that's what you want as managers you want you know a clean bill of health and players to come in game by game and you know if people are struggling you've got somebody who's a good player to come in as well so it's sort of a headache to have when you've got a lot of good players in the building but I guess with the strength of the squad it allows us to feel the strong teams even if there's quite a lot of games coming up No obviously you know the team was picked for Tuesday night Tuesday night lasted about half an hour and then obviously didn't happen so to speak I mean you sort of feel a little bit obliged to pick the same team at the weekend or I know if other players are available there's a bit of a conundrum in there do you leave players out when they probably haven't done anything wrong Yeah that's the drama if you've got sort of evidence to back up that there's maybe a potential risk of injury coming into the into the party then maybe that is a warrant for a change in the lineup but again these are the kind of discussions that do take place to make sure that players that are playing they're not playing 490s in a row have enough rest and we're sort of treating that person as an individual to make sure that ultimately they fit for the games One other thing I was going to ask about the other night obviously the game you know is scrapped off the list appearance, don't count all that and yeah Elliot Watts yellow apparently does which is how do you explain that Well it's one that you kind of have to double check again because you know I'm sure it is and then obviously you find out it is a yellow card so it's just one of them things you've just got to get on with it, El's got to get on with it and just make sure that you know he's not picking up too many yellows and he gets a suspension but it's just part of the game it's the rules and we've just got to get on with it I guess You can't sort of have a go at all the rules but it does defy logic slightly when you look at the fixture list and of course that game will never never appear yeah and you know maybe that's a discussion that maybe has to take place within clubs but you know Elliot's been booked and he's got to deal with it Brought to you by DIS Keeping companies connected with cloud based solutions Come on City


Hi everyone, Joe for jazby's case rates calm coming at you with 2021 tops chrome baseball hangar box number eight Last filler we got to do for the baseball mixer coming up in the next video 10 mixer spots being given away big. Thanks to this group here for making it happen. Appreciate it There are the teams right here roll it randomize it one and a six seven times one and Seven final time and obviously we'll use a different dice roll for the The giveaway apart the mouse is out of control here. There we go. I got it All right seven times for the teams one two three four five six and seven and final time Braves out to Astros. All right, there's the first half of the list and There is the second half of the list It's print and rip. Good luck with the hangar box. Everybody. Thanks, everybody Carlson Yeah, no trades and filler breaks. We've never done that done those. That's a nice rookies here You know, we just want to get to the good stuff good the good part Mike giving away those spots All right, Joe Adele for the angels Mike Grasinski Keeper Ruiz Dodgers edition for Jeremy Port Dylan Carlson rookie for Barry Roberts. All right, let's flip back over here Let's get to the good stuff Giving away them spots New dice new list. Let's roll it randomize it four and a one five times One two three Four and oh one fifth and final time after five So from a lot Mike. Sorry from 11 on down very close. No cigar, but thank you for trying Thanks, everybody for giving this a shot Congrats the top 10 you're in the mixer Edward Jeffrey Eric Edward Mike. Oh Mike. He's still got a spot Edward Edward Brian Tim and Jonathan. There you go gang We'll see you in the next video for the break jazzy's case breaks.com


So how do you run a workshop when there's like more than 30 people? Well, at AJ&Smart, we run workshops up to 150,000. I meant to say 1,500 people. We haven't run a workshop to 150,000 people. Well, in this video, you're going to get a glimpse behind the scenes at AJ&Smart. You're going to see one of AJ&Smart's employees coaching, mentoring someone in our workshop or master program and telling them how to run a large-scale workshop. So what you're going to be seeing is a zoom call from the actual coaching session, and I'll be back at the end to say goodbye. All right, enjoy. My question is about I've been invited to run a workshop for a big group, and it's like trying to, how do you call it, boiling the ocean, right? So it is like nearly 30 people invited. There is a good intention to determine a strategy for data for the next couple of years, etc. But what I am fearing is that 30 people is too much, right? So I'm structuring the workshop based on the strategy signal. But I wonder if you have any experience and any recommendation about how to handle such a big group, as opposed to smaller groups. So you could go one of two ways. Either you keep it as one big group, but obviously you'd need to really manage the time for discussion because you can't go around the room and ask everyone to discuss. Sequentially, that would be too slow. The other one would be to break them up into smaller groups, right? So if this is more about kind of setting, like coming up with lots of ideas and strategy and excitement and inspiration, you could break the room up to like six groups of five or something like that, and you have things going happening in parallel, right? So different sets of ideations, different discussions. And then you could have one person from each group come up and share the progress of that group. And that tends to work really well when you're trying to get people to ideate on something to think outside of the box. And they could have a lot of discussions in each of the groups isolated from each other. So not everyone is like immediately contaminated as soon as like one good idea is shared. So that tends to work well. The other way would be to try to handle it as a big group, but then you would be cutting down. It is kind of a simpler setup, but you would be losing out on the discussion because you can't have everyone talk in a session like that. Yeah, I was thinking about having these breakout rooms, especially for the Lightning demos and the concept creation. Yeah, I think that that could be really, really good. Yeah, but I can let you know that we've run these workshops with like 50 people even more, and they work really fine. Don't be worried about kind of the size of it. We've tested them, I think, at even like 100 and up to 200 people. But in those cases, we always have people just like working on like a table level, right? Like five people at a time and things like that. And just having the conversations like locally in each breakout room or in each group. Great, great. Okay, good. Time. Have a great day. Bye.


My name is Zoe Arden. I'm a fellow at CISL. I am an independent who specialises in leadership and communication. I think the real value that fellows and senior associates can bring to CISL is their lived experience, insight, knowledge and appetite for change, which can further galvanise the work that CISL is doing. I think the contribution that I can bring as a fellow is my passion around helping people build their capability as individual leaders and their ability to create stories that drive transformational change. I think the challenges that we face across all sectors are our inability to communicate in a way that engages, inspires and motivates people to be part of creating transformational change and I think that that's a challenge that we all face. So the way that I see CISL addressing systems change is at several levels. Firstly, CISL's incredible ability to convene. Since I've been involved in CISL, I have seen our global network go from something like 6,000 to over 30,000. So that creates a real reach and ability to create change at a systems level and that convening might be on an industry level, it might be on an organisational level, but also it's absolutely accelerated when we look at what we create through our online programmes. So when it comes to sustainability in action, what impresses me is when I see individuals leading whatever their context and whatever their position is in an organisation and what has impressed me particularly is a programme that I'm involved in at the moment working with young Emiratis and I am incredibly impressed at their levels of focus, engagement, commitment and passion around creating sustainable change both within their organisation and within the region.


Hi folks forgot the wax party spot here. Let's gather everybody's names new dice new list and it's just one wax party spot Let's roll it and randomize the name on top after nine. We'll get the wax party one two three four five six seven Eight and fingers crossed ninth and final time after nine Name on top will be Tyler. There you go Tyler. You're in the wax party. We'll see you for that promo Maybe in a couple weeks. I don't know when we're gonna do that, but hopefully sooner rather than later Thanks everybody jazby's caseways.com


If you enjoy watching Common Ground online, please consider making a tax-deductible donation at lptv.org. Lakeland Public Television presents Common Ground, brought to you by the Minnesota Arts and Cultural Heritage Fund and the citizens of Minnesota. Welcome to Common Ground, I'm your host, Scott Knudson. In this episode, experimental documentary filmmaker Nick Nuerburn works on a springboard for the arts project at the Fergus Falls State Hospital. Then listen as documentary filmmaker Christian Berg details his film on Grand Rapids area artist, Gendron Jensen. My name is Nick Nuerburn, and I am a experimental filmmaker and a photographer. I guess I would describe myself as a media artist. A lot of my work is about landscape, history and place. So place is really central to everything that I do and all the subjects that I try to explore with my work. So I've been making films for the past five or six years, pretty seriously, and I've sort of been developing my photographic practice for the past 10 years. They feed into each other in interesting ways. And so a lot of my work has to do with rural places, with Minnesota and Minnesota stories and sort of what you could call forgotten stories. Let's go this way, I think. So, Krister and I are going out to shoot some photos around the state hospital. And even though I've shot a lot of photos and a lot of video of this place, every time you come back, you see something new. I think it's like, I think it's right here. I think this is it. So I made a film about the state hospital here in Fergus Falls, which is called Today I'm Going to Kill Myself, but first I'm Going to Dance, which is a quote from a patient who was institutionalized here. And they would say it every week before a dance therapy class. And they would dance themselves silly, and drench themselves in sweat. And it was the best therapy they would get all week. But every time before this class, they said it. The film is sort of about the legacy of the state hospital in Fergus Falls. And the stories that people tell about the state hospital now. You can't see Chemical Dependency Program written on the awning, right? But in the negative, you might be able to see it. What do you think of that? So we're shooting at F-11 at 1,500. That sounds good to me. The thing about this film is that it's really sensitive. Like if you look through here, you really have to give it credit for like what it can pick up. It's right on the awning right there. The brown awning where it says Chemical Dependency Programs from where the sign used to be. All right, so we're on frame number 10. And then we gotta write it down.  Or maybe the meter said shoot at F-16 at 1, 250th of a second. But you're like trying to do something tricky, you know? And you're like, oh, how about F-5.6 at 1,500th of a second? So you write down like what the meter saw and what you shot at and if you used any filters.  The process is as much a part of my work as the final product. I mean to me, the making of it is the joy. Once a film is done, you know, getting it out there in the world is its own job. I travel a ton. I kind of have a couple different home bases. Minnesota, Washington State, Georgia. And I sort of launch out from these different places. And I shoot a lot of photos and I talk to a lot of people and I go to a lot of small town museums. And I'm always looking for these stories that are sort of on the underbelly of things. So a lot of my work, I still shoot on film and that has as much to do with the way it looks as the process, the way it makes me shoot and the way it makes me go through the world. And there's an old joke that we tell in Bemidji. It's that if the snow didn't melt one winter and we never thought out, you know, freezing on a little town and everyone in it like a statue that the people who chisel us out a million and one years from now, will go back home and say that they had discovered these ancient people who worshiped someone named Paul Bunyan and bathed the blue ox as gods. One of my films is about the history of Paul Bunyan and the history of the US Dakota War of 1862, which was the largest of all what we call the Indian Wars. And it's one of the reasons that the majority of the Sioux don't live in Minnesota anymore. And it's a really important story to understand Minnesota and how we've gotten to the point that we're at. I'm from Bemidji where Paul Bunyan is kind of a big deal. He's kind of a god. We really love Paul Bunyan in Bemidji and that's fine. But I was sort of interested in trying to understand why we hold up this giant man as so central to our identity. And so to me, the idea was I want to explore the history of how Paul Bunyan became sort of the hero in Minnesota's story that it tells about itself. But at the same time, bringing in another story about Minnesota that maybe isn't quite as resolved and isn't as much fun to talk about and isn't something that we like to say happened. So the idea is to sort of trace these two histories alongside each other. It was the biggest of all the Indian Wars, though it can be hard to tell these days. The war started pretty small right here when the white man who owned this warehouse refused to distribute food that the government owed to the tribes living nearby. There is a horrible famine because animals had become scarce as more white people had moved in. The Dakota people were starving, but this white merchant told them that for all he cared, they could eat grass or their own dung. It was one aggression too many, and he was soon found dead.  Some say that the war ended here at Fort Snelling, where the last remaining Dakota warriors and their families were taken. Down here at the island below Fort Snelling, it used to be a sacred meeting place for the Dakota, and it's also where the army imprisoned them while a riverboat came to ship them to reservations in South Dakota and Oklahoma. 1600 people were held here, and when the riverboats left, the army kept some of the Dakota men behind. These men faced military trial, and 38 of them were hung publicly the day after Christmas in 1862. It was and still is the largest mass execution in US history. And now, if you visit Fort Snelling's great gift shop, you can buy this book of Dakota Sioux caricatures that you're supposed to cut out and put into a diorama. I guess it's a personal film. It's a personal film about coming to terms with where you're from and the good things and the bad things about where you're from. My dad's work has definitely influenced me. My dad is a writer. He writes about Christianity, Native American spiritualities, the gap between native and white ways of understanding the world. And so growing up with him, telling me all these stories about Chief Joseph or about Red Lake and all of these histories of Native America that are so sad and so complex and contradict the dominant narrative of America. You know, I guess I was always raised questioning sort of our founding myths. That's sort of what the Paul Bunyan project was about was questioning this founding myth and trying to show the other side to it. Krister is great. It's great to have an extra set of hands and an extra brain. He's not just a set of hands. I think right in here, it's not that intimidating shooting this stuff. People are always scared of shooting film because it costs money and you don't wanna mess it up and you wanna get it perfect, but digital costs money too. I mean, this camera that I'm shooting on, I think I paid $100 for it. You pay $100 for a digital camera and what do you get? Not very much. And film is like six bucks a roll, costs 12 bucks to develop it. So when you think about buying a $2,500 digital camera, you think about all of the film you can buy with that same money and your negative lasts for decades. You don't have to store it on hard drives. That stuff isn't free. So it's like the price thing. I think people are misinformed about how much shooting film actually costs. I think people are misinformed about how much shooting digital actually costs because it is not cheap to shoot digitally. And this camera was what? Built in the 60s and it still works today. I mean, what digital camera from five years ago can you shoot with now and still produce the top of the line, crisp, gorgeous, complex image that this camera can shoot? So to me, it's like, they're just different. They're good for different things. And part of what's great about shooting on film is that you really have to stop and look and consider what you're doing and it takes a long time. And this camera isn't even that complex. I mean, there are much more complex film cameras to shoot with that take hours to set up and compose your image. What aperture do we want? We want it all in focus or just the plants in focus? There isn't really a foreground. So it's not like there's a person in front of it. Let's do... Your reflection might be... Yeah. Let's do F8 at 1 45th. It's pretty light and quick and easy but you still have to really make some hard choices out in the world when you're shooting. And I just find that to be its own reward. Yeah, I mean, animation is really easy and everyone likes it. I mean, animation is just an easy way to fill in the gaps. I tell people that my films are documentaries but they're not maps, graphs and talking heads type documentaries. I'm more interested in memory and the way that people tell stories in their own words. I mean, in all of my movies, people, they won't say like, I liked your movie. What an interesting story. They'll be like, I love that animation at the end. I could watch that all day. And that's fine. Animation is really fun to watch. It's really simple to make.  I guess when I said, I don't do maps, graphs or talking heads, that's not true in this case. We can say that this is not a standard map graph. Definitely not. Ever since I was a little kid, documentaries and the newspaper, stories in the newspaper and museums, things that helped me engage with the real world. Not that the imagined worlds aren't worth exploring like I love fiction also. But something about nonfiction is just magical to me. And I guess the documentary tradition, even the parts that I don't, some parts are more influential to me than others. Certain journalists and photographers and filmmakers are more influential on me than others are, but the documentary tradition is just intoxicating. So it's not history with a capital H. It's small history. It's backyard history. It's personal history. And it's informal and a lot of it's incorrect and a lot of it's misremembered. But to me, that's how history functions in our daily lives. And that's sort of what I'm interested in getting at with my work is trying to find this place between the truth that we read in books and the truths that we explain to each other. The way we might misremember a fact or the way that we tell the story about Paul Bunyan, even though we know it's not really true, we still tell it. And to me, the reason that type of history is just as important to our everyday experience as the history that we read in books and that we know is correct and that is formalized, I guess. I'm interested in the informal stories as much as the formal ones.  You always think you have a grasp on it, but you have to let other people get their hands in it. I mean, that's when something becomes magical. I do owe a lot of people, I think. Springboard for the Arts is just a groundbreaking group of people. They're the ones who brought me to Fergus Falls in the first place. Well, last year I did an artist residency here in Fergus Falls, which is basically a time when an artist comes to a place and explores the place and makes work about the place. And there are different types of residencies, but this one here that Springboard has been doing is specifically about engaging with the state hospital building and some of the history of the state hospital building. You know, they don't want people to necessarily make work about the state hospital, but just to help people make new memories up here and to start to care about this place again. Krista and I go very far back to Purpitch, the Arts High School, it's an important place in the story that I tell about myself. My work is really situated in the art world rather than the documentary film world. My work is influenced by artists, not necessarily by entertainers. I look at myself as an artist first and a documentary filmmaker second. It's just one form. My name is Christian Berg and I'm a filmmaker and public television producer and director. Growing up in Grand Rapids for me was a very special experience. As a filmmaker, I always seem to come back here. Maybe it's some kind of homing instinct, but you know, the pine trees and the clear waters of the mine dumps and the red iron ore dust seems to draw me back all the time and the people that are up here. The stories that people tell and retell, I think, are from those formative years. Where they draw the most meaning. And Northern Minnesota is where that happens for me. I've mostly worked on national PBS shows dealing with science, dealing with history, but Pustinia is the first film that I've done as an independent. I've known Gendron since I was eight years old. He was a dear friend of my father's and he's been a character that's always fascinated me and he has a poetic way of talking and he's devoted his life to his medium and to his subject matter, which is objects from nature, which he calls relics. Mortal leavings, he calls them. His vocabulary is extremely unique and colorful and he's someone that I've always wanted other people to know about and as a filmmaker, that's a privilege. The beginning of his creative journey basically starts while he's in a monastic community. He had thoughts of joining the community of actually taking monastic vows and becoming a monk and he went another path and the path took him into nature. It's been an interesting journey. At first I was involved with a larger project wanting to do a feature length documentary on Gendron's life. There were some upstate New York filmmakers who had started in on a project and I kind of insinuated myself into it. I said, well, I've known him since I was a kid. There were a few attempts at some fundraising that fell through and in the meantime, I was organizing volunteers and getting equipment and I would go out and shoot with Gendron every time he came back to the state. So I built up a collection of footage and after the project basically fizzled, I had another opportunity to shoot with Gendron in New Mexico where he moved to in 1987. I also happened upon some footage that an earlier filmmaker who also wanted to make a film about Gendron had shot years ago if I had cut this short and made something in the early 2000s when I was shooting with him in Northern Minnesota, it wouldn't have been the film that it wound up being and by continuing to put those tapes on a shelf and waiting for another opportunity, we finally had the elements that worked together as well as they did. Narrative film, The Director is God and in documentary, God is the director. You let the footage inform your decisions and I was working with an incredible editor, Greg Feinberg and I cut down the footage to the essentials of what I thought should be there and then he took it from there. The way that the early footage of 40 year old Gendron interacted with the modern footage of 75 year old Gendron, there was almost a dialogue built between them and you also see the consistency of his message where there's even one point in the film where he talks about the motion that he sees in the bones.  But he sees movement and motion and 40 year old Gendron basically finishes the sentence that 75 year old Gendron starts. Inanimate, inert things supposedly but the bones are not static to me. The bones are not static to me even though the creature's dead it's never static. And then my editor animates the bones to give them that motion which because it's a moving medium you can't pass up those opportunities. I wanted to give people the feeling of what it's like to hang out with Gendron because hanging with Gendron is really almost a spiritual experience in itself because he's a self-taught artist, largely self-taught and extremely articulate in expressing himself about what motivates him and what he sees in the bones. When I find them I feel this tingling in my hands and then I feel some on the naked nape of my neck and go sneaking down the spine. It's the oldest part of the brain, it's primordial. It's all instinctual. It's all rooted in the naked nape that's frying in my hands and the ingestion of air in ecstatic surprise. Here you are. You, they say, and I say you. You know, it's like falling in love again. I mean bones are considered symbols of eridity, sterility and death but Gendron sees them as, he calls it portals unto exaltation. He sees them as a window, as a connection to the divine, to the eternal. He might draw the cross-section of the half of a black walnut shell or he might draw the hip bone of a grasshopper and he draws them to epic size and you would think you're looking at a photograph of some alien landscape but it's not, it's what's right under our feet which really gets back to his central message which is to open your eyes and to look into nature. I hope viewers will check out Gendron's work. He does have a website online. He's in a number of permanent collections. Just last year he and his wife, the very accomplished artist Christine Taylor Patton were both accepted into the permanent collection of the Whitney Museum of American Art in New York City and his work is part of major collections all over the country. So I would hope that people would both seek out his work and follow his admonition to open their eyes to the world around them and to care for the world around them. Thank you so much for watching. Join us again next week on Common Ground. If you have an idea for a common ground piece that pertains to North Central Minnesota, email us at legacy at lptv.org or call us at<PHONE_NUMBER>. To view any episode of Common Ground online, visit us at lptv.org. Order episodes or segments of Common Ground or call<PHONE_NUMBER>. Common Ground is brought to you by the Minnesota Arts and Cultural Heritage Fund with money from the vote of the people November 4th, 2008. If you enjoyed this episode of Lakeland Public Television's Common Ground, consider making a contribution at lptv.org.


Hello everybody, my name is Gunther from Gunthamation and welcome to Let's Watch Let's Play. This is a weekly gaming showcase where we share some of Freedom's Let's Players with you like the good folks that we are. First up this week is NXB PSPC Gamers, which stands for the different consoles. These guys are a collaboration of YouTubers formed to make one awesome gaming channel according to their intro video. They play like everything, including titles like Slender the Arrival, Rogue Legacy, and Rust. NXB PSPC also makes reviews and montages for a wide variety of titles. It's pretty nifty to see such diverse content within a single channel, and it's evident that these guys have a lot of fun with the work that they do. Next up is Elixia. Elixia features several series on her channel, including Infamous First Light, Mario Kart 8, and Minecraft Pixel Art. For some reason, the Pixel Art series is absolutely awesome to me. The art itself is amazing and the editing is pretty stellar. Elixia is a pretty cool lady in my opinion. Her commentary is short and sweet, but interesting, and she completely immerses herself in the titles that she plays, which I'm always trying to be important when it comes to Let's Players. Beyond that, she's a great gaming personality and you guys should check her out. Last but not least is We Can Game. He features videos from games like Disney's The Lion King for the SNES to Half-Life if you're looking for some of his old school titles. Plus, he just hit 500 subscribers and commemorated the event by doing a video of a subscriber recommended game called Five Nights at Freddy's. He doesn't scream like I did when the fox gets him, and he manages to provide some pretty awesome commentary. His video is also part of a series that he now calls We Can Suggest, in which his subscribers suggest new games for him to try out. So if you're looking for a gamer invested in his community, you can subscribe to We Can Game. Huh? Huh? Okay, I'm sorry. Another Let's Watch Let's Play goes into the books, everybody, and check out any of the featured gamers. Click on the channel links here. See more of me. Click on Babyface Gunther up there. And don't forget to go to Freedom if you're looking to grow together, search you for partnership opportunities, or just wanting to meet a beautiful community. Until next time, I'll see you dudes and lady dudes later. Poof!


Betty Davis in An American Is Born, written and directed by Art Jobler for the Cavalcade of America, sponsored by DuPont, maker of better things for better living through chemistry. Good evening. Our play tonight is about a great nation and little people. The great nation is America and the little people are Carl and Martha Croft, a young man and his wife who were born and lived most of their lives in Europe and who had a dream like millions of other little people all over the world of America, where men sing a song about freedom and call it a holy light. This is the story of two people among the many who have sought that light again after it had been extinguished in the place they had called home. We tell you their story now. An American is born, written by Art Jobler, based on a story by Fania Foss and Peter Packer, starring Miss Betty Davis. The place, the border between the United States and Mexico. An archway is across the street. The words on it glint sharply in the sunshine, entering Mexico. A man and a woman stand there, backs to the American side, eyes on the sun-baked road into Mexico. They are Carl and Martha Croft, young, eager, impatient. Carl. Yes. With the left foot first, please. That means we'll be back soon. All right. One, two, three, go. There. Now we are in Mexico. Not for long, I hope. It looks romantic. Romantic. Anyway, Mexicali is only a border town, a hybrid. Whatever it is, it is only for a few days, so don't look so unhappy, my darling. Amigos, you register in here, this way. Oh, oh, yes, of course. Martha, you know some more infernal questions and signatures and explanations. Yes, darling. And names, please. Carl Croft. This is my wife, Martha. Not Americans. No, Czechoslovakian. Your passports, please. Yes, of course. And what is your reason for coming to Mexico, senior Croft? Well, you see, I... Pick up Daniel. Carly, I could tell him. No, no, no. No, why shouldn't I tell him the truth?  So you come to Mexico. Well, Carly, you tell him. We are here because they told us it is the fastest way to get back into America officially. I am an engineer and my wife and I came here from Prague by way of Lisbon. The very last spot. We could not stay in America. We had no visa for there, only for here. And the American officials told us that if we want to stay in America and become citizens, first we must leave the country and come back in again under the quota law. That is why we're here. So, I will stamp your passport. Carl and Martha Croft, may you enjoy your stay in Mexico. Thank you very much. You are very kind, but you understand we can only stay here a few days. We must get back to America. It is the best room in the house. Hot and cold running water, if you run for it. A bath in every room, if you climb in the washroom. It's really pretty terrible, isn't it? Oh, Carly, what's the difference? Today is Wednesday. I'm sure we'll be back in Los Angeles on Saturday. You're very wonderful. No. Your skin is so cool and sweet. Carly, I was just wondering what part of America we ought to live in when we get back? Any place that has a garden and trees and a river close by where he can learn to swim. Who? You know. And if he turns out to be a young lady?  My little Martha. Carly. Carly, listen. A Strauss waltz. Listen. But there should be mandolins here, not Strauss waltzes. I thought I never wanted to hear that again. Carly, let's go see who it is. All right. Oh, look, the people are listening. Oh, Carly, let's go back. No, no, no. We'll meet them. Bravo, Franz Bravo. You play beautifully. Thank you, Doctor. But I see we have visitors. How do you do? My name is Franz Bruckner. How do you do? Forgive us for intruding. My name is Cross, Carl Cross. This is my wife. How do you do, Mrs. Cross? How do you do? You play beautifully. Thank you. May I present Doctor and Mrs. Caspar? How do you do? How do you do? It's so moving to hear that music again. It's so moving to hear that music again. Don't you think so, Mrs. Caspar? It is lovely until he stops. There is a bitter echo in the ears. I am very tired. I will go to bed. Good night, Mr. and Mrs. Croft. Good night. Good night, Doctor. Good night, Mrs. Caspar. Good night, Franz.  Thank you very much. Oh, this chair, Mrs. Croft, it is the most comfortable. Oh, no, please don't trouble me. No, I think you're better sitting it. Oh, don't blush. After all, I'm a doctor. Yes, of course. So, now we are all comfortable. As comfortable as we can be here. Yes, but thank goodness we'll be away from here by the end of the week. Away? She means back in America.  Yes, we are, but it will take... Not take us more than a day or two, and then we'll be in America for good, won't we, Kalle? Yes, mother. May I ask where you and Mrs. Caspar are from? We are from Vienna. Also, you two are waiting for your quota number. Yes, we are. How long have you been here? Uh, how long have we been here, Liebchen? We have been here 14 months. 14 months? Oh, but why? That's quite a long, Doctor. Quota numbers, my dear Mr. and Mrs. Kraft. Somewhere down a long list of immigrants who look to America for salvation. You will find our names. Someday, the magic finger will point to us. Meanwhile, we wait too. We have no idea, Doctor. No, no, no, don't apologize. It is very hot here, very uncomfortable, but we wait. We wait. As all must wait. No, no, not all. It can't be true. We won't have to wait so long. We can't wait so long. We can't. You are listening to Betty Davis in An American is Born, written and directed by Archobelor on the Cavalcade of America, sponsored by Dupont, maker of better things for better living through chemistry. As our play continues, it's a week later. Carl and Marta Croft are in the office of the American Council of Mexicali. Please, Mr. Council, can't you tell us something definite? There's a particular reason why we should get back to the states as soon as possible. Mr. Croft, Mrs. Croft, America is doing what it can. You see, our quota laws were designed to take care of as many people as America could absorb without jeopardizing the economic life of the country. Though our sympathy for the unfortunate and other countries is profound, all must take their turn. I can say nothing more definite than that. Please, Mr. Council. I'm sorry. May I advise you to have patience and keep out of the sun as much as possible? The next month, August, is the warmest we have down here. August, my baby. Oh, did you say something, Mrs. Croft? Oh, no, nothing.  Time must wait, days, weeks, months, wait, wait. Come now, Mrs. Croft. You sit in the corner of the veranda and talk to yourself. Who are you? My name is Holst. I'm a resident of Mexicari for many years, importer, exporter. Can I have your help to you? No, no, thank you. Oh, no, no. Please do not go. You see, I too live for many years in Prague. Oh, did you? Yes. As you see, I'm not Czechoslovakian, but Prague is very dear to me. Beautiful city, Prague. Oh, it's beautiful. How bitter it must be for you, this endless waiting. Tell me, perhaps I knew your family. What was your name before you were married? My name was Chernek. So, was there not a Chernek in the Masaryk administration? My father. Indeed, your father was a great Democrat, Mrs. Croft. Yes, he still is. Oh, he is still in Prague? Yes. Did he want you to come here? Please tell me. Well, my father always told me that the constitution of our little country was patterned on the American democracy. Ah, yes. He also told me that to visit America was to visit the fountainhead of democracy. I saw. How sad. He is still in Europe. And now you wait to enter America to become a citizen. You do not answer. Yes, I know the waiting is endless. If you will listen to me, Mrs. Croft, perhaps I can help. Help? Oh, but, but how? How is that possible? With money it is possible. Two hundred and fifty dollars. You, you mean then our chance would come sooner? If you trust me. How about you hesitate? You want to sit here and wait? No, it's just that I can't believe such good luck. I'm always glad to do what I can. You will bring me the money.  Finally. Yes, Mr. Holst. Send a radio message to the Gestapo in Prague. Usual code. Dispose of Clemente Czernak's case as his best for interest of the state. Relatives here without influence or funds. Sign my name. That is all. What's this? The little house for our sewing again? Awful, isn't it? Your hemstitching will be shown in museums for centuries. Oh, Carly. Oh, so good to hear you laugh. Oh, darling, I am so happy. Did you say Mr. Holst? He wasn't in his office. Oh, well, it's only been a week. I'm sure we'll hear from him any moment. After all... Martha. I think that our son is getting impatient. Should I call Dr. Casper? Oh, no. Believe me, it's not going to happen here. It will happen in America. Oh, Martha. Carly, tell me. They say people born west of the Rockies are still pioneers. Does that mean he too will be a pioneer?  I am lucky. Hello. Huh? What was that? That's fun. God, Martha. Such news, such news. What is fun? My quota number. Tomorrow I can go into America. That's so wonderful. Oh, I'll be able to make money and send it over to my wife and my child. Oh, Martha, so happy for you. And you've got to be happy with me. Come to the cafe. What? We'll celebrate. It's a wonderful day, and it'll be a wonderful night. It's wonderful. Enjoying yourself, darling? Yes, Carl, very much. Great at fans, Carl. Oh, running around telling everyone he's good fortune. Carl, what are you thinking? Oh, those Americans. Look how they dance. I wonder whether I could ever learn to dance like that. Neither you nor I, Carly. We were born on the wrong side of the Atlantic for that. Why do you say that? You talk so much about becoming an American. Oh, yes, I want to with all my heart, but there will always be this difference between us and them. They were born to freedom. To them, it is like the air they breathe. They aren't even conscious of it. Freedom is of them, and they are of freedom. Isn't it better for America to have people like us who think about freedom, who worry about it, who know what it means not to have it, and so know enough to want to live for it? Oh, in times like these, yes, darling, but there will be other times when the fight is won, and it is of those times and of our child I am speaking. I want for him to be an American from his first cry. I want freedom to be in the first air he breathes for that cry.  A country that believes that man, as an individual, has certain inalienable rights. I love you, Martha. Look, look who I brought back to join us. Good evening, Madame Croft. Mr. Croft. How do you do, Mr. Croft?  Waiter, beer for everybody. And how are you, Mrs. Croft? Everything all right. Concerning your visit this afternoon? Yes. Oh, yes, yes. Everything is going splendidly. Then I am still very happy. Oh, why, of course you are. We're all happy tonight. Oh, come, Mrs. Croft. You must dance with me. Oh, I am sorry. I forgot. And so did I. Almost. Carly, you'd better take me home now. Yes, of course. Good night, Fran. Good night, Mrs. Croft. Good night, Mr. Holt. I'll be waiting so anxiously to hear from you. Believe me, you will. Come, come there. Good night. Good night. Good night. Wonderful couple. Hey, Mr. Holt. I want to talk about you. So tomorrow you leave us. Yes. My waiting is at an end. And as soon as you are in America, you will send for your family waiting in Lisbon. Why, yes. Of course. Then you have plenty of money to take care of them. What? What are you trying to say? I'm not trying. I'm saying it. Franz Brückner, you have to give me the money you stole from your country. Stole? What are you talking about? Information came to me today. The money you took with you when you left Europe. But it was my own money. Mine. I'd worked for it all my life. And what a fair is it of yours?  What are you saying? I'm saying that if you are concerned with the future welfare of your wife and child, you will give me the money at once. You're bluffing. You can't do a thing to my family. As I wear a uniform, the good needs you. My name is Sigmund Holt. Captain Sigmund Holt. Secret police. That's why you're here. Oh, I didn't think... I have no more time to waste. The money? You will have the money in the morning. Why is it? It's about midnight. Can't sleep? No.  No, thank you, darling. It's hot. Moonlight's so bright, isn't it? It's shining here. And in America. Martha, darling, you said yourself tonight everything was all right. How are they supposing he lied to us? Of course not. Mr. Holt wouldn't lie about the thing like this. No. What would be his object? He's a respectable merchant. He'd have to give us our money back. Yes, of course. Oh, go and put your arms around me. Yes. It will be all right. Must be. Look at that noise. Some trouble down in the street. No, don't try to get up. I'll find out what it is. Hey, this is Clark. Jones, you're there. Come here. What's going on out there in the street? Oh, senor, won't you trouble? See, see... Martha, Martha, you shouldn't have left the bed. I'm all right. What's the trouble? Oh, senor, won't you trouble? Senor Brokner. What about Franz? He is sharp. But first, he killed senor Horst. Oh, no. The truth, senor. First, senor Brokner killed senor Horst. And then the police, they shot senor Brokner. See, it is the truth. Why did Franz shoot Mr. Holt? You do not know? No, why? Senor Horst, he was one of those people from Europe. See? I think the word is estapo. Huh. My baby. Martha. Jose, get Dr. Casparan. Oh, Martha. Jose, why do you stand there? The doctor. He is gone. Senor Croft. Senor, maybe it's better we stop.  Oh, senor, he's no good. Carl. Yes, sir. Don't let him stop. Oh, Martha, I tell you what would be wise. I am not keen for wisdom. Just to get over the border. I beg you. Let me tell Jose to stop the truck. If not for your sake, for the sake of the child. For the sake of the child? Then don't stop. Martha, please listen to me. We have no right to cross the border. We may never find a border. It's so dark. This is not even a road, a trail. Well, he'll be a pioneer. Martha, try to understand. It was madness to start a hospital in Mexicali. We must turn back. No, no. If he is an American, he'll have something to live for. Martha. I won't let you stop the truck. Never. But our court's a number. It will come up sooner, later, then we can live in America always. It will become citizens. And then, no matter where the child is born, he will be a citizen. No, no. In America, he's got to be born in America. How many times must I say it? It's different when you're born in America. You stop there so it's yours. America has got to be my baby. Martha, how can you enjoy it? I will. I will. They walk like gods, these Americans. They are gods because they have freedom to think and speak and do what they want. And I will get that for my son. I will... Jose! Jose! Stop, stop the truck. Martha. What is it? The lantern. Give me the lantern, senor. No, no, no. I'll give you the lantern. Here, senor. What? Senor. What's that? She's all right. Carl. Did we stop? Carl, I... I told you not... Senor. Carl. What? But he wasn't born in America. Carl. Hey, you. You, come out of there. He's a soldier. Hey, what's going on there? What's going on here? Carl, did he say... I said I'm with the U.S. Border Patrol. Oh, Carl. Carl, did you hear? United States. Put your head... closer. Look at him, darling. Thank you, Betty Davis, for a deeply stirring performance on tonight's Cavalcade of America. Ladies and gentlemen, in a moment, Miss Davis will return with a few words for you. But first, here's news on how wood is speeding our war effort. Across the boundary of our ally to the north, Canada, men are at work tonight in a gigantic new manufacturing plant put up at record speed to turn out great battleships of the air, flying boats. Wood in such vast size takes longer to build because it's made of steel girders. This one went up in a rush because its frame and roof trusses are of wood treated with chromated zinc chloride. Wood given new properties by the know-how of the chemist. Wood protected against decay, termites, and to a high degree against fire. Wood treated by the chemist is no mere substitute for metal. Wood is a material with all the excellent properties of untreated lumber and, in addition, valuable new qualities of its own. One of these qualities is fire resistance. Several entire railroad systems have now treated the cross ties of their bridges with chromated zinc chloride. Both the Army and the Navy are heavy users of this chemically treated wood for barracks, for plane hangers, for defense housing projects. It permits great speed of construction in comparison with steel assuring safety and strength. This chemically treated lumber is excellent for the decking of wharves and loading platforms, for guard rail posts along highways, for forest rangers lookout towers. In mines, coal mines, for instance, wood treated with chromated zinc chloride provides safe support timbers, provides cross ties that last for 15 years instead of two. Freight cars are being made of it experimentally and down south where cotton is spun in rooms that must be kept warm and moist at all times so moist that a wooden roof on a textile mill rots away in short order, a roof of chemically impregnated wood outlasts several ordinary ones. This use of a chemical agent to transmute an old material, wood, is the kind of advance the DuPont chemist likes to think is typical of his science. For in wartime, chromated zinc chloride treatment of wood enables us to build plants at high speed at the same time that it conserves vast tonnages of precious all-important steel. And beyond this, with an eye to the future, chromated zinc chloride offers a way of getting more out of wood, still maintaining the balance between tree growing and tree felling. After the war, when it is possible to build new houses, people will insist on chemically treated lumber as a matter of course, as many leading architects and builders on essential construction do today. Such a house will virtually end many maintenance costs. This is the kind of progress made by the DuPont chemist in the Drive for Victory, which in the peace to come will be enjoyed by all of us as better things for better living through chemistry. And now, Miss Davis. Thank you. Arch Obler wrote tonight's play more than a year ago, and then just a few days ago, I read an item in my newspaper named Mrs. Lloyd B. Turner, wife of an American oil man in Venezuela. A few weeks ago, she started on a 3,000-mile journey home to Houston, Texas to make sure that her child would be born in the United States. That to me is evidence of a great faith. First, she had faith that her child would be a boy, and that he would become president of the United States. As a matter of fact, however, it turned out to be a girl. But more important, Mrs. Turner had faith that our American way of life would endure, would win out over the forces of darkness against which we are fighting today. Thank you, Miss Davis, and thank you again for your stirring performance tonight. And now a word about next week's show. Next Monday night, the Cavalcade of America will present a famous American play by a famous American playwright, Tomorrow and Tomorrow by Philip Barrie. Our star will be famous, too, that lovely lady of the screen, Madeleine Carroll. On tonight's program, Betty Davis appeared through the courtesy of Warner Brothers, for whom she is currently starring in The Man Who Came to Dinner. Playing opposite Miss Davis was Raymond Edward Johnson. The original musical score was by Gordon Jenkins, and the orchestra was under the direction of Don Burry. Don't forget, next week Cavalcade presents Tomorrow and Tomorrow starring Madeleine Carroll. On The Cavalcade of America, your announcer is Clayton Collier sending best wishes from Dupont. This is the National Broadcasting Company.


So, we've been doing this for three plus years now. I think we've done about 12, 13, 14 events. When we first started doing this thing, we did one in Seattle at the very first KubeCon, and essentially it looked like this. It was lots of stuff about cloud, very little about any of these sort of use cases and stories, it was a lot of the kind of technology, and we were kind of just hoping that Kubernetes would survive at that point in time. It was very cloudy, kind of a vision of it but the technology was the front and center of what we did. This is a little bit of what it's looked like over the last couple of years. The event's grown 10X, so thank you very much for spending eight hours with us in moderately comfortable chairs. We're very thankful for that, we're thankful for everybody who's new. It's been a really good event for us to help get to know the community. We're seeing a lot of faces that come back, so that part's really awesome. We feel like the event now, it looks more like this. It's sort of, the clouds are in the background, the stories of what people are doing, the what's possible is very much visible into what's going on, and I always say this, there wasn't as much this week, I was sort of surprised, but usually the end of every one of our customer talks end with and we're hiring. This has been sort of the list of companies that have been willing to come up and tell their story and I always highlight to people, if somebody is in your industry that you see up here talking, usually that means there are a couple of years into this process, there are a couple of years into developing software faster, getting products and projects to market faster. This should be sometimes a wake up call as to kind of judging your company against where the rest of the industry is. Now people ask all the time, okay, you're doing a talk called The Road Ahead, is The Road Ahead gonna be lots of brownfield stuff, are we just doing lift and shift of applications? To a certain extent, you saw a little bit of that. Is The Road Ahead going to be lots of greenfields that maybe a lot of sort of barriers along the way or sort of narrow things we can do? Yeah, there'll be a little bit of that. Or is The Road Ahead going to be, somewhat more greenfield, maybe less barriers, but the future's a little bit foggy? Yeah, I think you heard some of that as well. So all of these could sort of be applied to what does the future look like for whether it's Kubernetes or OpenShift or what you're trying to do. I hope what you took away from today very much was there's a lot of opportunities in terms of the types of applications that you can automate, that you can scale, that you can make beneficial for your business. We heard this quote this week, I was, or not this week, last week I was at an executive briefing and somebody came up to us and they said, you know, we're, we've been to your events before. We came to Commons a couple of years ago and we sat in the audience and we just took notes. Like we weren't an OpenShift customer at the time, they were like one of you that was new to this. And they said we sat there for the eight hours or whatever it was and took notes. And they came to us last week and said, we have a hundred different development groups in production doing things against OpenShift, right? Hopefully that doesn't mean it's gonna take you two years to get there, but hopefully the knowledge that you took away from today and hopefully the people that you got to meet are gonna be beneficial in some way that's similar to this. In terms of where do we think this is going, I think we believe we're in sort of the third era of where Kubernetes is. That seems a little bit unusual for something that's five years old, but this space moves fairly quickly and we've made some fairly big jumps. I think we've jumped from what was very early. We were a little, people were worried it was, a Google project, was it going to be the next reader? Was it gonna be the next groups?  We had to make sure it was open source. We had to make sure it got into stable governance and so forth. We moved from there to being able to do both really new application stateless to being able to lift and shift doing stateless applications, having a bunch of different patterns. And I think what you're seeing today and what you're hearing people say they're looking to move towards is the stuff that's going to move us to a whole another level of automation, a whole another level of operator technology that's going to just make things sort of work. And that's really the beginning of what we're into right now. What we've tried to do over the last 16, 18 months, part of it was part of the CoreOS acquisition. Part of it was just getting really good feedback from our customers is in essence, they said, whether or not we're going to be in our public environment, public cloud environment, whether we're going to be in our private data center environment or some mix of it, we would like you more and more to be thinking that the experience that we did with OpenShift should be as it is like in the public cloud. And so I hope you saw somewhat today, we'll talk in the AMA session. It was very much about we want operations to be somewhat simplified. We wanna be able to do more things without operations feeling like they're always juggling things. We wanna make sure that we're doing things with standards and interoperability. We wanna make sure things are portable. We want to be able to deliver on demand. We heard people talk about we're delivering so much on demand, we're not exactly sure kind of where our job starts and stops. I think the way to read that is less about are you working yourself out of a job and are you being a great product manager?  When you start doing that, when you make the product easy enough to use, we're doing our job. That's what you're doing when you enable self-service. Obviously we want it to be secure. We want it to have broad application support. I think you're gonna hear that or you heard that throughout the week. The other thing that you're going to hear throughout the week over and over again is this idea of operators. Operators is a concept that got started back when we did that very first event at KubeCon. Brandon Phillips who at the time was at CoreOS said, hey, there's no reason that Kubernetes can't run Kubernetes. And it's expanded beyond just Kubernetes running, Kubernetes to Kubernetes running all of the internal processes, OpenShift 4, but it's also going to be a really big part of more complicated applications. So we saw Spark demonstrations today, but lots of other things running on top of OpenShift in highly automated ways. The simplest way to think about this or to explain this to somebody who says like, what does operators mean? Here it is. If you went out to the public cloud today and you signed up for a database as a service, you get a database and on the back end, you don't get a DBA. You get software that runs that database all the time and makes sure it's always available and makes sure it gets updated. That's what operators do, except operators allow you to do that for a whole bunch of applications. You go out to operatorhub.io, you'll see those and anywhere you want to. So you're not tied to any specific cloud or any specific environment. You can take that as a service anywhere you want to, consistency. So there's one other thing that comes up all the time when people come to these events is they go, you guys do this weird thing where you say Kubernetes and then you say OpenShift and should I just use the stuff that's upstream or should I use OpenShift? We want new stuff, new stuff is kind of fun and that's great. We all get excited about new stuff but I want to put something in perspective for you. To go from a couple of projects that either have been very popular or will become very popular, it took Prometheus 18 months to get from version one to version two, okay? It took Istio 15 months to get from Alpha to 1.0. It's taken Knative nine months to get from zero to 0.5, right? We get very excited when the next KubeCon comes along and it's like, oh wow, lots of shiny objects, right, squirrel. And we always kind of want to remind you guys that we are actively involved with all those projects. We want you to be excited about those projects but they take a while to get into maturity when they get to be fairly mature or we help them become mature. That's when you'll see them get into OpenShift. Can you run them on top of it because it's just a Kubernetes platform? Yeah, if you want to go experiment with it, absolutely. But I kind of want to put that into context that when you hear some announcement about something zero dot one, it's going to take a while to get to a point where you're going to trust it to run your bank, your insurance company, your transportation company, whatever that might be. The other thing I always like to highlight to people is that it takes a while to get from upstream Kubernetes to into production. And I highlight this not because we're necessarily super proud of how long it takes us or we're not happy with what it takes us, it takes everybody a long time to get this into production. If you are Google Cloud, you have one cloud to get it in, one known environment. If you are AWS, you have one environment. If you are VMware or Pivotal or Rock, it takes a while to stabilize the software and nobody is really any different than there. It's taking people upwards of four or five months. Sometimes vendors skip a release in there. So kind of keep in mind how long it takes to make this software doable for you so that you don't have to worry about outages. You don't have to worry about scalability. You know stuff will just integrate. All right, so last piece before I go. Where is all this stuff going? I think you're going to hear more and more that the focus becomes less about Kubernetes. Kubernetes is by no means done. There are continued to be upgrades and enhancements and things that happen to core Kubernetes. But a lot of the work in this space is really kind of happening around Kubernetes. We're beginning to see some overlap between virtualization and containers being managed by Kubernetes. We're beginning to see new ways of looking at sort of Kubernetes native pipelines. We're seeing some things that are Kubernetes specific around operations. Obviously a lot of that gets baked into four. But we're seeing serverless. We're seeing service mesh. We're seeing developer experiences. None of those are part of Kubernetes. Those are things that are making Kubernetes better, but they're not part of Kubernetes. So if you're looking at where's development happening, where are things expanding, you're going to begin to look outside of core Kubernetes. These are going to become things on top of Kubernetes. So with that, I'm going to kind of wrap this up real quick and bring the real smart people up on stage. If you enjoyed today, and you would like to enjoy today's kind of information on a more frequent basis, if you are a hands-on learner, learn.openshift.com, great way to go, basically get your own environments and test out all sorts of things, get experience and expose to a lot of things. If you are a sort of visual learner, Diane does an awesome job every week. She does something called Openshift Common Videos. They're on YouTube. Some of it is the partners in technology companies that we work with talking about what they're doing, what's new in Kubernetes. Sometimes it's end users from the community. And I host a weekly, bi-weekly-ish podcast about Kubernetes and Openshift called PodCTL.  Most of them are free, good reads for the most part. They may be three.x based. They will get updated to four.x. You can expect to see books on operators and other things as well. So a lot of stuff out in the O'Reilly and manning catalog for Openshift. With that, I'm gonna bring up the product team. Guys, do you wanna come up and take some questions? Thank you very much.


Let us now look at the next example. The problem statement reads like this, consider an axial turbine rotor with a blades speed of 315 meter per second and constant axial velocity of 280 meter per second, flow enters the rotor at an angle of 60 degrees and leaves at an angle of minus 30 degrees, find the blade angle at inlet and outlet and the degree of reaction. So the first step as we did in the previous example is to construct the velocity triangle using the given information. Here the magnitude of the axial velocity is not given but the flow angle at the inlet and the axial velocity are given, the flow angle is given to be plus 60 degrees which means that the inlet absolute velocity vector is at an angle of 60 degrees in the counter clockwise direction from the reference direction. So let us go ahead and do this. So here as you can see the absolute velocity vector is at an angle of 60 degrees in the counter clockwise direction from our reference direction which is the axial direction. The axial velocity is given to be 280 meter per second. Once again you should bear in mind that this diagram is not to scale but qualitatively accurate. The blade speed is also given. So we can draw the blade velocity vector in the following manner, blade speed is given to be 250 meter per second, what is that v theta 1 and u are in the same direction and that is the basis for this choice of direction for the blade speed. So the relative velocity vector at inlet now points from here to here and we may go ahead and complete the inlet velocity triangle like this, what is that? This is v theta 1 and vx1 is given and this angle beta 1 as we can see here is also going to be positive as c1 is in the counter clockwise direction from the reference direction. The flow angle at the exit is given to be minus 30 degrees. So we may draw the absolute velocity vector at the outlet like this and that this is at an angle of 30 degrees in the clockwise direction from the reference direction. It is also given that the axial velocity remains constant. So vx2 is equal to vx1 and we have indicated that using this symbol here and this is v theta 2, so from here to here is v theta 2. So the relative velocity vector at the outlet points from here to here and we can go ahead and complete the outlet velocity triangle also like this. So the inlet and outlet velocity triangles are complete and we may proceed with calculating the required quantities using the appropriate normatric and algebraic relations. Let us proceed. So v theta 1, in this case v theta 1 has to be evaluated using the given axial velocity. So we calculate v theta 1 using the given axial velocity vx1, so this is the flow angle. So tan alpha 1 is going to be opposite side v theta 1 divided by vx1. So we may calculate v theta 1 using that information as 485 meter per second and since v theta 1 which is this is greater than u, c theta 1 is going to be v theta 1 minus u. So c theta 1 is equal to v theta 1 minus u and that comes out to be 135 meter per second and we have already mentioned that v theta 1, the blade angle at the inlet is positive because the relative velocity vector is in the clockwise direction from the reference step. In the similar manner we may evaluate v theta 2 at the outlet as vx2 times tan alpha 2 and since c theta 2, c theta 2 is this segment from here to here, since c theta 2 is greater than u, v theta 2 is going to be c theta 2 minus u, v theta 2 is known. So c theta 2 is v theta 2 plus u. So we may evaluate c theta 2 as 511.66 and we also make a note of the fact that beta 2 is less than 0 since c2 is in a clockwise direction from the reference step. So the blade angle at inlet may now be evaluated as arc tangent of c theta 1 over cx1 which gives us 25.74 with a positive sign and the blade angle at outlet is arc tangent of c theta 2 over cx2 from which we get 61.31 degrees and we attach a negative sign to the blade angle at the outlet. The specific power output may be evaluated as follows, w dot over m dot is equal to the blade speed u times v theta 1 minus v theta 2 and we make a note of the fact that v theta 2 is in the opposite direction to v theta 1. So v theta 1 is in this direction and v theta 2 is in this direction. So which means that v theta 1 and v theta 2 are added together here which gives us a specific power output of 226.32 kilojoule per kilogram. In Pythagoras theorem we can calculate c1 from the respective tangential and axial components at inlet and at outlet that will be equal to this. The degree of reaction is defined as h1 minus h2 divided by h01 minus h02. We have already mentioned that this is equal to the specific power output and the quantity in the numerator may be evaluated as c2 square minus c1 square over 2 since h plus c square over 2 is a constant for an axial machine and it is given that this is an axial turbine. So if we substitute the numbers we get the degree of reaction to be 0.538. Once again I encourage students to go through this example several times and make sure that they understand each and every step clearly particularly construction of the velocity triangles and the triangle at the inlet and outlet using the given information and also paying attention to the sign of v theta 1 and v theta 2 while calculating the specific power output.


You've heard it said I love God, but I'm not into organized religion. This sentiment, though seemingly noble and virtuous, fails to take into account that everything God does is orderly, structured, intentional, and organized. Consider your body. Your body consists of various systems, the nervous system, the skeletal system, and so on. Your body lives in an ecosystem on a planet that moves through a solar system. God uses systems. In fact, the church is described as an organized body of believers. The human body has many parts, but the many parts make up one whole body. So it is with the body of Christ. That's 1 Corinthians chapter 12 verse 12. People have this idea that the church shouldn't be organized or structured, that the church's ministry projects shouldn't be too large, that the church shouldn't function on systems. But it's not only possible to be led by the Holy Spirit and be organized, it's necessary for the Holy Spirit Himself always brings order. But let's get down to it. One of the reasons that people don't want to accept the fact that the church is a system is because they don't like the idea of God delegating authority to other human beings. This dislike of spiritual authority might stem from hurt or a bad experience, but the Bible makes it clear that God has given us spiritual leaders not to control us, but to guide us in our spiritual growth. Obey your spiritual leaders and do what they say. Their work is to watch over your souls and they are accountable to God. Give them reason to do this with joy and not with sorrow that would certainly not be for your benefit. That's Hebrews chapter 13 verse 17. Spiritual authority is a protective covering, not a controlling lid. We can benefit from the wisdom, guidance and love of those who are more mature in the faith. If we want to reach our full spiritual capacity, we must be rid of this unbiblical notion that we don't need each other. Now I understand that some immature or insecure leaders abuse their positions of ministry and here's a hint. If anyone ever tells you that you're cursed or that you'll never fulfill God's perfect will if you leave them, that's manipulation. But we mustn't allow the abusers of power to keep us from benefiting from genuinely loving leaders. All of us have room to grow and therefore all of us can benefit from God's system of church authority.