Welcome to Toffy TV, we've asked you for your questions and you've replied if you want to get involved just send us a little video clip, we're going to put these videos together every week. Let's start with Andy, Andy Bush, Absolute Radio DJ and Evertonian he's been in touch. Hey Toffy TV, it's Andy Bush here from Absolute Radio, cheers just having a beer watching some of the brilliant World Cup games today, got me back into football again, I have my enthusiasm back after Everton managed to strangle the life out of me this season but here's hoping a better things. So yeah, love the channel, love what you do for the Blues, at some point next season I want to try and get up and be a guest on the show that would be amazing, that's an ambition of mine. My question for you guys is this, with the changes that are going to be brought by Silver this season, exciting times, I'm thinking maybe a bit of a clear out which players do you see leaving the club and why. See you soon. Cheers and thanks for getting in touch with us, be good when he comes on the show, who to sell and why, it's a tough one in it because obviously we've only just gone back after three seasons you know a couple of days in, off the top of your head without knowing what Marco Silver's plans are kind of thing, you've probably come up with similar ones with me say like Ashley Williams, I don't think anyone had no point in the club. So you know Morgan's, you see the Sniadlin ones the tough one, I think because I think Silver would look at him and go if we can get a tune out of him he's worth keeping almost but his attitude I mean I know that you were, you were not given his attitude at all. I just don't think you should ever play for Everton again. There you go, fair enough. Kevin Morales. Yeah you know there's some, it's a similar theme isn't he? Anyone who's surplus and there's a lot of people, Williams is surplus, Marales is surplus, you know look think about a player who is second in their position let's say or even third and look at what the weight is on, look at their age and you can come up with some quick, quick ones. Williams, Marales definitely gone. Balasi, Funes, Mori's already gone off, he would have been someone would have said anyway so he's gone. Wayne's gone. Wayne wouldn't have necessarily been someone who would have come up with but... No but I mean when you look in a position, where to go. And to be honest past that. Martina? Yeah Martina's garbage. No well he is always and he's not, there's no quality there at all in the ladder. We're excited and I know all that but he's not, there's no, if we're going to go up a level it's we all want, you've got, there is some tough decisions and I think you do have a lot of tough decisions. No but I mean you'd have to look and go he's just not good enough anymore, he's not good enough, he's not good enough. But Bessage? Bessage I think is a player in there without a shadow but like I said these four years he's been here and I still can't tell you if he's good enough to consistently perform at the highest level because we haven't seen enough. He's won as well that you go should we sell him Fraser Ungod as well, he's come to a stage in his career where he really needs to be playing and I don't imagine that's something ever can offer him, you know in a new book midfield you want to look past that play like him so. What did you think very quickly Lugaba going out at the right time wasn't it? He's not going anywhere is he? I think you know. But some of the, I mean one of the young players, is there any young players you'd say well I don't necessarily think they're good? I think Galloway, Galloway and Ty's Browning because I think the pair of them, I think they're just stagnating. Pennington? Pennington? I would, I would because I look at him and he played in our first team two seasons ago and I don't see him pushing the players we've got. I don't think he's holding up, I think he signed him on a contract just to secure him. I think he's a decent defender but I think he needs to go somewhere to play. Yeah he's the kind of player that needs like two or three players, yeah two or three years playing solidly and then you never know he might like re-amaze. I look at him as similar to Shane Duffy. Yeah and I think Shane Duffy went away and got games like for Blackburn, then it's a Brighton and he's very good at Brighton and I don't know, he's him and Duncan Greys. And there's nothing we could have done about that. He had to go away. He did? Yeah. And develop. Build this, build himself up. Yeah yeah. Anyone else? No, no, barely, I mean I think you know there's some, there's people like, people like Stechlenberg that, well I'd keep Stechlenberg. I think he's, I think he's a decent number two. Yeah. And I think I don't, I don't see any immediate need to to just get rid of him with Pickford the way he is. So past that. It's gonna be very interesting over the next few weeks. Yeah it's all, it's all the typical names. You say like, you ask Popsup, doesn't he? Some people tell him, I wouldn't be in the rush to get rid of him. Classic, again he pops, I wouldn't be in the rush to get rid of him. Without seeing if Marco Silva can get something out of him. So it is, it's one of them at the minute, isn't it? Definitely. Loads of variables. Yeah. Sean's been in such. Hi, Ped, hi Baz. Just a quick question regarding Jack Reddall's contract that's obviously been cancelled by Sunderland. I was just inquiring as to whether you consider taking him back on the same sort of deal we had with Jose Baxter. I know the circumstances are obviously different but he's still one of our own. So I was wondering whether you'd be interested in taking him back, trying to give him a new lease of life and obviously either benefiting us or another club. Thanks very much. Keep up the good videos guys. Well, that's radical, Sean if I'm honest. That's field. That's out there. Jack Reddwell, I can see where you're coming from but I think there's slightly two different situations. I think, I don't think Jack needs, I don't think he needs necessarily a leg up anyway. Number one he's made. He needs a club. A lot of money out of Sunderland. I think he just needs a club but also though it's his fitness isn't it? His fitness has never been, never been there. He's never had, that I think ultimately over his career it's always been in his fitness that's letting down. Can you just allow, you know, in theory it's a nice idea bring him back to the club and help him for a year but does he really need that? He probably does because, because he's taking him. Not many are going to take him at the minute. He's made a lot of money. I think he's seen the figures the other day. Didn't mean he was quite remarkable and he was only on a winning team once or something in Sunderland in his time in the league. So, but he's got something Jack Reddwell but I think as he's been in Sunderland for four years now or something like that, three years hardly played so again it's the injury thing. He's definitely got ability but I don't know what you're doing but I suppose if he wanted to come back to Everton and he went we'll give you a thousand pound a week and we'll see how you go and get you fitting and see then you'd look and go you know he's a decent player. He could go and play like the 23s as well and develop them because he's different than Baxter in terms of if you could get him back to a level he's actually a good footballer but I just don't see that happening but I understand why John's asked the question because you could get up with a good fee for him as well as he's a decent player but he'd have to prove his fitness and he'd have to wake up to. I suppose that's one way as a player Jack Reddwell might think we'll be thinking someone's gonna ring so that might be might be one of them where like you know you get to like September or something although he is a free agent so we can sign for him when he wants but if ever we're to offer him something in September and say you know what if you want to come back and do something I don't know yeah listen it's an interesting prospect and I'm sure I'm sure there'll be other clubs that are will thinking almost in those times get him in. I think that'll be a good move and go coach decent level. Gerard. Big thing from Steven Gerard and see if you can get him fit and perform. I think you're totally fitness and if I was going to take Jack Robbwell I'd take him and say you're playing centre back not centre midfield you're playing centre back. I think that could minimise the injuries if you played centre back. And I think it might settle him into a position because I think I don't know about you like you came down to Goddus and played in the cup last year and he was up against Tom Davis and it was like night and day Tom Davis ran the game 19. Jack was all right but he was a bit I think I don't think he's good enough to play that role I think as a centre back he could be. I think he's lost a hunger for the game as well. I think he's lost his way because I think you lose your way when you don't nail any position down. I think when he came in and everything he could play left back and he's a balthamad and he made his debut in 16 and everyone was saying he was a centre back he was a mark to be a centre back and then Moise poorum in defence of midfield then he became an attack midfielder but he never had the I don't think he had the ability to play as an attack midfielder. Now he scored the odd goals he scored a goal against United and I think he scored against Villar in the cup. But and he scored he did score a cracker against Sigma all the more than ever in your opinion to the box but I think in general I've always looked at him as a defensive player and I think you're right as a centre back because he's good on the ball. I think the only thing with him is he's not great in the air but you know that's something to work on isn't it? Definitely definitely. It's an interesting one. It is interesting but not convinced. Not convinced by him. I think he's Moise Mr Manatee. I think he might be back here but I'm not sure he'd be high on Mark or Silver's list to be on. Thanks for the question and we'll be shown. On to Mark. Hi Bas Ped. Question for your Q and A. Who's the better captain between Phil Jageelke and Phil Neville in terms of leadership on and off the pitch. Cheers. Cheers Mark. Best best captain. Phil Neville or Phil Jageelke. The part with the fills. Right. Jage. This is the dilemma isn't it? It's a good question. Jage has just been an immense player for us, been fabulous. Neville was a let's not read it history. Phil Neville was a good player for us. The last year or so he'd fell off the radar a bit like Howard and he's stayed a little bit too long but as a captain on the pitch Neville said some things which I thought were ridiculous off the pitch. On the pitch I think he was really good. He came in and he pointed a lot. He was like led by example. He organised. I thought he was good that way. I don't think Jage is as good that way but I think as a footballer Jageelke's better than done more for us so it's it's. No the question is on purely on captain I think Phil Neville's a better captain. I think he had far more experience of winning and brought that into the club and you seen that. You see the amount of times where we helped galvanise things or knew when something needed taking up a little notch or when if something.  Of course. But if something needed to happen he provided it or you know a little maybe a sound bite to back up the manager or something. Great step over as well. Diving against Liverpool wasn't brilliant but no I think as a player I think Jageelke would be obviously fondly more remembered but I think as a captain I think you've got to give it to Neville. As you just said there a lot of history is being rewritten on Phil Neville because we only tend to remember players as they go out. Yeah you know when he did stay a year too long his brother got it right he knew when the legs had gone but Phil never quite got that but then again that's for the managers to sort out and we've seen that with a lot of when a manager's got someone fighting for him in this corner we've seen the same with Manez and Tim Howard. Yeah when you've got someone fighting for your corner in the dressing room and all the rest of it a big character you probably try and keep them as long as you can. I think I think the other thing with Neville as well if he did just play right back he'd have been alright near the end but he was in midfield and he was in midfield with Leon Osborn for a couple of his horrendous displays and a pair of them. Although didn't he play right back at Old Trafford and keep everyone on side? Yeah but you'd have the odd mystics team peeing, I've booted Ryan Giggs and Ninjally Time and we were getting the one ones for no reason whatsoever and we lost so people even the greatest players make chilly mistakes. I just think people will always remember the Wiggin gamers as the thingy and he was in there because you blessed a pair of them if you stuck them together they still were slower than the snail. So it was one of those things but he never was a good player for everything and you know people they do like to rewrite history but he was a good player for us and he was a good captain for us but again just went on that little bit too long. She acts as being absolutely fantastic as a player for us and still is to be fair even obviously a bit slower he's still a fabulous player for us but so as a captain to answer Mark's question you'd have to say Phil Neville. Hi lads it's Joe is this the breakout season for Mason Holgate and who is his best offensive partnership? Cheers Joe thanks for that so obviously there's been talk there was talk of Mason Holgate maybe leaving but that seems to have been clarified now by Michael Silver or certainly it has come through that yeah you know so this has to be the breakthrough season for him surely. Yeah it's got to be I mean he played games last season I thought to be honest with you at times him and Williams were our best defensive partnership but they were the partnership when Sam come through and he'd come in. Yeah and I thought I thought Mason Holgate had a good season I think there was a couple of games where he didn't have his best games West Bromero where he played Rodriguez onside and if he did be acted he'd have still he'd have got there but he didn't and spares up Emily a couple of times he let himself down but the two there be and now and now of course you know there was a little bit of after the thing but he was he was fully now but I mean he was fully justified in what he said because you're not what I mean is that when he get when he's get prior to that when he's getting in this facing now I want to see funny I had someone talking about this on the radio and you know basically I thought you know what they were saying was a striker a young striker can make mistake after mistake after mistake but then they put the ball in the back of the net and it's like oh we've got one here lads the defender doesn't have that you know defender doesn't have that luxury luxury of it and like we were talking before defenders sometimes have to go away lay in the trade make those mistakes go down to come back up again and always see defenders like look at the England team look at the defenders all of them came from lower league made mistakes and then have made the way up and you know some of them still made mistakes you know some of them were allowed to make mistakes with us um I think defenders will always make mistakes and it'll always get it'll always get highlighted because like a goalkeeper a lot of the time it ends up as a goal so you go back over it and over it where there's a centre forward course and I was a centre forward you miss you miss five sitters and you knock one in at the end every once you remember the fact you knock one in at the end and you've won the game exactly you know and you look so I think this has definitely got to be a season for and where we see a more consistent run um in in the in the and you're encouraged by what's coming out the club about them that they're gonna make them apart you know a key component but he should be he was the main component of that last season but he yet but he was there was no consistency but he's got everything though hasn't he he has but the interesting part of that question was who who would you play with because if what you want to do is you want to go into the season with a pain and almost say well that's our pay for the rest of the season oh that's what that's my that's that's a fair partnership and you've got to stick with it and and it's even a case of so is that keen you know because he's the most expensive player do you say well do you say almost say to Keane well actually you know when you've got to look after him or they've got to look after each other so that that's an interesting concept I look at Michael Keane and now this is about me I think I honestly believe Keane will benefit possibly more than anybody in that in that squad from Avon Marko Silver's intense coaching and I think what we'll do is we'll find out very quickly whether he's up to it or not because he'll be given that much information and told where to go and what to do he's just done an interview with the Avon website saying he's asked his brother he played under Silver a hole and he spoke to uh spoke to my Harry Maguire about him and they were saying he gives you so much information and he said I'm excited because it'll really benefit me and I think it will because Shaun Deist drilled him and he was excellent Liverpool United wanted them didn't so a lot of big clubs wanted them so I think the same maybe formation as well as I think what you've got to say you just got to say to Mason Augie well you know what are you what are you prepared to do well you know are you prepared to come into this team and be a leader because that's exactly what it needs in the back be a leader and and you know if I put you together can you do it can you do I need to walk by another centre half or can you do it you know what I mean that's got to be the question hasn't it because it is a big season for him he's got to he's got to nail down yeah he's got to place otherwise he will find himself going away and rebuilding and you know going through that process so it's up to him you know is he good enough let's see if he's good enough and if he can cut out those mistakes and if he's got complete concentration because I think as a footballer I think he's got everything required I just wonder whether he's got the concentration to focus on the games and and to be to be aware and sense the danger because that's what all good centre backs have got it's the the ability to sense when the danger is because when you look at centre backs it doesn't you know centre forwards are fast we know that most of the good ones are fast and they will always beat centre backs in a race yeah but if the centre backs can see where the danger is going to be before and then that's a big thing and you only really get that through experience some the very best of a bone with it it's just the but they still need to iron it out I mean I've seen Keir Leeney right he got one of the best in the world still make some terrible harlots buddy but there's been so many games when he's absolutely fantastic so it is it's like you say yeah you can't make mistakes so good question good question thanks to Joe for the question thanks to Andy thanks to Sean and thanks to Mark if you want to get your video in drop us a line send it over add to send it on we transfer to TrophyTV1 at gmail.com so that's we transfer there's a website you go on you just upload your video and you send it takes three takes two seconds to do or send a via whatsapp to the number in the description thanks for watching TrophyTV we'll see you later


Hi, welcome to Cube Conversations. I'm Stu Miniman, and joining me is Jeff Kelly here at the Wikibon Home Office in Marlboro, Massachusetts. Deep in the heart of winter, Jeff, I've been getting calls from people all over the country, are you guys okay? And the Wikibon office, we're still open. There's a lot of big snow banks, but a lot going on. There's a few mountains of snow out in the parking lot, but so far so good, although I hear we're getting another storm this weekend. Yeah, and Jeff, you know, you're going to be able to escape from some of the snow because we've got a big event, big data, Silicon Valley SV coming on next year. Is this the second year of SV or the third? That's a good question, Stu. I believe this is our second year doing big data SV. We've also done big data NYC, kind of our two shows, our spring and our fall show, focused on all things big data and analytics. So this is our second year doing SV out in, and this year actually in San Jose. Last year we were in Santa Clara, so we're at the Fairmont Hotel in San Jose, broadcasting for three days. Of the Cube, live interviews with practitioners, with vendors, with VCs, and other thought leaders in the big data space. So looking forward to it. All right, so Jeff, this is your first time on theCUBE this year? Why don't you bring us up to date? What's in your court? What's the research look like? And has you excited leading up to the show? Absolutely. So yeah, we were talking, you know, before we went on, this is my first time back on theCUBE in 2015. So good to be back. So you're working on a lot of different things. So, you know, related specifically to the show coming up next week in San Jose. That's February 18th to the 20th, just for people watching. You know, we're focused on a few different themes at the show. One of the themes is follow them, follow the money, follow the big data money. Where's the funding going? Where's some of the acquisitions? Where are those happening in the big data space right now? You know, we all know that the Hadoop vendors are very well capitalized. Most of the NoSQL vendors, the leading NoSQL vendors likewise are pretty well capitalized at this point. So we're interested in seeing, where else is there activity and innovation happening? And where is some of that funding flowing to? All right, Jeff, give us a little preview. You know, I know in the spaces I cover, it's always great when you hear some of the new companies come out of Stealth where they've got, you know, their angel funding their first day or B round funding. There's been a lot of acquisitions. We just, a recent one, a Pentaho was acquired by HDS.  Well, I think we're seeing, from an acquisition standpoint, we're definitely seeing activity happening in the business intelligence and visualization space. So, you know, the BI space is not new. It's not necessarily, quote unquote, big data. But it plays an important role in the big data pipeline, if you will. It's at kind of the end of the pipeline where you're visualizing all these insights you've created using technologies like Hadoop and machine learning and whatever the case might be. So, what we're seeing is a few acquisitions happening where some of these smaller open source-based business intelligence companies are getting scooped up by some of the larger vendors. So, we saw Microsoft acquire Revolution Analytics, which is more of a data science, data mining play. That happened earlier this month and then just recently, just yesterday as a matter of fact, an announcement from DatuData that they are going to acquire Pentaho, which is another open source business intelligence and data integration company. So, we're seeing some acquisitions happening there. Jeff, you wrote a really good article about the Revolution Analytics acquisition. Can you give us the nickel tour of Pentaho? I know people in the storage world. I mean, HDS is one of the top players in storage. We know that the analytics market and BI space uses a lot of data, but what's the fit? Well, what's happening here, I think, and this fits very much with what we're going to talk about next week is that the focus on the big data space up to now has largely been on the infrastructure and somewhat what I would call maybe infrastructure software, which is where I would put something like Hadoop in that bucket. But the question then, of course, is sure you want to store all this data that's being created, which HDS has a role there with the infrastructure. You need to crunch it. You need to process it. That's where Hadoop comes into play. But ultimately, you need to do something with all that data, analyze it, visualize it. So you can actually find some insights and take some actions. So what we're seeing, I think, is some of the infrastructure plays starting to make acquisitions further up the stack in the BI space and try to create more of a complete, if not quite end-to-end big data solution portfolio closer to it. So with the HDS and Pentaho deal, HDS was already an OEM partner of Pentaho, vice versa. So they were already tying Pentaho software to the HDS infrastructure. Now with the acquisition, they're going to be able to do that even tighter and offer clients kind of a one-stop shop for both the infrastructure layer as well as the data integration and the business intelligence layer. Alright, Jeff, yesterday you had, as a preview of what's going to happen next week, you were doing a crowd chat. For those that don't know, crowd chat is an online social engagement tool. It really, in my viewpoint, takes tweet chats and makes them really useful. You don't have to be a Twitter user. It's LinkedIn, Facebook or Twitter. It's a conversation that happens in real time. And afterwards, it's a good asset that people can link to. You can embed it. You can do a lot with it. Talk a little bit about what you saw. I mean, it was really robust conversation with lots of threads from lots of environments. It was a great crowd chat, if I do say so myself. So we went into it. The topic essentially was what we were just kind of talking about in the last question you asked around where's the activity happening, where's the innovation happening, kind of beyond Hadoop and NoSQL and the big data space. Talked a lot about the acquisitions that we're seeing in the BI space. We talked a lot about what's happening in the cloud space as well. You're seeing cloud-based big data services start to become a little bit more popular. I think you're seeing that in part because a lot of the early adopters of technologies like Hadoop are struggling to kind of move from these proof of concepts into larger scale production deployments. Part of that is, you know, how do you actually scale this thing out from an infrastructure perspective, from a manpower perspective, and cloud plays a role there. But it was a really lively conversation, talking a little bit about it as well. The challenge is, but also the opportunity that some of the mega-vendors face in this space. Companies like Teradata, for example, which is synonymous with data warehousing, but they're making a play, they made a number of acquisitions in the Hadoop space. And to Teradata's credit, I think they understand that the times are changing and that they're going to have to maybe move up the value chain in terms of how they monetize their products and services. So it was a pretty interesting conversation about the different trends happening there. And it was, yeah, it was great to have so much participation from, you know, we had vendors, we had data scientists, we had a whole number of types of people that joined the conversation, it was great. And you can check it out. You know, it lives perpetually on CrowdChat.net. You can go back and kind of walk through the conversation. That was on the Big Data SV hashtag, correct? Correct, Big Data SV. Okay. That was the hashtag. We're going to go through now the Big Data SV show. What can we expect? What can people actually participate in? Well, so a few different elements to what we're doing next week. So we've got theCUBE, which I think everybody knows and loves. We're going to be doing three days of broadcasting starting Wednesday, February 18th. We're going to broadcast all day, February 18th, 19th, and 20th. We're going to be broadcasting live from the Fairmont San Jose Hotel. You're going to see, on that program, you're going to see, obviously you're going to see some vendors. You're going to see also some practitioners. We've got the chief data scientist from Halliburton coming on to talk about what they're doing with Big Data and Hadoop. We're going to have a data scientist from... Halliburton knows everything that we're doing everywhere, right? Well, I'll find out. I will ask him that question. We're going to have a data scientist from Simply Hired, which is a career site, which just is ingesting massive amounts of data around people's job searches, their resumes, things like that. So we'll talk to some practitioners. We'll talk to some vendors. In addition to the broadcast, we're also doing an in-person live event. It'll also be simulcast on theCUBE, so you can watch it if you're not there in person. But if you are there in person, I encourage you to join us at the Fairmont San Jose. This is happening Wednesday night, February 18th. We're going to kick off the event. I'm going to be presenting around this topic we've been talking about. Where is the innovation happening in Big Data kind of beyond Hadoop and NoSQL? What are some of the other interesting areas? We'll talk a little bit about that during my presentation. Following that, John Furrier from Silicon Angle is going to host a venture capitalist panel. So we're going to have three big data venture capitalists talking about, again, the same topic, where they're seeing the innovation, where they're placing their bets in the big data space. And then following that, everybody's most exciting night of the year. The CUBE party at Big Data SV takes place after that. Everybody loves the CUBE party. I've been getting notes. Everybody's asking who's going to be there and what's going on. I mean, we've got hundreds of registrants already, so a lot of fun. It's going to be fun. We've got hundreds of registrants. It's going to be a good party. It's going to be a lot of fun that night. We're going to be making some announcements around what we're doing here at Wikibon and Silicon Angle and the CUBE around some of our new web properties and some other things. So you'll get an update on kind of what we're doing if you're able to attend. But it should be a fun night, looking forward to it. And looking forward to getting out of the snow here in Boston.  People that follow the CUBE, just the quick update. The company is actually Silicon Angle Media and we've got three primary brands. There's Wikibon, analysts like Jeff, myself, David Floyd, Dave Vellante. The CUBE, which is our live broadcast, which we all participate in. Silicon Angle, the media side. So we'll actually be unveiling all the new websites. We've already been priming the research side with some of our content there. And it's just premium.wikibon.com. Always going to have, you know, the vast majority of our content is going to be out there for all to be able to read and comment and give feedback on. You know, want to stay true to our open source ethos that Wikibon was founded on. And we're going to have some premium content on there, which, you know, and Jeff's presentation is going to give, you know, give some peeks into some of what's going on there. So it's been exciting times here at the office. I know Dave and John will be unveiling some new things we're going to be offering here in 2015. And we've got a full complement of the team going out there. Absolutely. It's going to be a fun time. All right, Jeff, I think the last thing I want to just wrap up on is, you know, 2015 now.  You've been all over big data.   You know, what do we have to look forward to? Well, I think for me, it all boils down to what our practitioner is able to gain from all this new technology that's being created, all the innovation that's taking place. You know, Hadoop, NoSQL, kind of the poster child technologies, but there's also, you know, a lot of other technologies associated with quote-unquote big data. So for me, in 2015, and this isn't necessarily different from 2014, but I'm interested to see how the story progresses, is how practitioners are actually taking advantage of this. How are they actually adopting this technology? What are the barriers they're running into in terms of making a go of it? What does it actually look like on the ground? I mean, we talk a lot about these different components, and we talk about the big data stack when you bring all the components together, but big data doesn't live in isolation, and we talked earlier maybe we need to retire that term even, because it's got to live in your larger infrastructure. So I'm interested to see how people actually operationalize big data, bring it into their environments, integrate it with what they're already doing. You don't want to create kind of a silo, a big data silo where you're doing something totally separate and just not connected to your larger organization. So to answer your question, I'm always interested to see what users are doing. How are they driving value? What are the challenges that they're running up against? And how can we as an industry help move this forward? So we're actually getting a lot of value out of big data and not just talking about, you know, buzzwords, or focus just on the technology and the components, because ultimately the technology is just an enabler. It's all about what you do with it. Yeah, Jeff, that's a great point. It really ties into the stuff I know, I, and the rest of the team that work on cloud and infrastructure, is the big data analytics is a primary use case of a lot of the new architectures that are going out there. We've been looking at how flash has been really changing infrastructure and cloud from consumption models.  And that's really with primary focus of what we've been doing here at Wikibon is, you know, those destructive technologies and the intersections between those areas. So lots of good stuff. Jeff, I want to give you the last word, you know, the show, what you're working on, and, you know, how do we want to close it? Ray, I would just encourage everybody to, you know, if you're there in San Jose next week to join us in person if you can. If not, you know, obviously you can always watch us live on theCUBE and, you know, look for us from a big data perspective in terms of the upcoming research. You'll see shortly after the show we'll be publishing our annual big data market forecast and vendor revenue report where we break down all the different vendors, what they're actually doing, we actually bring a new account. What revenue are they actually driving from these new technologies? And we also provide a good deal of qualitative analysis in that report as well of some of the Uber trends that we're seeing in this market. So stay tuned for that. That'll be coming towards the end of the month. And then following that, you mentioned surveys. Your survey is now out and available to Wikibon clients. And then we'll be embarking upon our annual big data adoption survey starting around in March. Kind of start that process and look to publish later in the spring. So keep an eye out for those two items. Great. So, you know, just leaving it on that, you know, we always welcome the feedback from the community. Our Twitter handles have been up on the screen. I'm Stu. He's Jeffrey F. Kelly. At Wikibon is the Wikibon handle. We've got the cube and silicon angle as part of, you know, our family of solutions out there. Always feel free to reach out to us. Love to hear feedback and, you know, what other content you want us to look into deeper as well as what events we should be at. We've got, you know, the new websites to look out for premium.wikibon.com, siliconangle.com, and more. I've got a list of all the events we'll be at. Lots of big data shows, cloud shows, infrastructure shows. And appreciate you tuning in. This is Stu Miniman with Jeff Kelly. We will talk to you next time.


Hi guys, this is Jason Zach from Nathaniel's School of Music. In this lesson, I've put together sort of like the levels of songwriting with chords. And if you are an upcoming piano player or an aspiring songwriter or if you've been doing something in the business for a while, do consider watching the video till the very end where each of these levels as I'm calling it may not actually be actual skill levels but I'm just looking at it as ways you can grow your chord vocabulary. So each of these levels are supplemented by my handwritten notes. So you could consider getting that on our Patreon page that'll also help support the channel greatly. So do consider heading over to Patreon.com and there'll be a lot of lessons on our channel for the for you first time viewers who've just stumbled on this lesson. So do consider hitting that subscribe button and hitting the bell icon for regular notifications. If you like our channel, if you do that, you will not miss any of our content, right guys? So let's get cracking with the lesson. So I'm going to take the simple chord progression in the key of C major and that brings me to level one, level one would be just use diatonic chord. So it's a simple concept where you take the scale of interest right now I'm taking C major. OK, so in the C major scale, you have the one chord, the two minor, the three minor, the four major F major, the five major or dominant if you want to add that, then you have the A minor, which is your six minor B diminished and that's pretty much it. So the first way of using chords while composing a song is to take just diatonic triads or diatonic harmony and build progression. So you can then tell yourself I want to do one, six, maybe four, five or one, two, four, five. And what you're going to guarantee is all of these will work well together because they are all part of the scale. So you need to remember a chart in the major scale one, four, five will be major chords, two, three, six degrees will all form minor chords because of the intervals they form. If you start with D, it will be a minor chord because your intervals are the ingredients which form the minor chord, namely the minor thirds between the first two notes. And with a major chord, it's the major third between them. And with a diminished chord, you have that tritone, which is a bit tense. So that's why each of these chords have a different vibe. So it's important to know, okay, my major chords are one, four, five. My minor chords are two, three, six. My lone diminished chord, if ever I use it, which is rare in a pop song will be the seventh degree. So we've got a list of diatonic chords. Even when you build chord progressions, you could pull them out of a hat by, you know, just randomizing them. That's one way. But you could also look at maybe you have a tune in your mind, which you already came up with. And then you try and figure out a set of chords. So check another one. Or you see a lot of them, all of them seem to work, but you need to see what you like and what doesn't clash or what makes the melodies pop out best or give you the emotion you want. So I'm choosing C major for now. Also, when I land on some notes like a C, I can find a chord which kind of has that C in it. So then it'll be very stable or you can find a chord which doesn't have the C in it. That'll form, that'll make it more interesting. See, E tends to sound a bit wrong, E minor at least, because there's no note which has that C landing note. But you can stay on C, but that's boring because you started with C, so F works. I'm going with A minor, I kind of like that and that's D minor because of F and you have a G there. So I'm playing this on the piano and also singing the melody with my voice to give you an idea that this is not necessarily a lesson where you have to always sing it. If you're a musician, composer who just plays instrumental music, I think the concepts are very similar, but the vibe of each instrument, the tonality of everyone's voice, the texture of everything you work with will also inspire your melody and the chord choices and a lot of things. So I'm going to leave it at that. The first level of composing harmony will be with diatonic chords and with diatonic chords you need to realize that some will work really well with the tune, so you have to consider the tune or you could look at diatonic chords using popular chord progressions for a start. You can watch my video which we'll put in the description where I've looked at 15 super popular chord progressions, probably the ones you've heard most commonly, so you could watch that, we've put it in the description and this is how you just use diatonic stuff, things from within the scale, within the major scale and you make some music. Now let's move on to a couple of levels. Before you actually go beyond, beyond maybe the diatonic realm, beyond the scale, you could consider bigger chords, so if you take let's say a C major chord, you can retain the mood of it kind of, but add a note or two, maybe you could go, you could add a D, so it just makes it more sophisticated. So we call this as an add chord, it just somehow feels like if you're playing it with add chords, you're not playing something which every regular composer plays, it just feels a bit different. So you're adding either a two we can add, you can even add a four, that's you're adding the four from C, the interval or you can even add a six, that's your add six or you could add seven, we don't say add seven as a chord, we say just seventh chord, so you can do like a C major seventh, you can do a D minor seventh, these are all the diatonic seventh chords, so E minor seventh, F major seventh, G dominant seventh, A minor seventh and then B minor seventh flat five, because it has a flat five there, a minor seventh up there, a minor third and that's the flat five, so that's how we name our chords and yeah these are all your extensions or added notes if you will, you can even add more, so I'd suggest you watch some of our other videos as well, we've even done an add chord versus suspended chord comparison, you could check that out in the description, that would be very helpful. Seventh chords or seventh chords is another nice way to take your journey forward as a songwriter, it'll give you more notes also to play around with like, because I'm playing an F add two, that G is inspiring my melody, so you could actually look at a scenario where you compose the chords first, because of that sus four there, and that's my tune, nine or an add two, add six, add sharp four, but it's still diatonic, it's a minor sixth, major seventh, that's an add nine, sharp four, that was both a flat seven, add sus four, add four, okay, so it gives you a bigger, even though you just have seven notes in a scale, the concept of add chords or sus chords or extensions gives you a kind of a different tool kit, even though it's still the same tools, come to think of it, it just feels like you have a lot more to work with, with these same old seven notes which C major has to offer, we didn't go out of scale, we're still in the scale, so let's now move forward to another thing which I think as a songwriter you'll benefit, the idea of slash chords, now slash chords are an incredible tool which is not talked about that often in the field of music, especially in theory books, but if you think about it, slash chords will completely change the vibe of a major or a minor chord, so if you're working with a diatonic system, if you take C major chord and if you play C in the bottom, it's a C major chord, it has a C major vibe, but if you slash this, slashing basically means chords with a different bass or a different root, if you want to call it that, so if you take the other available chords of the C major scale, C major chord, you'll see that there's E, so if I play E with the C major chord in the right hand, wait for it, it's gonna move from something very stable to something very different, it's almost like it's wanting to go somewhere and now it feels like F is the stable chord and C major which used to be stable is no longer stable, it's like, because it has an E bass which wants to go to F, then if you take, let's say, C over G, that's the other note, C slash G, this seems to want to go to G major, doesn't it, so C slash G wants to go to G and then because G is the dominant chord eventually wants to come back to home which is C major, that's really weird, so you have this progression which is F major, nice chord progression you can build just with the C major slash chords and where they would want to naturally go, so C slash E, F major, C slash G, G major and back to C major, okay, so that's slash chords in a nutshell, now you can even go beyond the diatonic world, you can go out of scale and that's where we are going to analyze our future levels of songwriting, so let's now move forward, now before we move forward, it's exciting to know that you don't have to just play slash chords with the same triad notes, you can play like, let's say you can play an F major with a G bass, this can make it very sophisticated, so this is just F major, just doing its thing F major but you play the same F major in the right hand and then you play G bass in the left, it's a very different sound, that also seems to want to go to C, so slash chords definitely up the game as a chord composer, so let's now try and leave the diatonic realm and look at other possibilities as a songwriter writing chords, let's see how far we can take this concept, so the next level of songwriting would be to basically borrow chords from parallel scales, so if you take the C major scale, you know all the chords, we've been using them in this video, now if you borrow chords from a parallel scale, you have different parallel scales, you can say parallel minor, parallel Dorian, so what does a parallel thing mean, in a nutshell it's the same root but you have a different set of chords because the parallel scale will not be majored, it has to be different, same root different scale, so if you borrow from maybe C minor or C Aeolian, you'll realize you have E flat, A flat and B flat, the new note, so you can automatically harmonize the scale, you'll realize you have a six flat major, you have a seven flat major, you have a three flat major, you have a two diminished which you never had in the C major scale, and the four minor and the five minor, four minor, five minor, so how can we use this as a songwriter who's just made something on C major, you want to add some more spice, so let's look at what the borrowed chords have to offer, you can make a chart, the major and the minor chart under that and you will have a good idea of what you can borrow, now that you know that you're still in the key of C but you're changing your scale to be C minor or C parallel minor in this case, so you could do that F minor going to C, that's a very what we call the minor plagal cadence, so it's like at the end of a chord progression like you could let your singer do his or her thing, so that's borrowed from the natural minor or it was very elaborate, I chose a lot of chords from the minor but if you do this in context, just like squeezing in that E flat at the chorus to make it more heavier or more braver sounding, so if you want to borrow that E flat, you can do it now you know in context with that E flat major chord being played, only at that one point are you allowed to change your melody, otherwise it's going to be very weird, you'll be singing an E and playing an E flat chord, so whenever you're borrowing it comes with a little bit of responsibility, you need to know those notes and sing your melody on those notes or if you sang something which sounded a bit weird or out of context, don't think it's out of context, for all you know it may just be a borrowed chord which you had in your subconscious mind, you know you never know how the mind will work, maybe you heard a song or two or maybe you heard an album which had a lot of interesting chords yesterday and in your mind you're singing something very inspired from that album which I do very often and then you need to match chords, so either you need to get chords with your melody which you you prepared or vice versa, the chords are there first then the melody comes in, so that's the conundrum a songwriter generally faced with, you don't know whether to start with the tune or whether to start with the chord progression or maybe even the lyrics as well, so I don't look at that as a conundrum, I would just say start with what comes organically or naturally first, be it the chords, be it the melody, be it the rhythm, maybe a groove can inspire everything, maybe the lyrics can inspire you to make the song, so let it flow, there's no hard and fast rule or order of business to write a hit song or any song for that matter, so hopefully this discussion is getting you to see that you either can do melody or you can do harmony, it depends, so with the borrowed chord concept you are primarily on major, all the major chords then you borrow, that's sounded very different I'm sure for your year, so that's a borrowed from minor which is the 6th flat minor, so that's 6th flat, 7th flat, C major, so many people have done or you can do can do 3 flat, 4, 5, now do you have to borrow only from the minor, no that'll be a bit boring, you can borrow from maybe the mixolydian scale as well which is just the same as major except the 7th flat, that's major 7th, that's the mixolydian so, so you need to know the chords of that respective mode, so C mixolydian will give you that B flat major, F major which both major and mixo had, C major which both the major and the mixolydian scale had, so you have that one exciting chord maybe in the chorus, so if your verse is like gives you a vibe for a new section and that's a new melody okay, you can borrow from anything, you can even borrow from a lydian scale so which is F sharp makes it lydian versus F which major had, so lydian has F sharp, so so F sharp makes it very interesting, so more on borrowed chords most definitely in an upcoming video so do stay tuned to our channel, let's now move forward to more ways in which you can create some very interesting chord progressions as a songwriter, we've slowly gone out of the diatonic scale with borrowed chords, now we are going to look at a very simple age old classical concept called as secondary dominant or secondary chords, so secondary chord is basically a tool where you just say I'm playing a chord, now let's say this is my first chord C major and my third chord is A minor, so that gets me to question what should be the second chord, so the way I looked at least as a younger composer when I looked at the concept of second re-dominant chords, I never knew what it was called of course, I just looked at it as that kind of thing I would do in a song, so I would do it this way, I'll take the first chord as C major let's say, the third chord is A minor, you may think this is the second but in my mind thinking I have to put a second chord as well, so I play C major, something, A minor, okay, so the question now is what is that second chord, now more songwriters will play the second chord based on the melody maybe, maybe the melody had some note which sparked that second chord or maybe the second chord was related to the previous chord or the first chord but in this study I'm here to encourage you to play the second chord based on the third chord, based on the next chord, so you do C major, forget about C major, now you're targeting A minor, so good way to kind of create a red carpet if you will for A minor to like present it as you know the important person of the pack is to play a chord which is its perfect fifth apart, play a major chord or a dominant seventh chord more particularly which is a fifth of the target, so what is the target now A, what is its fifth E, so you would play an E major or E seventh, we call this as a secondary chord because it's out of the C major realm and that takes you to an A minor, so it works in that sort of a scenario so you are allowed to kind of sing that make it a bit more bluesy or a bit more ballad, rock ballad like or maybe you had a song which was very pop-ish very run-of-the-mill but with the secondary and now combine it with the borrowed at the end, so you can combine secondaries and borrowed to write some incredible chord progressions which you know if you're an old school music lover, if you've listened to the Beatles they've done it all, if you listen to music from the 80s, the power ballads they've done it all, if you've looked at classical music by Bach and Beethoven and Mozart they've also done it all, it's just that a video like this may be exciting for for a modern-day perspective, if you're writing music in 2023 which is the year of making this video for a modern-day audience who hasn't heard of all that other who haven't heard of all that amazing stuff in the past, you're kind of giving them the future because they don't know what there was earlier or what the Beatles did or a better way to look at it would be to encourage them by writing these chord progressions to appreciate music from the earlier the great generations of the past, so the way I look at it is even though I'm ranting right now would be music doesn't necessarily evolve, it doesn't get better and better and better according to me, it just kind of goes through cycles or spirals if you think about it because it's kind of rehashing itself, it's rehashing old content going back into the future, so I think this tends to happen with not only music pretty much all forms of art in general, so just keep that in mind, lot of these concepts are very age-old concepts but we try to bring them into the forefront and thrive in a generation which has something which you know is getting rather boring come to think of it, diatonic chord progressions is getting rather boring, so I hope you're also realizing that this takes a fair amount of theory, so you need to write stuff down and lot of the relevant videos which can augment this lesson are found in the description, we have covered a lot on secondary dominant chords where I've used some nice popular song examples to kind of mess around with it a bit and also reharmonize it, that's also a word which is used a lot in music, so that was about secondary chords, it's a fifth of the target chord where you're thinking what chord do I play based on the next chord, not necessarily the previous chord or the current melody context, okay, the last thing I have for you is where you can kind of add chords to a progression, so if you have let's say, let's say these chords were spaced a bit farther apart, four times each chord, now you kind of feel the boredom right, setting in because four beats of that same chord, not too bad but getting a bit boring, so you can try and figure out a way to add chords in between, so one technique I've already told you for secondary chords is find the fifth or a variation of that, so because you have that time between the chords, you can make more chords inside the chord progression, so one tool is just bring in the five of the target, you know five of the C major, what's my target A minor, so what's going to come in between, the five of A which is E, seventh and then A minor, now I want to go to F, so what's preceding F, C right because C is the perfect fifth of the F, F, D which is the five of G, D and then G comes back to C, okay, you can also precede the five by a two of the target, so you can do instead of doing only the E seventh going to A minor, I'm doing I'm doing two chords before that A minor land which is C, B, E, A which is in the circle of fifths the neighbors, B, E, A but depending on the vibe you can make the two either major, minor, diminished, you can make the five also well generally major but in some cases it could also be minor, so you can make some very sophisticated chord progressions using known chords, they're not fancy jazz chords, they're just normal triads and one or two extensions of sevenths here and there I guess, so now my target is F, you can do a two of F which is G minor, the five of F which is my target which is C and then go to F, so so these additional chords give you more options when you're writing a melody especially when you're doing it as a songwriter would which is like a chicken and egg scenario, you don't know what's going on first, there's almost like parallely chords and melodies are projecting forward and you have to just catch the bus so to speak because time is also crucial as a writer, you don't want to brood over what you make, you like to kind of my advice would be just to go with the flow, see where it takes you and you get to a product which you get that internal gut feeling as we say that the product is really good but it's always good to sit on it the next day and refine it no doubt but the feeling you get when you've achieved something and it just has a vibe which appeals to you is very important, so I'd rather not stop it or question yourself while you do all these things, you need to make it get it out there and if it sucks the next day or if you just don't like it so what you can try again, so that's the advantage of writing music, there's no win or lose, it's just a matter of making stuff which either you like or you dislike at the time and maybe the stuff you dislike you will like in the future, so don't lose your compositions, another advice I would have is to record this, record the journey, record the conclusion always and back it up, back up your recordings, we tend to lose hard drives a lot these days so you don't want to write things in books you know because you may lose the book also, so record things back it up respect your work that's the most important if you want to make music you have to respect your work whatever you do right guys thanks a ton for watching the lesson will have a lot of supplementary notes on patreon do consider getting yourselves a copy and we have a lot of exciting stuff which happens in in-person lessons at our school which I also conduct as a faculty you have lessons like music factory where we go deep dives into a lot of songwriters and your favorite artists which you can also vote for in class so do consider a regular six months semester at Nathaniel where you can customize it in a way which suits your learning level your learning needs and also your schedule your time schedule and there are also video courses a lot of ways to learn at our school it's not just a youtube channel we are actually supported or backed primarily by Nathaniel school of music which has regular courses for children for adults for seasoned musicians of all ages and we do it virtually as well as in person in our city of Bangalore hope you can meet us soon cheers catch you in the next one


Hi, I'm Geoff Watts, author of Scrum Mastery and Product Mastery, and this short video will explain how you can achieve your advanced certified Scrum Mastery accreditation through my distance learning program. The ACSM is part of the Scrum Alliance's Path to CSP program, and that begins with the certified Scrum Master class. This is the first step for people, and it helps to get people familiar with the Scrum framework and the role of the Scrum Master. The second step then is the advanced CSM, which deepens the Scrum Master skillset with topics like facilitation, coaching, and change agency. The ACSM then will enable you to move on to the certified Scrum professional level, if you want to, and that's quickly becoming the benchmark of professional level Scrum Mastery within the industry. If classroom-based training isn't really your ideal, or you prefer the idea of a deeper learning experience over a longer period of time at your own pace, then this distance learning option could be just for you. People who've gone down this route have described it as deeper and stickier and more relevant and actionable than traditional classroom-based training. The distance learning program consists of five modules. The first one's aimed at level setting really, and transitioning from the CSM learning objectives to the fundamental ACSM learning objectives. And after that, there's a module on servant leadership and coaching, where we'll look at the mindset of the Scrum Master and tools and techniques to help you grow your team towards self-management and self-realization. The third module focuses on team facilitation, and will develop your team enablement skills. Listening, conflict resolution, team chartering, and people skills will be the focus here to help you get your team to work more effectively together. After that, we'll look at meeting facilitation, so you can help get more out of your Scrum ceremonies, such as planning retrospectives and Davey Scrums. And the final module will look at your responsibilities as an organizational change agent, and will develop your influencing and change management skills, helping you to craft an agile organization in which your team can not only survive, but thrive. Each module has a standard structure, and I'll provide you with some theory and resources that will help you with the challenges and tasks and questions set in the module itself. Of course, you can find your own and research your own materials and resources as well. Then, as well as the theoretical questions side of things, you'll be encouraged to put the topics in question into practice with your team and reflect on your attempts, as well as your role in them and your interpretations of events. You'll be asked to keep a journal of your experiences and your reflections, and this can become a really useful and interesting artifact for you to look back on in the future. And for each module, you'll also have a coaching session with myself to debrief and explore some of the more interesting and challenging topics arising from the module. In terms of time, students will complete the program usually between three and 18 months, but I find six months is certainly more than realistic as something to aim for. Certainly a monthly cadence for each module is definitely achievable, but we can discuss your own time aspirations when we kick off the first module. Because of the greater level of effort involved in a distance learning program, I only take on a fixed number of students at any one point in time, so be sure to sign up quickly when you see availability. Places will be limited. If you need some help convincing the budget holder to sign off on the expenses, then look for the one pager why you should send me PDF that you can just email over or drop on their desk. Anyway, that's the explanation of the distance learning program for the advanced certified Scrum Masterclass. I hope to see you on one of these very soon.


Hello, I'm Sifu David from Kamabata Wing Shen. Today, we're going to show you how to defend someone pushing you, how to defend someone pushing or shoving you, or how to defend someone shoving you. So what's all this terminology about? Well, there's pushing, which means I want to put my weight behind it, and move it, and there's shoving, which means I'm just doing that. I don't have much weight behind my push. I'm just a shove. Okay, so we're going to show you how to defend against someone pushing or shoving you. Stay tuned. So there's three different stages of a push. Before he pushes, when he's pushing, and after he pushes. So let's start with the worst-case scenario. You already got pushed. So how we train this is we have our eyes closed. I'm in a weak position, and I'm not anticipating anybody to push me. And then somebody pushes me, and I want to get into a core stance. This is very important because if you don't get into a wide stance, the momentum will probably send you flying onto the floor. So one trick for this is to stand like this, and then stand straight up without any balance, without any good stance. This is a very weak stance. And then drop into a nice strong core stance. Okay? Like this. Drop into a nice and solid core stance. Okay, you're used to doing that. Just drop into it. At least make sure you just drop your weight. Just like that. Don't pump up and drop into it. Just go from here and drop straight into it. Okay, so that's the first exercise you can try back as a home. The next step is now we're going to, instead of just dropping straight down, I'm going to turn while I'm dropping. So I'm turning, chasing 90 degrees to my left, and then dropping. And we set, then drop face the other way. We set, then drop face the other way. So there's two combined two things. I'm dropping, and I'm turning. Okay? So the reason that works is because worst case scenario, you don't have time to bend, you have no time to do anything you need. You already pushed. It was an ambush, and you have to get your balance back as fast as possible. So he's pushing. I drop, and I turn, just like what we did in the drill. So that is the first defense. In the worst case scenario, if you already pushed, and you have no time to do any technique to do the push, I mean to counter or defend against the push. Now, obviously the push is just the beginning of the fight. So make sure that you are prepared to do a counter attack right after the push. So the next step of this drill is he pushes your eyes and clothes, and then I'm getting ready for attack in case he does another attack. I'm going to get a straight punch, ready to counter attack. Okay? Time. Ready to counter attack. So the next drill is he's going to push, and then punch. Very common in the street, how to defend against someone pushing, and then punching you, right? He doesn't push, and then I punch. Okay? So he's going to do that. Okay? So you want to be able to block and punch back at the same time. So that is the drill. The fact is that in the worst case scenario, when you're already pushed, you're already off balance, how to gain your balance back as fast as possible, and then counter attack before he can launch another punch onto you. So stay tuned. We're going to show you two more techniques on how to defend against the push or show. So technique number two is how to defend against the push when you're in talking distance.   As soon as I turn, I make the surface area smaller because I don't have this, and then now he's pushing this way and past my shoulders way.  So that's the first defense. Now obviously it's not the only defense we're going to use. So we're going to be adding a little hand bulge like this. So from the front, it looks like I'm bringing my hand up and then I'm doing that, raising my hand up and just opening just a bit. The reason I'm opening is he's pushing it, opening just a bit so that his hands go past my shoulders. Next thing then, his hands go past my shoulders. So this may not work if you are have wide shoulders, probably not going to work for you. But if you have smaller shoulders than the other guys, it's pretty good because you can go right in between. So test this out with a partner and see if it works as you. So now I'm combining the rotation and also the splitting. I go this way, this way, so I'm combining the rotation and the split. So from here, go this way, and then we continue with the jing man just in the middle. So that is his second technique, how to defend against a push or a shove. All right, so the third technique is if the guy has more space, so you have time to see the push coming. So if he's further away and you can see him approaching, well the first thing you need to do is you launch an attack first. But let's say you don't launch an attack first. So you just want to get out of the way. That's what you want to do. So I am seriously coming this way. I'm stepping out of the way, turning sideways so he goes down that way. Or he's coming in this way. Make sure I step out of the way so he goes this way. It's like a train is coming. Oh, I've got to get out of the way of the train. See how my foot goes completely off the line of the train. Okay, you don't want to go like this. Boom. See your foot is still here and your center of gravity didn't move that much. So make sure that you step all the way out of the way of the train. Okay, so in the drill, all you do is do this. This way. This way, right? Okay, so it'd be cute. He's going to go past me. It's like a matador with a bolt. Now notice what I'm doing with my hand. I'm doing this motion. It's a link, and we have the God Tom sound. Similar, but I want to do it in a very soft way, in a Tai Chi way. It's very soft. So as it's coming in, I'm going to do it very soft and fluid. Very soft and fluid. The reason is because if I push on it, you're going to feel that and then clack. Just press. Whenever your body feels some kind of or most people untrained people who feel a force, they're going to push the force back. So you don't want to trigger that. So it's coming in very soft. Very soft. I'm not doing this. I'm trying to move the cushion ball all the way. I'm not doing this. I'm just letting the guy, I'm just guiding him past my, past the line of attack. So now we're going to combine that with a counter attack. So boom, and then we're going to slap here. Are we going that way? Here, back this this way.  Back fist here, here. So that is the third technique. What, how to defend yourself against a push when a push you can see coming. Now remember what I said is if you can see somebody attacking, you want to do a spear ahead of time so you doesn't even have a chance to push. So this is somewhere in between. So you can do a spear and then move all the way. This is a kick because it's all the way. So that's the next step. The guy's going to try to push, but he's probably not going to push you because he's going to stab in the face, or the eye, right? Great kick. This way. Okay, so you're going to boom, and then step out of the way, step out of the way, step out of the way, step out of the way. All right, so that's another drill that you can do. So train hard and let's wrap it up. All right, so those are three techniques on how to defend against a push or a shove. We talked about what to do when somebody already pushed it, and it's too late, and you have to recover and get your balance. We covered number two, what happens in the middle of the push, and you have time to do some kind of technique in the middle. And we also talked about what do you do if you can see the push coming from further away. So train hard, train safe, and have fun. If you haven't subscribed to this channel, make sure you click the subscribe button, click the bell too so you get all the latest notifications of the new stuff I'm putting out, and you'll be the first to see those lessons. Make sure you comment, tell me what you think, you have any questions, or tell me what you want to see in the next videos, and then we're going to make those videos for you. Make sure you share with your friends. So until next time, we'll see you David, see you soon.


The day when open grazing is supposed to stop in southern Nigeria is here But only a few states have enacted laws to that effect This could be as a result of the division the issue has caused between the north and the south plus TV Africa's Jacinta of Uqa reports The governor's of Nigeria's 17 southern states resolving to ban open grazing across the region by September the 1st September the 1st has come and 6 states by also rivers Oyo, Ekiti, Abia and Ondo have complied with the decision to enact the law banning open grazing of cattle. Governor Oluwa Rotimi Akeridu Olu of Ondo state signed his state anti-open grazing bill into law on Tuesday The government did not return plus TV Africa's request for an interview Fewer issues have divided southern Nigeria and Abuja as much as the plan to ban open grazing Analysts believe that could be a reason why most states in the region are yet to walk the talk In Emo state, Governor Hope Uzodema recently said a law has been in existence since 2006 that ensures farmers and herders live together in peace This has brought a lot of controversial reactions but the governor believes his statement was grossly misinterpreted and the state commissioner for information explains This has become the basis of cattle in skilled areas like residential areas, commercial areas and so on But then there are still some areas that are not covered by the law So what the governor did was to bring the herders and farmers in Emo state to a round table discussion He believes that modernity is to coexist peacefully and is working for us What is important is that there is peace in the state between the two groups I don't see how that contradicts any other thing Some herders consider the collective decision to ban open grazing in southern Nigeria a bad idea But the Miatihala Cattle Breeders Association has on its own axed for more time so that they can put alternative plans in place The rest of Nigeria now has to wait to see what happens if cattle stray into states with the law already in place Jacinta Ubyuku for PLOS TV Africa Don't forget to hit the notification button so you get notified about fresh news updates