Good morning, ladies and gentlemen, members of the press. I recognize the chair, first chair of the UNORA Society and the founder of what has happened in the journey for the development of copyrights in St. Lucia, Mr. Jean Lawrence. Our all dear friends in this room, our members overseas, that is Antigua, Dominica, and I do wish to apologize to Dominica. It's just unfortunate that we are to comply with the provisions of our bylaws, so we may have less members attending today. Grenada, St. Kitts and Nives, St. Lucia, Antigua, my dear friends, I wouldn't have done that to Director Scarrett. We have several persons in the room including our guest speaker, our auditor, the staff, the accounting advisor to us, and the other members all invited to this 12th annual journal meeting. I will say to all of us here in the room and across the subregion that it is such an elation that the Board of Directors can present the annual report for 2022 in a timely manner to the journal membership with this year's theme, let's do it right. To my right you have Director Nicholas, Director Melissa Moses, the Chair of the Proceedings, Bruno Leos. We have apologies from the other members who have been, who are in fact in training as we speak, and myself your Chair. In doing it right as Chair, I'm also equally pleased in ensuring that we have had annual reports from 2019, 2020, 2021, and 2022, which were produced under our tenure and presented simultaneously to share with our members in time for this 12th annual journal meeting. This has been so, Echo has had his challenges and the members have been asking for information. They've been directing questions at us and they need answers. So members, this clearly seeks to arrest the culture of the malaise of the past at Echo, presenting its financial reports with a two-year, sometimes a three-year lag. Under this tenure we found this untenable, unwarranted, and there's no excuse for it. But this effort will greatly enhance the efficiency of the work of Echo as a company. This ought to include the mindset for the possibility in future planning and should not be limited to the distribution of royalties to its members. Echo will adopt a digital system, the United Nations World Intellectual Property Organization Coined Connect, this year to manage the distribution of royalties in a more timely and transparent manner. The business of Echo members is yours and you need to attend to its business affairs. Members will also realize that this achievement did not come easily. Several persons were responsible and these are the persons that should get the praise. The staff, and you know we have very large staff, right? The accounting consultant who is here, Mr. Ramdari, the auditors who are here, and they've been with us for a long time, Grand Tonton, and the guidance and cooperation of the officer in charge because as you know we don't have management staff, they can see you, they can see operations management. This is what we are confronted with when we assume a role as leadership for the organization. So that has come with a wise and effective and immensely challenging effort. Notwithstanding this proud achievement was a miss a tumultuous year of challenges for the board of directors. I did not lament the COVID-19 pandemic has ceased, but just about it being ceased, Echo was without the services of a CEO and also a highly experienced operations manager, followed by the resignation of a dedicated board secretary. Thank you, Ms. Henderson. This was also coupled with the unionization of staff and its ongoing negotiations. These challenges, I guess, are not imagined. Having set goals because of the recession of the impact of COVID and the opening of the global markets, this was followed by the Ukraine crisis which has also had its impact on the music industry and solutionally the rest of the Caribbean is no exception. So during 2022, we actually witnessed new trends in the music industry. And this is what the theme of our annual general meeting this year. We witnessed new trends and new challenges in the consumption of music globally. And this is reflected in internet-based platforms at an estimated 64%, while non-internet-based platforms were estimated at 37%. And this is not David Jordan speaking or Echo speaking. The IFPI through the virtual capitalists have been able to analyze this scenario and share it to the rest of the world. Members will need to recognize there is even greater need to work with your organization. It is in this endeavor of working together that projects like education and sensitization of copyright industry stakeholders, contingency fund structures, and legislative goals of Echo will be very relevant to the growth and development of our members. To take on the trend and the challenges of digitalization of the musical industry. Already, it is being revealed that there is a need for greater advocacy by our organization. And to equip itself with the necessary sources, knowledge, experience, and expertise to combat the trend of the music industry. And to poise itself to exploit the possibilities to come. The experience proves that it is not the same business as yesterday. Our advocacy calls for the revisit of our relations with our stakeholders, our respective stakeholders, and there are many. But primarily, it calls for governments in the sub-region to see that the music industry is truly a contributor to gross domestic product and the economic and social growth in the sub-region. There is need to adopt a better legislation so as to strengthen our copyrights, law, and musical rights laws to manage the music industry. And to enhance policies directed for the benefit of the creators, mainly the youth, as well as those who created the current platform. So if you are in agreement with me, Echo Arts, why so many users don't pay their licenses? Why so many users are not licensed and comply? Why governments seem to be so hesitant to create the proper legislative and policy environment with enforceable laws? Why can't we get the broadcast bill enacted in the sub-region almost two decades, and to be precise, since 206, and the increase of broadcasting entities in the respective jurisdictions in the sub-region? If we address this, this would certainly help us to improve on our creators' revenue streams and members' benefit more handsomely with greater transparency and sustainability. So Mr. Chair, let us do it right. Echo, let us do it right. Thank you. My name is Kamani Goddard. I am indeed St. Lucian, and I am very happy to be here today at Echo's 12th annual AGM. I remember when it was my days at HTS in the media, when it was a Uranora Music Society, and I am indeed happy to see still going strong with a little bit of troubles on the way, but still going along the way, but still going strong. So good morning, members of the CMO community, members of the music industry, members of the press, interested solutions, and other corporate citizen members. First of all, let me not forget, I wish to say happy Independence Day, happy 44th Independence Day to my fellow Saint Lucians. I thought I would put that in, and I thought it would be necessary, because I am optimistic that future celebrations, independent celebrations that it is, will see our music and creative industry sector make greater contributions to economic, social, and cultural development, as well as trade revenues in the region. My interest is in the music industries and the creative industries as generators of international trade revenue, and I'll say a lot more about that. Okay, so I would like to say thanks to the Echo Secretariat and its members for inviting me to speak this morning. I would like to say a special thanks to Echo Chairman, David Jordan, and Officer in Charge, Keene Carter, especially. Further, I would like to congratulate you, as I said, on getting to your 12th AGM, a few small issues, a few small teething issues, but your hair. So, now my purpose here this morning is to talk about the importance of collective management and copyright in transforming the music and creative industries into a competitive trade sector for all stakeholders in the sub-region. Mark me right, it is an international trade revenue generator, not just royalties, not just licensing, not just collections. All of these things we see when we collect them from abroad, these are international trade revenue statistics. So, in the Caribbean, the music and creative industries are often viewed from the perspective of national regional markets. Through CMOs such as Echo, Coscap, Jamaican Music Rights Societies, and others in the region. We have some way to go in achieving efficient royalties collections for our members and licensing structures. Such small CMOs must simultaneously engage with their affiliate CMOs across international borders and build foreign demand for use of their members' works in order to generate foreign royalties revenues that register significantly in regional trade statistics. Our markets are small, our markets for consumption of music are small. We have some difficulties collecting licensing revenue. For us, for small CMOs and small creative industries markets such as ours, international trade in music industries is the way to go. To pitch our industry toward looking at export or trade-led revenue growth. So, there is a pressing need to execute a well-planned transformation. There is a pressing need to execute a well-planned transformation of the perception of all stakeholders in the industry. From one of national and regional market limitations to one of global markets and international trade in music products and services. Our collecting societies and copyright law institutions need to be provided with the latitude and resources to shape the music industry into a viable international trading sector. My reason for choosing this topic is to highlight you as ECHO's members, authors, composers and performers. You are not just important figures in the various Eastern Caribbean national cultural economies helping to maintain cultural identities. That's important. But you are also key economic actors in national economic transformation who with the right regulation, policies and institutional support have the potential to achieve some measured international trade competitiveness in music and related creative industries. As a collecting society, ECHO is one of your key ingredients. That's right, one of your key ingredients in facilitating that process of moving this music industry toward export led international trade revenues. Others include effective broadcasting legislation, the addition of discrete collective rights management regulation that supports existing copyright legislation where needed in ECHO member territories as well as access to an effective use of software solutions and international codes for identifying use of members' copyright works in foreign markets. So then, what does international trade competitiveness and international trade revenue look like within the context of collective management organizations, royalties, licensing revenues and so on? After all, copyright licensing and royalties do not normally align with what many of us perceive as conventional international trade. This is not what we often see as international trade. International copyright law and rapidly advancing information technology tools provide the legal foundation and access that allows nearly seamless trade in cultural goods, giving consumers everywhere the possibility to enjoy cultural products and services in a wide variety of formats and media. A key concern for copyright holders, authors, composers, performers and importantly international trade authorities in many countries, we hope international trade authorities in many countries in the region, is the copyright infrastructure that allows efficient and effective remuneration and reward for use of these works. It is only when this infrastructure, meaning CMO copyright management software, international works identifying codes and strong copyright offices, it is only when these are functional that international trade revenues for use of works in foreign markets can be achieved successfully. This is where the importance of CMOs as trade facilitators comes in. As well as the various software platforms and international standard codes that help identify use of members' works abroad. So to better understand, we need to look again at conventional explanations of what a collective management organization is and what it does. Then deconstruct those definitions to demonstrate how CMOs can facilitate earning of international trade revenues in the music and creative industries. And in the case of ECHO, due to market failures related to national market size and limited investment capital in the subregion, there is a need for organizations like ECHO to expand their work into supporting the development of their members as artists and engaging with other stakeholders in building markets for their members' copyright works abroad. Of course, these ventures need to be undertaken alongside various partners, including government partners and private sector partners. So let's take another look at the typical definition of a collective management organization and see if we can reconcile this with an organization that can be a facilitator of international trade in music. The conventional wisdom is that CMOs undertake the management of the rights of authors, performers, producers and other holders of copyright to simplify and reduce transaction costs. Exclusive rights and collective bargaining can provide an alternative solution to management. However, what we see, what do CMOs do? They monitor when, where and what works are used. They negotiate licensing tariffs and other conditions with users, licensing of protected works on behalf of their members, collecting fees from users and distributing. These are the basics. Many small CMOs within the Caribbean region, Echo and others, have difficulties fulfilling these basics and we need to work on these basics. But where the strength of CMOs lie for the Caribbean region, for a region whose economy is beset by market failures in the entertainment industry because of its small size and lack of capitalization, I want to emphasize that the responsibilities that small CMOs like Echo must take on are thus heavy and very complex. Small CMOs need more. They need to do more. They need to grow their royalties revenues. And how do you grow a royalties revenues when the large Hollywood, BMI, ASCAP entertainment markets take the attention of the music industry, the entertainment industry around the world? CMOs must come in and fill the market gap, fill market failures and do what the private sector in our region has failed to do. Help develop their artists, their artists sound and invest in the development of artists. Also market and develop a taste in markets across the world for our music product. Small jurisdictions such as the Eastern Caribbean have inherent market failures relating to size and capitalization, particularly in music and creative industries. The only way to overcome these is through reorienting the music industry to an international market development, development of artists to bring the Eastern Caribbean sound into international markets. And this must be a shared responsibility of Echo, various cultural agencies, the financial and private sector and the all important government agencies. The goal here is increased international trade revenues from our music. And you heard me right, international trade revenues. I'm not saying royalties. I'm not saying licensing fees. I'm calling them international trade revenues because these are the words that governments understand. So I want us just for a brief moment in our heads to replace the term royalties collections, royalties revenues with music industry international trade revenues. Once we make this shift in our minds, think clearly how we normally approach economic sectors that we are aiming to develop for the purpose of international trade. Think agriculture, tourism, manufacturing. We think of laws. We think of laws to implement to protect our industries. We think of financing to develop these industries. We think of training to develop the skill sets of persons in those industries. We think of export financing and marketing support when we think of agriculture, tourism and manufacturing. Once we begin to see the music industry in this slide, once we begin to see royalties collections as international trade revenues, music industry international trade revenues, our collecting societies and their members will be seen as a segment of our economy with significant potential to attract trade revenues from overseas royalties collections. We will begin to understand the steps that are needed to improve the lives of our creators and to create a multiplier effect within our economy that starts with increasing international music trade revenues. Therefore, we see that collecting societies like ECON, they are facilitators of and catalysts for efficiently capturing the economic value of the music and creative industries and transferring that wealth directly to copyright holders, authors, composers and performers. At the national level, CMOs ensure the continued existence of vibrant cultural economies. At the international level, however, their reciprocal recognition agreements with affiliate CMOs around the world such as PRS for Music, ASCAP and BMI transform them into conduits of royalties, conduits for royalties revenues earned abroad as a result of the use of their members' copyright works. This is in essence international trade revenue generated from the use of their members' works in other music markets around the world. As such, a well-run active CMO can be the key to ensuring that the music and related creative industries make a significant impact on the subregions international trade statistics and international trade revenues. Therefore, ECON and other collecting societies around the region are among the institutions that are key in building trade and export competitiveness in music and the creative industries. As an intellectual property policy advisor, my work and many of the projects that I take on often straddle international trade investment and of course intellectual property. Many times this necessitates analyzing local intellectual property policy issues. This means issues that affect individual players such as ECOS members, those who are guarded here today, and businesses in national markets by addressing their individual place within the overall functioning of the broader system of value creation. As members of the Eastern Caribbean collecting organization ECHO, I want you to think more deliberately about the importance of royalties legislation, about the importance of legislation as a hindrance or a facilitator in markets. We need to reach out our advocacy in diaspora markets where our artists' music are consumed to educate businesses, event promoters on the importance of seeking licenses from these markets. In an industry beset by market failures, at least in the subregion, the role of ECHO is even more important. There is no private sector to offer the kind of support that you get in the UK or the American market. Therefore, I would like to leave you on this note that international collecting societies, regional collecting societies, and the collection of royalties abroad, the collection of royalties for use of your members' musical works abroad, is international trade revenue.  You require the same institutional, legislative, and resource support that other sectors of the economy, other trading sectors of the economy, receive to develop their product, their members, and the quality of their goods in the marketplace. So hopefully, I hope that what I have said today has set new terms in your mind on the way of thinking about music, the creative industries, and collecting societies in the national and international economy. Thank you very much.


Here's the next little bit we're going to look at is finishing three different types of finish Jack just come away from the goal good, and you're going to rotate every three with Charlie So once they've all been yours would rotate with Charlie nice and quickly have a good touch at your feet strike Brilliant good strike good hands Charlie hold it there on the first point With the man driving and getting this shot off early We looked at that the power and placement is it power do we strike through it depending on the keeper's position your angles Or do we place it look for the bend the little bend one depending on where the keeper is Rudy as soon as that happens It's now 1v1.   The next point with the with the 1v1 situation We said to the guys actually it might not be that you've got to take beat your man It might be that you can work your yard to get your shot off because we're looking at shooting opportunities So rather than beat him and we had a few of them beat them and they try and beat them again and not get the shot off So encouraging shoot shoot shoot shoot shoot shoot Good Joel then what's up Bulls dead this one comes alive, and it's 2v1 Okay, if you're attacking on this cone here the 1v1, which was you Joel you are now a defender play And then the 2v1 looking at actually can we use that overload to get a shot and we should be set We should be balanced, and we should at least minimum get a shot off Good finish Rudy. Well done. So once you've come back Rudy, you won't start on that one You'll move across one. So you leave your football there come on to that one Joel leave your football there come on to that one. Callum leave you a ball and come on to this one Out your feet strike As soon as hit it good 1v1 Callum Callum got to be quicker Good save Jack 2v1 who's defending Rudy The drill works really really well because it keeps everyone engaged all the time They can't switch off because they've got all new roles responsibilities Especially at that age where the concentration span isn't big. It's very much They've got to stay focused got to stay focused this angle here Where are we looking to strike really? Why are we looking for the far post brilliant? So we hit that direction We've got rebounds fantastic Here with the 1v1 You're a bit it's a bit of a post work now, isn't it?   However, you have to go past that yellow map there We progressed it again with the crossing That's a whole new finishing itself And you've got to work on can you work a little bit of space a little pocket of space to get your shot off Joel tell him Yes, Ben Can you work your space down Jones? Nearly clever movement good quality of cross unlucky It's a very good drill for them to be switched on and know their roles and responsibilities And you've got striking in there you've got passing dribbling crossing you've got the whole lot if you like the whole package


Okay, perfect. It's 1030. And I am calling this meeting of the zoning administrator to order. So we'll go to the second item, approval of minutes. Good morning, everyone. Good morning. So the minutes of December 7th are approved as submitted. And item 2.2, December 21st, 2020 draft minutes. The minutes for December 21st are approved as submitted. And then we will go to item 3, public comments. And we are now taking public comments on item 3, non-agenda matters. This is the time when any person may address matters not listed on the agenda, but which are within the subject matter jurisdiction of this committee. If you're attending in person and you would like to make a comment, please raise your hand. Is that a comment on non-agenda items? So not about Stonehouse? You mean not about last meetings? About the scheduled item? I guess. I'm calling about, first of all, I want to know why we didn't have a meeting like this a year ago when this was planned. I mean, when we could have given some feedback on the idea of how this was, you know, what was going to be there before was all built. Is this regarding Stonehouse? Okay. So this part of the meeting is not for that. This part of the meeting is to comment on something other than that. If you have a comment, if not, then we can. On what? Something that is not Stonehouse. On the items I went through them. So we will open the public hearing for when we get to that item on the agenda. Do you want to wait till we get to that item? Okay, I see. Yes, we'll wait. We're out of order. Okay. So you can go ahead and close the public comment period there. Do not appear to be any public comments. I'm closing the public comments and now we are going on item 4.1, Zoning Administrative Business Statement of Purpose. I have to read these two paragraphs. The Zoning Administrator is appointed by the Planning and Economic Development Director and has the responsibility and authority to conduct public meetings and hearings and to act on applications for minor or reduced review authority projects or entitlements, such as land use permits. A determination or decision by the Zoning Administrator may be appealed to the Design and Review Board, Cultural Heritage Board, Planning Commission, or City Council as applicable to the decision. All actions taken by the Zoning Administrator may be appealed within 10 calendar days. If the final day of the appeal period falls on a non-business day, the appeal period will be extended to the next business day. For this meeting, that day is Monday, January 29. And then item 5, Consent Items. We have no Consent Item today. And item 6, we are going to the Schedule Item. Item 6.1, Public Meeting Sonoma Stonehouse in Conditional Use Permit, Located at 3555 Highway 12, File Number CUP23-06, and Project Planner Bislash Lashnur is going to present. Thank you, Zoning Administrator Shikawi, and good morning everyone. The project before you is Minor Conditional Use Permit Application for Sonoma Stonehouse in, Located at 3555 Highway 12. The proposal is for a 14-room boutique hotel, which falls under the land use of lodging. The proposed business hours are from 9am to 4pm. Guests would check in at 3pm and check out at 9am. At least one on-site staff member would be there 24-7, and there would be a remote 24-hour management team. The building will have official quiet hours from 10pm to 7am, and there are no major construction or architectural changes proposed to the site. Here's the aerial view of the site, and here again for some context, it's located on Highway 12. The general plan land use designation is Retail and Business Services, and it is in a plan development district, which allows hotels and lodging with the approval of a Minor Conditional Use Permit. Here is the site plan. There's adequate parking on-site, as well as exterior lighting, as you can see all around. The exterior lighting is located at about, I believe, 15 or 16 feet along the walls. And here is the floor plan for the first floor. This floor plan was pulled from the Athena House, which was the previous use located at Stonehouse, but again there's no major architectural changes proposed to the current layout. And here's the second floor plan, as well. Staff is able to make all of the required findings for a Minor Conditional Use Permit. The proposed hotel use supports the general plan's goals and policies related to economic vitality by locating retail and business uses along major regional and arterial corridors. The building initially operated as a hotel when it was originally constructed in 1909, and therefore the site is physically suited for the type density and intensity of the proposed use. The building is already designed for a hotel use. And various city staff, including traffic engineering and engineering development services, fire, building, and planning have all reviewed the project plans, and the project has been conditioned appropriately for safety and circulation. The project is also categorically exempt from CEQA, because the project is located within an existing structure involving a negligible expansion of use. The building has been previously used for hotel and motel uses. There are no unresolved issues as a result of staff review, and staff has not ever received any public comment for the project. It is recommended by the Planning and Economic Development Department that the Zoning Administrator approve a Minor Conditional Use Permit to allow the operation of a 14-room boutique hotel, which is under the land use lodging, at 3555 Highway 12. For any questions or comments, this is my contact information. Yeah, thank you for your time. Thank you. Does the applicant have any presentation or? I believe the applicant is available via Zoom. I'm surprised. Hi. Yep, I'm here. This is Janet Miller with Thompson Builders, the applicant for the project. Good morning. Do you have any comments that you want to add to this last presentation? I don't think so. I think her presentation covered everything. Very good. Thank you. Great. Okay. I have a question. I don't know which one. I hear something about outdoor lighting. Are those proposed ones or existing ones? Those are existing. Okay. So, no new outdoor lighting is being proposed? Yeah, the existing outdoor lighting is adequate. Okay. So, now I will open for public comments. If you're attending in person, you wish to make a comment.  All right. Whichever one of you would like to go first, if you could please if you could state your name. Yeah, if you could please state your name for the record. Perfect, sir. And I live on Massimo Circle right behind the U.S. Stonehouse. As I said, first of all, I'm wondering why this meeting wasn't held a year ago when the proposal was made or whenever the building was purchased to put a stonehouse in there, put an inn in there. I've been living there 42 years and there has never been anything in there that would cause any disruption of our homes. Are you talking about putting in lighting? I don't know how that would affect our homes, the lighting in the back. The noise even now, I wish I had taped the noise that was going on there right now. In mowing the lawn, I could hear that in my house. In my house. I don't know. I have no clue.  It was sandblasting after God knows how long and then I don't know what they did to it now. It still doesn't look like it did before. It looks like hell. I notice a lot of the other neighbors, and I'm surprised they're not here, were pissed off about what they did to the building. I don't know how they had this got some kind of a permit for that historic building.  Why would they put it in there? Why wouldn't they put in there something with low traffic and public access? I don't know how they're going to enter that building. To come up, you can't enter the parking lot. It's just a shitty idea, as far as I'm concerned, putting that building back there. And as I said, I don't know why we weren't able to voice our opinions before they started this. Right now there's a sign up front for sale. What does that mean? What does that mean to the owners that are there now? They want to get rid of it. They think it's a lousy idea. They're going to sell it as an in. And then, also, I've heard that they're planning on a 16 room hotel next to it. I mean, what is this? It's not a commercial area. When it was a hotel in 1909, my street wasn't there. And neither were any of the streets behind it. I mean, that's saying that that is built for a boutique as garbage. It's the same now as it was in 1909. That's insane. Anyway, I'll let my partner talk. He also was behind the stone house. Partner, my next door neighbor. May I? I'm sorry. May I ask your name? What was that again? Roy Tashara. I live at 124, Massimo. Thank you. And sir, go ahead. Yes, my name is Greg Hamblin, and I live at 128 Mossmo Circle. So it's interesting to find out the 1909, that's the last time it was a hotel. So that was right after they built it. Anyway, I've lived at my house for 37 years, and we've been dealing with this building ever since I've lived there. And when we moved in, there wasn't a light at Brush Creek. They put that in, which was quite an ordeal, because you should be able to make a left turn. And then they developed across the highway, I think it was young America, and they built that big, they call it the sound wall, that block wall. Well, all that does is increase the decibel level. So like Roy said, I'm surprised, they've been working on the place now for maybe six months. I thought we would have been notified of that, because it's been at least six months that they've been doing construction there. So to me, I know you're entitled to have some, I mean, it's their building, they're entitled to have some kind of business there. It just, the one thing that impacts us now is now that all these trees have been cut down, and the warehouse fell over, collapsed, and they tore down the gas station. The sound just keeps, the decibel level keeps getting higher and higher. I was hoping that at least they could build some kind of a sound wall, break wall around the existing property line. Maybe a CMU wall, something of that nature. Five years ago, we couldn't even hardly, you wouldn't be able to see that the stone house from our house, now that all the trees have been cut down, it's quite a bit different. That's all I've got. We're just venting. I wish we'd have known that they were, you know, they would, they would start on it, right? Usually, because I was in construction for 45 years in San Francisco, and we'd impact neighbors sometimes, and usually with your, within 500 feet, you're notified of some construction, but we weren't here, unfortunately. Okay. Can I speak again? The time is over. You have just your limit, so I'm closing the, I imagine you're going to tear the building down now. No, there was three minutes, so I'm closing the public comment period, and okay, I have some questions, and I can answer some of your questions about what was happening there and the sign, okay? But I don't want to have back and forth questions, because we close the public comments. That's a law that we have to go by, okay? You mean what you say is what's going to have to be done? It has to go in order, okay? So let me finish. Can you bring back the shared screen for the land uses? So as Planner said, the zone for that area is commercial, and it's zone for commercial, but they are proposing falls between the zone, the powerpoint, the shared powerpoint that shows the land use, and about sandblasting and the paint, the applicant or the owner did not reach out to the city, so unfortunately, they painted it without letting anyone know, and we got lots of code enforcement and calls to the city, and I'm glad we were able to contact them and ask them to remove that paint, and they did sandblasting, but what the applicant did there, it did without obtaining any permit and reaching out to the city, so it was illegal done. And right now, they are having this entitlement to put the hotel there. They have to go through the process, and different divisions they have reviewed that. You had concerns about entering the site, our traffic division have reviewed that site, and they had no comments and concerns about entering and exiting the site. And about frontage improvement, I don't know what they are doing there. Have you talked to the applicant to see what's happening in the front? Not about the front, but just in general, regarding the whitewashing of the building. I don't know, Shannon wants to speak more on... And we're doing landscape, minor landscape. Hi, so we were whitewashing, but I think I spoke with somebody at the city, it wasn't... There is no requirement to get that work permitted, because it's just painting, and it's not officially designated a historical building, even though it is an old building. But we did receive a lot of background regarding the painting, and so we wanted, you know, then started with the sandblasting in order to correct it, and because, you know, we love the building and want it to look good, and want everybody in the community to like it too. And then with the work that's going out in the front, it's landscaping. It's not major construction, and we... It is in the process, it's not done yet, but we hope that when the landscaping is done, it's going to look really good, and that everybody's... It's going to be a add to the neighborhood, and not in eyesore, which it has been for the last couple of years with the weeds and being overgrown, and we want it to look really pretty and really good for everybody. I have to correct... I said that there was a required permit for the painting, your correct painting does not require any permits. I have to correct that, am I wrong? And there was question about why you didn't hear about this project, so we don't get involved if someone buys or sells the property. The city only gets involved when there's a new proposed land use, and the application was submitted for this proposed use on March 2020, so we received the application and we started reviewing it, and you get notified when the project goes to the public hearing like this. When someone buys the property, we are not in charge of letting the neighbors know who has purchased, like that's not requirement of the zoning. I think also Suzy Murray, the supervisor is available, and let's see if she has any comments, because she has some background on this project. Is she available? Yes, she's available. She was just trying to find the buttons to click, so I do have a little background, and Monet is correct that there is no permit required for painting the building. Any exterior changes structural or architectural would trigger a design review process. So I also heard some other comments, and Monet, I don't know if you want me to address them. There were comments about the historic structure, the lighting, the noise. Do you want me to comment on that stuff? Sure, go ahead. Go ahead, thank you. Thank you. So the project plans were reviewed as Sachinor explained by our traffic engineering division, and they looked at access to and from the site for the size of the hotel, and there have been no concerns raised. It's still safe. Monet also addressed the public process. For the public meeting, all that's required is the notice that you receive, but there is a 10-day appeal period. So if you are opposed to this, there is a process for that, and you can contact the planner to make sure that she's or she can escort you through that process, and appeal applications are also available online. As far as the upcoming, you know, addition of an additional 16-room hotel, there has been some discussion about it, but the city has not received a formal application about that. So tough to comment on that one. We don't really know what they're planning to do at this point. Lighting, we have a lighting ordinance that requires the lighting to be shielded, meaning not spill onto other properties. So all their lighting fixtures will be directed down. So they should not be, there should be no light spill over onto your properties, certainly not above the site. And there's also, there's a noise ordinance. So that noise ordinance, and if there's a problem with it in the future, you can certainly call in code enforcement. But there's a noise ordinance that allows the average noise, I think it's over a 15-second period, for up to 55 decibels from 7am to 7pm, 50 decibels from 7pm to 10pm. And then of course, it goes to quiet time from 10pm to 7am, it's 45 decibels. They are required to adhere to that, as is every other property adjacent to residential uses in the city. The project, the site is not, it's been, it has been determined that that building, it has the potential to be listed on the federal registry, but it is not. It has not, nobody's done that yet. So it is a historic building. And I think in hindsight, as far as I know, the applicant took it upon themselves, not in the direction of the city, to sandblast the building and try to remove the paint. I think that in hindsight, they may actually have regretted that, not realizing the love for the building and its historic character. So I hope that answers everything that I heard, and that's the background I know, and I'm sorry that I'm not available in person. Thank you, Suzy. I appreciate it. Is there anything else the applicant has to mention? I think that's everything. Thank you. Okay. So I reviewed this project today. I totally forgot about lighting. I would ask such noor to add the condition that any proposed outdoor lighting complies with the ordinance, because they have to make sure they are shielded and pointing downward. So we will add the condition about lighting, about noise. I believe we can add the condition also to make sure that the applicant has to comply with the noise ordinance. And beside that, I do not see any issues, and I'm going to approve this application, this use permit. And please note, this action is final unless appeal is final within the city clerk's office, within 10 calendar days of today's decision, pursuant to zoning code section 2062-030, that day will be January 29th, correct? Mark, I believe it's at 29th, 10 days from today, and with that, this meeting of the zoning administrator is now adjourned.


Welcome to how to know if your data is ready for data science. This is the second video in the series, Data Science for Beginners. Before data science can give you the answers that you want, you have to give it some high quality raw materials to work with. Just like making a pizza, the better ingredients you start with, the better the final product. So in the case of data science, there are some ingredients we need to pull together. We need data that's relevant, it's connected, accurate, and we need to make sure we have enough of it. So the first ingredient we need, data that's relevant. So take a look at the table on the left. We met seven people outside of bars in Boston and measured their blood alcohol level, the Red Sox batting average in their last game, and the price of milk in the nearest convenience store. This is all perfectly legitimate data, but it's only fault is that it isn't relevant. There's no obvious relationship between these numbers. If I gave you the current price of milk and the Red Sox batting average, there's no way that you could guess my blood alcohol content. Now, check out the table on the right. This time we measured each person's body mass and counted the number of drinks they've had. The numbers in each row are now relevant to each other. If I gave you my body mass and the number of margaritas I've had, you could make a pretty good guess at my blood alcohol content. The next ingredient is connected data. Here's some relevant data on the quality of hamburgers, grill temperature, patty weight, and the rating in a local food magazine. But notice the gaps in the table on the left. Most data sets are missing some values, and it's common to have holes like this, and there are ways to work around them. But if there's too much missing, your data starts to look like Swiss cheese. Looking at the table on the left, there's so much missing data, it's hard to come up with any kind of relationship between grill temperature and patty weight. This is an example of disconnected data. The table on the right, though, is full and complete, a great example of connected data. The next ingredient we need is accuracy.  Look at the target in the upper right. We get a tight grouping right around the bullseye. That, of course, is accurate. And if you look at the next target on the lower right, oddly, in the language of data science, our performance on that target is also considered accurate. If you were to map out the center of these arrows, you'd see that it's very close to the bullseye. The arrows are spread all around the target, so they're considered imprecise, but they're centered around the bullseye, so they're considered accurate. The target in the upper right is both accurate and precise, so that's a good job. Now, look at the upper left target. Here, our arrows hit very close together, a tight grouping. They're precise, but they're inaccurate, because the center is way off the bullseye. And, of course, the arrows in the bottom left target are both inaccurate and imprecise. This archer needs a bit more practice. Finally, ingredient number four. We need to have enough data. If you think of each data point in your table as being a brush stroke and a painting, then if you only have a few of them, the painting can be pretty fuzzy. It's hard to tell what it is. If you add some more brush strokes, then your painting starts to get a little sharper. And you know when you have just barely enough, you can start to see the pattern and make some broad decisions. I look at this and I think, is this somewhere I might want to visit? It looks bright, the water looks clean. I decide yes, that's where I'm going on vacation. As you add more data, the picture becomes clearer and you can make even more detailed decisions. Now, I can look at the three hotels on the left bank. I say, you know, of those three, I really like the architectural features of the one in the foreground. I'll stay there right on the third floor. With data that's relevant and connected, accurate, and with enough of it, we have all of the ingredients we need to do some high quality data science. Be sure to check out the other videos in Data Science for Beginners from Microsoft Azure Machine Learning.


Vzostajte vse in na način, da se je nekaj droži,ideri, Kreg, Haere in Mel. Zame se, da je ovo boj, v vse, da je Alessandro, Steve. So, ... ... vzostajte o, kako se je tega izgleda za vse. Vama človek, zato srečnem vse, izno tem, ki smo izgledati površenje na uniformne obladi.  Zato vsega izgleda, da vsega je vsega z vsega komputacijna, zato nekaj vsega. ... is going to be a polynomere ring over a field. K, so k field. I, for all the talk, is going to be a great homogeneous ideal. And what I want to do, I want to fix some data. And once I fix the data, what I would like to do is, well, let's say, I want to... So I... Skakov iznovno. Widnem skasviti dokranje ogdang nimi preveni s pajamaser, dar poš tabs evenly. zagvaž presidentseli ngrazar in premiesti, bahe oven vine kaj je izgleda ideja, ki je sodavljena, sodavljena tezunja, ki je sodavljena, je spremljena in ideja, je jezna za njegovatve obziv. In je to še poslednje list. Ne, časno list. Zato, včest so včetno bom zvoniti halje na otvorili, da je z njo, da je znašljena, da je z vse zelo, da je zelo na vse. Selo, mi je vse na vse. to bez stvari. As in вот tukaj prejda. Kaj da jim je nič, ko držičen z F1, F r, da je v degrai delje, V 1 in so on. Pči drža in s deljev s deljev, da je zarazla v vkorej vsebran, v d. Tako zelo, da je data, je zelo druga variabila delenja. Tako zelo, da je data, zelo, da je T-R-M. Zelo, nekaj versišlje, in v Bajers tesis, v 1982, in in izvah, da je to vseh. Molo, molo mora. Du be. Menej vseh počuče, da je to taj počutek. Mamo vseh Marka, Masha Den, Hoa, menej vseh, tudi na mjim vseh, na mjim vseh vseh, Leanga. Vseh je to, na vseh, termorder. The site of a Greenberg basis is under control. So basically the largest degree of a minimal generator. In the initial idea with respect to this monomial order, termorder of I, is bounded above by a basic double exponential function of D and N. Let's see, I have to write it two times. I am going to write to the Dubet version, this square plus over two, plus D to the two, to the N minus one. So it's a double exponential on D and N. So that's the first result of this finish of fixed data and invariant is sites of the Greenberg basis and here is the boundary. Example number two. Kastronom for regularity. Tami? The what? Ah, capital D, you're right. So little D, let's say smaller than D, and I have to make my life easier. So it's the largest literally, perfect. Thank you. So just take a little by a month further. Several different versions of similar bounds. Improvement on the type of bounds. Myself and Enrico, Bara, Machsadena, Ova, many other people perhaps even more recently. Myself and Stefan in a different collaboration. One get the regularity of the idea for the fixed data is bounded above by D to the two, to the N minus two. I mean, to get rid of some trivial case, let's say that N is at least three. If you're just into variable, everything is trivial. Another type of this flavor perhaps, actually I'm going to call this a corollary. A corollary of this is basically a bound on all the, but in number. I and J, the I and J, but in number of I, for instance, can be bounded above by, I'm going to take this number, D to the two, to the N minus two, choose I, for instance. Actually, let me write this slightly differently. I'm going to write it as D to the two, to the N minus one. And the reason of this is basically because you have a, but in number, A, J, which is bounded above by total betty number of I. Total betty number of I. Once you know the sites of the group net basis, by a person may continue it, you can bound this with the betty numbers of the initial. And the initial, the resolution is easy from, I mean, some control, the resolution is easy from Taylor. So basically this, thanks to the Taylor resolution, plus perhaps the proof of two, something like this. So you get D to the two, to the N minus two, choose I, the choose I comes from Taylor, which is smaller easily than D to the two, to the N minus one. Anyway, so three examples, once again, sites of the group net base, irregularity and betty numbers. Now, the problem becomes way much harder if the data, instead of fixing the, if instead of fixing the number of variables, we work in an unknown number of variables. And that we go into still bound conjecture and conjecture type, type of problem. Now the theorem, due to mal and theorem. So, what's the setup here? Still I, in state polynomial ring. Now I have x1, xb again. Let's say number of variable begin unknown. So the data here is just the degree D. So with this type of data, the solution of still bound conjecture is basically theorem by an onion. This says that if you look at, if you care for the projected dimension, among other invariant, they didn't place the projected dimension first because I had N as my number of variables, so that N would be an easy bound for the projected dimension. But if you look at every possible, every possible ideal, so let's say for every I and for every N, and let's say we're looking at the projected dimension of I, this number is actually finite. Not clear what the number actually of value is, but the point is that there exists a bound that only depends on the data, the degree of the generator. It's independent of the number of variable. Similarly, by product of the proof also from the paper, one get bounds in basically of the data that you can get from the resolution. So for instance, regularity of I is finite. And the supremum, let's say of every, for every I, for every N, the I and J of the value of the betting number B, I, J of I is also finite. Again, not clear what the value, what the bound can be, but it's, I mean, there's a horrible, horrible recourse from this proof and it's unthinkable what the value actually are. But if we care for betting numbers, let's say I'm gonna change sides. If you care for a betting number, especially for a single betting number, let's say not the class of all the possible betting number in the resolution, then the task become easier. Let's say two bound is single B, I, J of I. In this case, let's say, fixed the pair I, I and J. It's easier. For instance, let's say a start with an idea generated by three quintics, F1, F2, F3, whole degree 5, so 5, 5, and 5, that's my degree sequence. Then I can ask, for instance, what's a good bound for the betting number in normal logical position, 6, shift, 12, of I. So, can we bond that? Again, no variables. I mean, still malend in some sense, but I fixed a single betting number, so task is easier, as I was trying to say, but if you just follow the bet, if you try to control stuff with the proof, it will be absolutely crazy. But yeah, the things are not too bad and what you can do, you can compute an initial of I, and you start with three quintics, so the initial is going to start with three quintic monomials, and those are, let's say, let's give a name, or Q1, quintic, Q2, Q3, so these have degree 5, and I'm going to compute this using, basically, I'm going to compute a Grobner basis. If you compute a Grobner basis, you have initials, and you have to do S-pairs, leading, leading, S-pairs, you're going to look for a list of multiple, maybe something's going to reduce to zero, but between them there are only three S-pairs that you can consider. At most S-pairs correspond to at most S1, S2, S3, perhaps they're zero, but these are at most the number of things of degree 6 that they can expect in this in, plus larger degrees. So if the in contains those monomials, three quintics, and three things of degree 6, we can estimate the Betty numbers, because basically we have a, you know, Taylor resolution, a hypothetical Taylor resolution using this data. So the Betty number Bijj of I is bounded above by the Betty number Bijj of the in, which is bounded above by essentially the table that you expect from Taylor. Zero, one, two, three, four, five, and six. I'm going to stop at six. There's nothing here, I start in degree five, then there is degree six. Degree five, three, in degree six I have three generators, and from the, let's say, Taylor, or if you want the LCM lattice, you can get those numbers under control. So let's say three, one, after that zero, zero, zero, zero, in this trend, three, 15, 20, 15, six, one, and finally I get a zero here, and that's the position that I care for. So the boundary was zero. Mistake. So what's next? So I want to change the data a little bit, and I want to focus on primes, prime ideals. So focusing on prime, my data is going to be the fact that the idea i is actually a prime, and another part of the data that I want to fix is that the multiplicity of S mod i of the prime is fixed, it's fixed, and let's say some number here. Fix multiplicity, and it simply fixes the fact that we're working with prime. So here there's a Heisenberg-Gotho, it was Heisenberg-Gotho conjecture, now false, because of the counter example of McCulloch-Jason, which basically says if I look at the supreme of all the possible p satisfying my data and I care for the regularity of p, this number cannot be bound, cannot be bounded by a polynomial function of E. By the way, I wrote Heisenberg-Gotho conjecture, so the prediction of the conjecture was that the regularity of prime was bounded by multiplicity minus height of the prime plus one, but in particular this is less than the multiplicity, so the Heisenberg-Gotho predict multiplicity as a bound for this type of things. So they prove, they have a counter example, great, but after, there was a counter example, you start realizing that the focus for many, many years of people working on this conjecture was actually to prove the conjecture, which is perfectly fine, was the optimal statement, but once you realize that, the next question is, okay, well fine, let's settle for something else. What's a good bound? Anything, I'll take anything. And the point is that in their paper, Irina in Heisen, ask, well, is there a bound at all? Because, so, can the regularity be bounded, not even like that, but by anything as a function of the multiplicity? Is there a bound at all? So, this bound cannot be bounded, so question, is it at least finite? Is there a bound? Or perhaps, I can look at generator. E is the supremum over the prime of the number of generator, b0 of p. Yes, so, to both question is basically positive. So, as a consequence of the, of the theorem of Ananian and Mehl, so of, as a consequence of the solution of the statement conjecture, one get, is a result, we have it in a joint paper, myself, Mark, Michel Den, Jason and Matteo, yes, it can be bounded, the bound depends on the solution of the statement and is of the same magnitude. So, basically, this problem and the solutions to the statement are, they are connected to each other, a good bound for one, a reasonable, anything, for one corresponding to a good bound for another one. If I just follow this proof of the, yes, through the proof of stillman conjecture by Mehl and you start with something ridiculous, like five. So, I have multiplicity of five. Which bound do I get? Well, think about taking five, five to the five to the five to the five, one, one exponent in top of the other and you go up to hundred exponent. And you say, well, no, is it good? No, shrink. So, they take that, that number and do on top of each other is that our exponent and you do it again hundred times. You do it again itself hundred times and so on. How many times should I repeat this? Well, as many times is the very first exponent. OK, so it's unthinkable. So, it's absolutely unthinkable. So, but, well, we would expect something reasonable, like a double exponential, perhaps. So, in those type of totes, double exponential bound are not bad. So, that's the point I want to, I want to make. So, sometimes I treasure the fact that there are bounds sometimes for some invariants that are independent of n. And so, anytime I see one, it's a little gem. It's a very rare. So, let's say results with good, but I didn't even care about good any bounds for something independent of n, of the knowledge of n are very rare. One of those is this very old theorem attributed to Castenuovo. 1889, which says the following. So, if you start with a prime, so same data as before. So, p prime, I'm going to fix the height of the prime, let's say, let's call it h. And then I want the fact that the field is algebraically close. Then what happened? Then the number of minimal generators that are quadrics in your prime ideal. So, p02 of the prime. So, how many quadrics you have among the generators is bounded above by a nice thing. h plus 1 choose 2. No mention of number of variable whatsoever. And that's remarkable. I mean, it's nice. But, so, once you see that, say, well, what's next? Not so much. So, can give a couple of proofs. So, first proof, using Bertini. Using Bertini, what do you do? You go modular linear general, sorry, general linear forms. Plus, 1 has to saturator. And you bring the prime down, right? Cut, saturate. Cut, saturate. Go down. If the dimension is greater than 2, you go down. You still get primes. Between dimension 2 to dimension 1, you go down to radical. And from dimension 1 to dimension 0, you get a no zero divisor. So, basically, without problem, without loss of generality, you reduce to some ideal. So, you lost prime, you lost everything. But leaves inside k of x1, xh. And so, the second betting number of your prime are bounded above by the second betting number of i, which is bounded above by h plus 1 over 2, how many quadrics you have in that ring. The key point that in this process, the degree one part of i, so, let's say, without loss of generality, prime in degree one was zero, so was non degenerate. And you don't gain any linear form in this process. So, this is thanks to the fact that the field was algebraically close. There are counter-examples otherwise. And, basically, without this, there are counter-examples. Counter-examples without this assumption in the field are very close. So, that's the part where you need it. And because as you saturate, the ideal gets larger. So, as you mod out the general linear form, saturate because of the Bertini, the saturation may add things. If you have quadrics, no big deal. You bound something, it's even better.  But if you have the linear form, the linear form can kill anything. Can kill quadrics. How many quadrics can kill? Quite a lot. I mean, a single linear form can kill as many quadrics as the number of variables. So, can kill and not under control data. So, that's crucial. What's surprising is, basically, so, that's a proof one. And since the conference in about, let's say, second proof is what characteristic P method. This is due to Craig. Basically, what you do, you reduce to characteristic positive. Then you take your S mod P. This is inside the T, this is a graded plus closure. And you take a system of parameter here, lift to a regular sequence. And when you mod out to the system of parameter, if in this process you lost some quadrics, then the system of parameter in the plus closure will be more sizzzy than what you would have expected. So, the quadrate that you kill here, if something goes wrong in your estimate, correspond to more sizzzy. So, that's a sketch of this part. So, what do we need? And again, as far as I know, so, from that, I mean, I expected it to be some attempt to extend this thing, but the methods, the reduction of characteristic P of Craig and all the other standard methods that rely on cutting down, they don't work for higher degrees. So, I wonder, can they bound the cubics? Can they bound quartics? But, see, sure, if you are there, so the point is this condition, not there be an extra generator, but if you get even a quadric as you saturate, a quadric can kill cubics.  So, if the saturation add extra stuff, those things kill a unknown number of elements, and you lose total control of that. So, what we did with Alessandro is basically, we found a different route. So, we found a different method to prove this result of this type, and our sound is the following. So, you start with prime, let's say in S doesn't matter. So, prime P of height of pH, and that's our data, then for every J, the number generator in degree J of this prime are bounded above by a double exponential. So, H to the 2, to the J plus 1, minus 3. What's the proof like? I can just spend the last minute discussing the proof. So, basically, what you want to do, you care for, actually maybe, let's just do the first step.  You assume the degree of G is very high, and so, instead of studying the generator of prime, you basically end up studying, so the B0J of P correspond to studying the B1J plus D of effigy of this almost complete intersection. How do you study the first schizogy? Grobner basis? Try your theorem. So, the first schizogy is controlled by a site of a Grobner basis. Which Grobner basis? You cannot use term order. Term order use the last variables and add the next noise completely out of control. So, instead, we use generic coordinate, we use weights, and somehow we reduce the amount of noise. So, the proof relies on the calculation of a Grobner basis with respect to weight, is that the weight don't get refined to monomial order. If you use McColley or anything, you care for an in respect to weight, that weight get refined to term order and then the calculation is run. We kept the calculation at the weight level instead of a sphere with its schizoges, and basically, you compute this hypothetical Grobner basis and you can check that's under control. Anyway, so my time is up and I think I'll stop here. Thank you. So, any questions? Or comments? But see, the spirit of this is exactly the proof I give you where I bound the beta 612. So, as the algorithm of Grobner goes, you bound what's going on in each step, but it might go forever. And yet the trouble is that this degree are not known. So, you run a Grobner basic calculation here that could start in ridiculously high degree. But it's like a Grobner basis of a principal ideal. Once you get rid of the noise. So, it's like computing a Grobner basis generated by a single element. There's interaction between those two, but it can go forever. Actually, immediately also this historical result of debate, more by, are surprising because the way a Grobner basis terminate, Bookberger, is because of netarianity. Even that thing is not clear. The proof typically rely on the knowledge of number variable and the fact that worst case scenario is basic. Regular sequence and working relax. And you deal with the standard decomposition. But here things cannot terminate. Yes, Serenem. Just a moment. Please use the microphone for the best recording. Sorry, I just missed it probably. Is this bound sharp, you say? Well, so this is sharp, clearly. Same example. The bound is not as you change without this assumption there's no bound. So, what I'm going to say, without the field being closed, there's no bound whatsoever. And actually without this stuff, the bound that we get here is beta 0,2 of p bounded by 2h squared plus h. So, we actually do get a bound without an assumption on the field which absolutely unduable with the standard method. But they are not sharp. But the point is that the spirit of those bounds, they are double exponential, which kind of fit perfectly the technique. Those technique, I mean, again. When you go without knowing the number of variable you end up in this tower, soft tower, soft tower. So, this is a, you know, kindergarten bound compared to the towers. The CG, thank you. So, the CG are completely under control as well. I might not have the specific number written. But, yeah, for every fix i in j, beta ij of p is bound in also by a double exponential. OK. So, this can go because obviously we... Well, it's not obvious because of the proof. Even later it used to a NIN, but it's not monomia. But somehow what happened and to get the CG, well, we do something. It's not obvious right away, but you get a similar bound. So, any CG whatsoever or any premadeal in a single spot is a double exponential of your data. Thank you for the question. Yeah. I forgot to mention it. But here, the important point is to stay connected over K bar. I mean, it's not really to be prime. Not really? To be prime. Yeah, yeah, of course. Yeah. Same here, actually. So, basically the proof that we do even our bound works for radical, a mixed radical, for instance, same bound. And if you don't even care for a mixed, you know, any radical and you get the bound instead of the height so any radical idea, if you know the big height, any spot on any betting numbers is a double exponential of the big height. No matter with the variables. It's quite a step. Some other questions? If not, so let's thank the speaker again.


All right, can y'all hear me? This is mine, even on. Okay, this is on. So can y'all hear, all of you can hear me well, right? So first of all, thank you so much for coming. So sorry, I'm trying to make a pun between, I don't want to use the phrase, I'll walk in the park to find this place. So because some of you are literally lost in the park. So I'm so thankful that all of you found this place. I'm so happy to have all of you today and tag me in this info section. So quickly bring you through what we're going to do today. It's a pretty packed itinerary. So we're going to have a panel discussion and also before we jump down to one, the Tech Ladies Bootcamp three, it's all about what are some of the projects that we're helping and how you can apply. Okay, so first of all, thank you very much to our sponsor, venue sponsor that I have hosted in this beautiful place. So let's give a round of applause to DAX. Who am I to invite Annie to give us a brief introduction on what DAX is about. So Annie! Good evening, everyone, ladies and gentlemen of you here. So, wow, it's really exciting. It feels like a full house girls party tonight. Yay! So I come from a real estate and retail background. So traditionally it's dominated by men. And then, you know, I move on to finance and also attack. Again, it's a traditional industry that's dominated by men. So it's really exciting and refreshing for me to see everyone here or the gorgeous ladies here tonight. Because, you know, I can really see the girls' power are expanding in these arenas. So you will have my full support. Thank you for supporting us. You're welcome. So I guess maybe for most of you, this is the first time you're at DAX. Yes? Okay. So maybe after this event, I will have Shopa to give you a tour so that you know you can understand the history and the stories, you know, and what we do here. But, you know, for DAX, we do three key things here. First, this is the place for us to educate the bank and also the wider community about innovation. So, you know, what is innovation? How do we practice innovation and how do we apply that to business? So we do have, you know, the mentor in residence to coach the BU's, you know, the staffs here. And then second is about we connect, you know. So I have my partner in crime, Beju, who is head of the ecosystem.  So we believe sometimes the solution may not necessarily stay within bank, you know, it might come from outside of the bank. Last but not the least, you know, whether it's for the banks or, you know, for the consumers or, you know, for the technology company, it's all people business.  We believe this is an innovation community. So it's people business. We want DEX to be the home for passion and innovation. So hopefully, you know, today, when you walk away from DEX, you have your DEX moments and DEX stories to tell your friends. So without further ado, I will give the stage back to Alicia. All right, thank you. DEX sounds amazing. Nobody caught the pun? Okay. Moving on. So I'm gonna, so how many of you, this is the first Tech Ladies event that you have ever attended? Wow, I'm so happy to have all of you here. And how many of you, this is not your first Tech Ladies event? Awesome, thank you for coming back and I'm so happy to see all these new faces. So I'm gonna share with you more about what Tech Ladies is about. What do we do and who we are? So Tech Ladies, we are a community-led initiative. So that means that we're actually not a school, we're not a company, we're really ghetto. We're just a bunch of people who are in the tech community and want to give back. So we just set this up and hope all of you to share. I'll love for tech with all of you. So what does Tech Ladies stand for? So one of the key things that we stand for is that we believe that technology can be done for good. So with technology skills, you can not only create applications that help yourself, but you can also create applications that help some other people. It could be just people, your friends, your family, or it could be a cause that you care about. So I do believe that technology, the ability to code is a superpower that we all should have. Having said that, this industry is still pretty male dominated in one. For various reasons, there are a lot of researchers on why this happened. Is it a marketing problem? Is it a, there's some theories on, if you watch, have you all watched Hidden Figures? Yes, kinda. So you can see that computers tend to be, it was like a very death-bound woman kind of job. And one of the theory was that after the war, a man came back and took all of the jobs so that, so then it become a very male, kind of a macho kind of a job. But I do think that technology does not discriminate. It doesn't care who you are. So technology is ready for women. We want to be the bridge to, for women to come and experience technology. Having said all of that, we don't hate men. Just in case, you'll be like disclaimer. Just in case you see a man here and be like, why are you here? A pervert kind of thing. And no, no, no. So, I'm a strong believer of male allies and I think a gender diversity is not a woman's problem. And we are not the one, we are not the only one who is responsible to fix it. I think this is a community effort. Everyone should play a part. And so just be nice to the men around. I just want to let y'all know that. Okay, so we do three things. We have a bunch of programs, but it can be sort of categorized in three different buckets. The first one is these communities, events like this where you can come and learn what the tech industry is about. Come and meet one another, come and study together, form connections, form meaningful connections. That's what tech ladies do. And the second thing, oh, I really like cats, that's why you see a lot of cats on my slides. So the second thing we do is, of course, education is not just through, we want to teach you basic programming skills or enough skills for you to learn on your own. So we do have a Facebook group and also a Facebook page where we share a lot of resources for you to learn how to code. And the last thing we do, we want to really push women into the industry, it sounds very violent, but we want to support women to enter the industry. So one of the things we do is probably our most intensive program, the Tech Ladies Bootcamp, where we try to take women with near zero programming background into software engineers. So far we have helped seven women to get tech internships or junior developer roles. So that's amazing, amazing results. So, oh, of course, more cats. So again, this is the three buckets of things that we do. If you don't remember, just remember CEO. It just happened to have been that way. And the programs that we do under that is, okay, the icons doesn't tell you a story, so let me tell you the story. So these two buckets are for the community part of things. So the first one is called, we call the Tech Ladies Goal. So if there's any tech event that you want to go, but you don't, you feel like a bit shy to go alone, like you don't know people there. So Tech Ladies Goal is basically, we'll just group up and go to a tech event together. Pretty basic. And then we also have our sort of a networking-ish event where we just, it's called the Tech Ladies Eat. It's just an excuse to get out and eat. So I promise you our programs get more inspiring as we go down the funnel. So for the education piece, we run our weekly study group. Right now we are learning the CS50, it's a Harvard course. It's available free online on AdX. So you're welcome to meet us every Wednesday. What we do is we will just open our laptops and do the exercises or watch the lecture. And we have one or two mentors who will be there to guide you for any questions you have. Then we also have the coding weekend. Basically it's a weekend long workshop. Usually what we're trying to do is we're trying to do this more overseas because what we realize is that women in Singapore are very well taken care of. But the situation changes when you're in Indonesia, when you're in Pakistan, when you're in Vietnam. So we try to also inspire women to learn how to code by doing a weekend hackathon, not a weekend coding workshop for them to get kick-started in programming. So the last two things is really more about highlighting women and getting women in the industry. So we have, I'll say quarterly tech talks where women will give technical talks or you can come and learn more about their experiences. What we want to achieve here is to give women a platform to practice public speaking and get more confidence that way. And the last one is of course the Tech Ladies Bootcamp where this time round, if you have been following us, you realize that the bootcamp duration has been getting longer and longer each time. So it used to be eight, then it was 10 and now it's 12. So for Tech Ladies Bootcamp three, it will be a 12-foot part-time bootcamp. I'll also talk more about it later on. So now when you see a lot of programs that we have here, I hope you are curious about why is this tech industry about why do we need so many programs? I hope you are interested to learn more. But if you are not, then I'll probably fail at my job so I just don't make any sound then. So I'm sure all of you are excited to hear more, right? Okay, so lucky for you. We have a panel discussion today. So let's put our hands together and welcome our panel speakers on stage. Okay, you don't have to...


The Anderson family is my cousin and I see nothing wrong and you're taking her to the symphony. Nothing wrong? Have you looked closely at her face? I know darling. She's not as young as she was. She's still trying to act as young. Well, I don't care to discuss it any further. I told her I'd have someone escort her. Not me. What's wrong with that goon she's been going with for 20 years or more? Well, they had a little spat his all. You probably saw her with her makeup off for the first time. Oh, Oliver Anderson. Well, uh-oh. Here we go again, folks. Now let's visit the Anderson family. Well, this whole thing started when Mary's spinster cousin cried on Mary's shoulder and told her that Phineas Pilstin, her boyfriend, had refused to take her to the symphony. Mary hates to see anyone in trouble, so she reassured her cousin, patted her on the shoulder, and agreed to get her an escort. Oliver doesn't know about this yet, but he will in one moment, for right now he is coming up the front walk and greets Junior. Hi, Junior. What are you hunting for? Hunting. I'm hunting flowers for cousin Myrtle. Hi. I see. Myrtle. Is she here? Yeah. And she feels awful, Pop. That's nothing new, is it? Well, no. But this time she has something to feel awful about. You mean she found her engagement ring was brass? No, not that. But her boyfriend has turned her down. Oh, well, can't be very serious. I'll go on in and have her laughin' in five minutes. She doesn't want to laugh, Pop. She just wants to cry. Okay. Maybe I can help her out on that, too. When you get those lilies cut- Uh, daggers. Yeah, whatever they are. When you're through, come on in the house. Okay, Pop. You're right with you. I don't think I'll ever love another man. Phineas was so kind. So thoughtful. Oh, yes, I know. I wonder why Oliver doesn't get home. I gave him the best 22 years of my life, always at his beck and call. Myrtle, please, dear, don't take it so seriously. Please? And another thing, Mary. Oh, excuse me, Myrtle. I think Oliver just came in. Is that you, Oliver? Yeah. We have company, dear. Yeah, I know. You lucky girl, Mary, having Oliver for a husband. You mean I'm lucky to have been married? Well, well, well, cousin Myrtle, I haven't seen you smiling like this for ages. I'm not smiling, Oliver. Oh, come now.  I was? Uh, I mean I was, huh? Yeah. Well, Oliver, I don't feel that way today. My heart is broken. Oh, well, it's nothing to worry about. Uh, Oliver, would you help me a bit with dinner? Huh? I'm late and I know cousin Myrtle will want a rest. You'd just go on like I wasn't here. Don't let me spoil your happiness. Even though I have very little, I like to see other people happy. Well, the paper is right there, Myrtle. I don't think I'm well enough to read, Mary. Well, you might get Junior in a game of ping-pong. You're going to have to do something with Myrtle. I am. I mean you're going to have to find someone to get her to take her to the symphony tonight. She has tickets and no escort. Well, that face, she doesn't need an escort. Oh, that's enough of that talk. There's nothing wrong with that face. She's a lovely girl. Now, wait a minute. Girl is out. That's the word that's been kicked around at all camp meetings. Well, she's only 46, Oliver. Yeah, but those depression years didn't do her any good. Regardless, I told her I'd see that she had an escort. She has to be there to present some medal or something. That's fine. Now, all you have to do is find an escort. Well, I'm depending on you for that. Oh, no, not me. Just a minute now, it's merely a case of taking her there and bringing her back. Back here? Well, she didn't say, but I... I was talking to the wrong party, Mary, but I'll do this for you. I'll try to find her an escort. Oh, you know how particular Myrtle is, Oliver. Well, now, look, if the escort is particular, she'll have to stag it tonight. Who did you have in mind? Oh, well, I thought I'd ask Homer Meister. Oh, no, not Homer. Well... Martha would pass out, Oliver. Oh, Martha's too broad-minded for that. I'll run over and ask him. Well, it's not right, Oliver. Well, it's Homer or else. He'll come through. Oh, look, Homer. I don't see no need of you going down to the corner and hanging around just because you got a new sweater. Oh, that ain't the reason. I've been tied down too much.  Well, there's lots you can do right here at home. Nope, I'm going, Martha. A father's got to be seen around down then. You coming home early? Well, I might. And then again, I might go way downtown. What do you know down there? Oh, nobody. Well, just remember this. I got the same right to be seen around as you have.  Someone at the door. Oh, go get it while I tie this tie. It's Anderson. Yeah. Come in, I guess. Oh, thanks, Martha. Gee, you're looking nice tonight. What do you want to borrow? Borrow? Well, nothing. Just dropped in to see Homer. Well, you better see him quick. He's going downtown. Hey, hey, neighbor. Come on in, Oliver. Well, well, well, what the best dressed man should wear? Hey, aren't those pants new, Homer? Yep, yep. So is the coat. Gee, hey. Match that yellow sweater perfectly. Yeah, you like them, huh? Sure, for a change. What do you want with Homer? Yeah, yeah. What's up, Oliver? Oh, nothing much. Had just one ticket for tonight's symphony, and I thought Homer might want to go. Alone? How many do you think they let in on one ticket? Hey, let him finish, Martha. Dagnabbit.  Oliver? Well, that's fine. Then you're in. How come you got only one ticket? Why? Hey, Martha's got a lot of stuff to do, Oliver. Suppose we run out to the garage, and then we won't bother Martha. Come on, Oliver. Now wait, Homer. Hey, you're saying the ticket's good, Oliver? Whoa. You heard what I said, Homer. You know, it's been a long time since I heard classy music, Oliver. Homer? I think Martha wanted to speak to you, Homer. Yeah, yeah, I know. She just, imagine, got two tickets. Well, maybe she could just go on over to my house, and you can meet the part you're going with. Yeah, whom I'm going with? Cousin of mine. Oh, do I know him? It's her. Her? Oh, now wait, Oliver. Oh, now don't start to apologize.  Nope, nope, not me. I'm a married man, Oliver. Got one of the finest women ever seen. Hey, how old is this girl? Old? Oh, I'd say in the neighborhood of 45? 45, eh? Eh, is she hefty? Well, no, I'd say around 140. Well, how come she wants to go with me? Well, she has to go with someone. I don't want a lady to go to a symphony without an escort. Well, well, no, it ain't hardly anything to do, of course. You love good music? Yep, yep, I do. Don't I? You'll have a fine time, Homer. She's a lot of laughs. Lot of laughs, eh? Yeah. Hey, how do you mean that? Oh, nothing personal, Homer. Just jolly is all. She'd probably think you're all right. Uh, nope, Oliver, taint right. I shouldn't go. No, no, no, wait a minute. Now, look at it this way. Here's this lonely girl. Everything is platonic. Oh, it is, huh? I sure and Mary could think of no one whom she'd trust with Myrtle like she would you. Oh, she couldn't, eh? Nope. Well, of course, I'm a dependable girl. She just wants someone to take her to the concert and she gets home unmolested. Yeah? You know, a pretty girl appreciates an escort with finesse and class. One who understands music. That's why I thought of you. Oh, you did, eh? That's your stuff? Come on. Yeah. Well, I guess, Martha, you would understand. Of course. And I sure like good music. Ah, that's the way to look at it. And I'm helping out a neighbor. And I appreciate it. Nothing wrong in it. You can't see what it'd be. Uh, well, okay then. I'll do it. Good. Oh, hey, you say she's 45, eh? I don't remember meeting Mr. Pilston, your boyfriend. No, Junior. He dislikes meeting people. Something happened in his early life. He just doesn't like to bring it up. Well, you'll meet him someday, Junior. Yes, I must bring Phineas over. He's fond of children. Is he tall? Rather, he's distinguished looking too, but he has a terrible temper. He doesn't know his own strength when he's aroused. You don't mean he's violent, Myrtle? Only when he's angry, Mary, but he's so sweet when he's happy. By one time, I merely walked to the drug store with a neighbor gentleman, mind you. Merely met him on the street, and Phineas almost got three years. But they couldn't prove he had brass knuckles on. Oh, Junior, dry those few dishes for Mommy, will you, dear? Ah, I get it. Here's all over now. Uh, come on, Homer.  Oh, yeah, yeah. Why, Homer, isn't that a new suit and sweater? Yep, yep, it is. But there ain't no reason making fuss over it. Taint the fuss suit I've had. Oh, howdy, Gal. Gal? Oh, I'm sorry, Homer. Meet my cousin Myrtle. Myrtle, this is Homer. I've heard so much about you. Yeah, I got a good report on you too, Myrtle. Oh, my. Where has this man been all my life? Never mind that. He's consented to take you to the symphony tonight, Myrtle. Hey, uh, Oliver. Uh, I just thought it's... I don't just see how I'm going to... Oh, come on now, Homer. It won't take but a minute for Myrtle to get ready. Will it, Myrtle? Oh, my goodness, no. You hold him till I... Are you getting a break, Homer? See where the lady wearing a fur coat? Yeah, yeah, I know. But you kind of misrepresented, Oliver. Huh? Boy, if I had a face like that, I'd nail a board over it. And she ain't gonna see no 45 again. Oh, no. Honest, Homer, she's just 45. And jolly. Well, I know it ain't gentlemanly, Oliver. And, of course, I agreed to do it. You did. But you didn't mention nothing about... Oh, boy, about that face. Well, now... And the fur coat ain't coming up that high. Why, Homer, beauty's only skin deep. It's the personality that counts. Oh, Tizzy. Mm-hmm. Well, all right. Well, wait till I see how she looks in the fur coat. Shh, shh, shh, here she comes. There didn't take long, did it? Why, Marta, you look lovely. Well, I do try to keep myself up. Ready, Pop? That's you, Homer. Me? Yeah. Oh, brother. Oh, yeah, yeah. Well, I just been thinking... Oh, come now, Hobart. Hey, that's Homer. Oh, yes, Homer. Yeah, Homer. You've made me forget my whole miserable day. All I see is happiness ahead. Ahead, eh? Well, of course, this is only for the night, you know. Oh, of course. Oh, well, we'll be back early, Mary, unless Hobart has some other plans. Ha, ha, ha. Oliver. Uh, we'll be Homer-y, believe me. Happiest I've ever seen, Myrtle. And the unhappiest I've ever seen Homer. Oh, I'll get it, Oliver. Probably Homer down the bus stop without his fare. Yes? Mary Anderson speaking. Hello. This is Finneas Philston. It's precious there. Precious? Oh, yes, of course. Myrtle. Well, no, she, uh... Oh, I'm angry. Oh, come now, Finneas. The world doesn't stand still. Myrtle must go on. Don't let me... To her about that. Good evening. Finneas? Right. Angry as a hornet. Good. Let him see she can get another man, and he'll hang around all right. Jealous is a wonderful thing. Oh, but he's angry, Oliver. So am I. I don't see why we have to always be caring for some of your wandering relatives. Well, this is what you wanted, isn't it? Well... Alone? Quiet? No one to bother you? It doesn't seem natural. At least Myrtle's gone for three hours. Now, it was nice of Homer to go through with the deal. What else could he do? Ah, boy. Oh, who is it? Oh, Mary! Mary, the awfulest things happen. Let me sit down. Give me some water. Give me some water. Goodness, sit down. Oh, what is it, Myrtle? Oh, Mary, it's Homer. You mean Homer. Oh, what's wrong with Homer? I don't know. Just as I was helping Homer on the bus, Finneas rushed up and... Oh, no, no, no. Where's Homer? I don't know. Sidewalking! I screamed and ran home! Now back to the Anderson family. Well, Oliver Anderson persuaded Homer Meister, a neighbor, to escort Mary's older cousin Myrtle to the symphony. Homer started out alright, but met up with Myrtle's boyfriend, Finneas Pilston, at the bus stop. So far no one has found Homer, and Myrtle is still determined to go to the symphony. So it looks as though Oliver will have to do it. But Oliver, Myrtle is sorry about everything. Did that help Homer? And Myrtle must be there to present that medal. It's our big moment, dear. Well, I asked Shulks, and he said no. I asked Chapman, and he said, Are you kidding? Shh, here she comes, Oliver. Well... Mary, already late! Look, why don't you phone it in, Myrtle? The men around here don't want to cooperate. But you can do it, Oliver! Myrtle! Yes, dear, that's right.  And I'll put on a little makeup. I don't know where she's gonna put it. There's no room on her face for any more. Oliver, please do this for me. I know how you feel, but it's one way to get her started. Oh, all right. This is doing my reputation no good. Oh, who's going to see you? After all, she does look nice. Okay, I'll go. But I wish I knew what happened to Homer. Well, I'll find out for you while you're gone. Now hurry, dear. Homer! If this guy's still in the leap and mood, he'd better look before he leaps. I don't like him just because he's connected with you. Well, I told you he had a temper. Don't see a bus coming yet, Oliver.  It's night air, you know. It's all of it. Is that man looking at you? What man? That smart-looking man there by the drugstore door. Oh, yeah. I see him. Oh, hi, Freeburn! Why, uh... Yes, excuse me, just a second. Mr. Briggs, fine fellow. Of course, go right ahead, Oliver. Well, what's on your mind, Briggs? Uh, I don't seem to recognize the young lady. Oh, young lady? Why, it's Myrtle. The stranger out here, uh, isn't she? Why, uh... Yeah, well, the first time I've ever been out with her. Of course, it's... It's not a bad business, but, uh... I chew kind of close to Hobart, is it? You mean with her? Yes. I was going to suggest. I'm going right downtown on the bus alone, and I'd like...  She's taking the bus, too. Say, do you like symphony music? I adore it! That's swell. You want to go with her? I... It all depends. Of course, she's an attractive little creature. Well... And for a coat and all. But, uh, has she got the ticket? Yep, she's paid for it. Come on over. I'll introduce you and then I'll bow out.  Oh, well... I'll be happy to do the same for you someday. Well, thanks. I mean, uh, that's all right. Come on. Oh, uh, Myrtle, it's an old friend of mine. Free band, Briggs. What'd she say? Uh, nothing. Uh, keep her up, Myrtle. But by goodness, she has a dibble, too. That's just the bottom part of it. I can't see you so well in this light, but you're a fine-looking lady, Myrtle. Everyone's so kind to me. Uh... What's happening now, Oliver? You're going to sneeze again. Uh... Two! Can't you see? Hmm... What's wrong, Briggs? Could I speak to you just a moment, Anderson? Uh, yeah. Excuse me, Second Myrtle. Say, is that her own face? Well, sure. What's wrong? I'm not taking the bus, Anderson. But she has tickets, Briggs. Not for me. I have to keep up a certain amount of prestige. Uh... When she sneezed, that was the last straw. That's Oliver! Well, let it go. There'll be another one along. So, seeing how things turned out, I've been you a pleasant good evening, Anderson. Now look, Briggs. I'm seated up, Anderson. Pointy-tokey, that little pipsqueak. Oh, I just know we're going to be late, Oliver. Well, the bus runs every 10 minutes, now don't worry. Remember, I'm just helping you out.  Well, I can't see anything if I do. I know, and no one will see you, either. What's that, Oliver? Nothing. Uh, wait a minute. Hey, wait a minute. Here's Slim Slipnickle coming. Oh, excuse me just a minute, will you, Myrtle? Don't leave me standing here alone for long. It's embarrassing for me. For you, huh? Hmm. Hi, Oliver. Uh, hi, Slim. Where you going? Well, I take the bus downtown and, uh, look over the ladies. I see. Uh, I think Mrs. Anderson you're with, is it? Uh, no, no, it's, uh, Myrtle, just a friend. Uh, how do you do it, Anderson? Oh, you know, fella has to do this sort of thing once in a while to make his wife happy. Yeah, uh, to what? Uh, look, Slim, uh, how'd you like to hear a symphony tonight? Uh, you mean music? Well, yeah, and a score of lovely ladies. Well, of course my check don't come till tomorrow. She has the tickets. Well, that'd make a difference, of course. Hmm? Hmm, cute looker, too. Sure dressed up good. That fur coat. Oh, you like her. She's jolly. Well, of course I don't want to cut you out. That's all right, Slim. She'll understand. Come on over. The bus's all over, hurry! Uh, oh, wait a second. What's wrong? Everything was all right. She stepped under that streetlight. Well, now, just a minute. You made a bargain with you. Liggle my arm, Anderson. Don't insult the woman walking out. I know you don't like me, but I didn't think you'd carry it this far. I just want to introduce you to the woman. Concert, wasn't it, Oliver? Yeah. Oops, it's Oliver. Huh?  I have to see someone. Just one humiliation after another. Well, what's wrong, Homer? What happened? Well, uh, lots of things. Hey, Phineas. Phineas? Now, now, wait, Homer. I'm a relative, you know, Phineas.  Well, now look. And Homer has told me all about it. Just a minute now, Phineas. I was just doing her a favor. And you, too. I don't want any arguments.  Well, yes, it ain't no argument at all, Oliver. Not at all, no, sir. Well... Now, look here, Phineas has acted real nice, like, since I went over him once lightly. Well, Homer. Now we're friends. Friends? Yeah, sure. He saved me from going with her, didn't he? Yeah, that's right. Well, I think we should clear this episode up completely, Mr. Anderson. That's what I want. I love Myrtle. That's your baby. With a love that's all enduring and strong. Of course, that's your privilege. And I'm the type who never does things by half. I will fight for her. I'll fight anybody. Wait a minute. You should let go of my coat now. You don't have to fight me. As much as I don't like you, Anderson. I would rather have your cooperation than any satisfaction I might glean from wiping off the pavement. Well, now just a minute. Wait a minute, Phineas. I'm not worrying about you doing that. I'm worried about whether you can get her to leave with you. Well, now look. I'll tell you how I handled the situation like this when I was young, brother. Oh, cut it out, Homer. This babe says to me, Homer, she says... That's not helping us, anyway. And I, I right away smelled a mouse. There's something beside a mouse who's smelling this whole thing. Oh, now just a minute. I'm, I'm finishing this story. Yeah, but is it helping Phineas? That's what I'm appointing out. This babe I mentioned, she come to North Plantsy. Wasn't, nobody can make a date with her. Real true blue, huh? True. Are you kidding? She was about as true as her $2 cornet. Well, sir, I said... Oh, look, Homer. ...marshup, will you? Quiet. Well, sir, this girl had a profile like a stack of wheat cakes and a fur coat. No, wait just a minute, Herr Homer. You're speaking pretty close about someone near and dear to me. And I'm getting mad. Look out, Phineas. Fighting mad, I might forgot now. Okay, okay. If that's the way you want it, Phineas. Here, Oliver, hold my sweater. I'll not. Homer, cut it out. You hold my jacket, Oliver. I'll fight her. Wait a minute, Phineas. Nothing is going to be gained by challenging Homer again. This all dissolves down to one thing.  Well, for years, I have worshipped her from afar. Oh, it's safer that way. Every waking moment, she's been on my mind. Well, have you ever told her these things? Well, no. Do you think I should? She wouldn't think me giddy. Giddy? Well, sir, brother. I don't think so. Are you Homer? Well, it's all in how you do it, Phineas. You got to look right into her face. Homer, look now, it's going a little too far. I think the sensible thing to do is just put your arm around her and look the other way. The other way? Yeah. Well, is there a special reason for that? Well, Phineas, yeah. You wouldn't want her to see your lip quiver, would you? By golly, I think you're absolutely right. Well, sure.  All these years, I've been afraid of a woman. Well, I know a lot of other fellows just like you.  Sweep her off her feet. By golly, I will never forget you for this, Anderson. Good. They will. How do you mean that? When you see us together again, we will be husband and wife. Well, good luck to you, Phineas. Just go on right in there. You ain't doing that guy a good turn, Oliver. That's the way you want it, Homer. If they get married and settle down, then she'll stay home. You know, I kind of feel sorry for him, Oliver. You feel sorry for him? After what he did to you? Did to me? Yeah. Why, he didn't do nothing to me. He didn't? He took me by surprise at first, but I kind of run him down that back alley at the drugstore. Well, you're pretty fast out on your foot. Yeah, and I whopped him good with my knuckles right off his nose. Yep. Backhanded him. Yeah, yeah, backhanded him. Then he'd give up. He'd give up, huh? Yep, yep. Just couldn't be mean to him, Oliver. What'd you do? Run him? Well, he winded him? Or what'd you do to him? Oh, I punched him right in the belly. Yeah, several times. Hey, but look, Oliver, look what he saved me from. Well, I guess I owe you an apology, Homer. You don't owe me nothing, Oliver. It's a thing like that that makes me appreciate Martha, you dag nabbit.  Nope, toward, Oliver. Finneers promised me that after he married Myrtle and moved into her house. Oh, yeah. He said he'd give me all the cement work in the patio. Well, now, that's reciprocation for you? Yeah, dog gone, nice one. I'm back here, Homer. I guess I'll go in and see the courtship of the Mastadons. I hope I'm not too late. Oh, Oliver. Huh? I'm the happiest girl in the world. Hello. Finneers promised to get the license tomorrow. And when do we get married? Oh, I'm so thrilled. Well, as well. How about you, Finneers?  She's so happy. Oh, good. Come, come, my sweetie. Let us go out in the moonlight. Where we can be alone? Huh? Oh, Finneers. You do care. Yeah, I do. Come. Let me carry your pocketbook, sweetheart. No more heavy work for my little pet. Nice. Good night, Mary. Good night, you two. Well, I hope you're satisfied, Oliver. They're happy, aren't they? That bans up to no good, Oliver. He's a man. That's all Myrtle has ever done. That's not true. Well, at least we accomplished one thing. She won't be coming over here so often. Poor Myrtle. Poor Myrtle. She's never been so happy in her life. Junior, what are you doing up? I couldn't sleep with all that noise. Well, I've gone now. What was Cousin Myrtle crying about, Mom? Because she's happy, Junior. Happy? I'm crying about it? Well, gee, I don't get it. Don't worry, Junior. Someday you will. She'll always blame me for this. Blame you. That Finneers doesn't know what to do. That Finneers doesn't know how to treat her. He doesn't? No. You heard him ask to carry a purse, didn't you? I don't want Finneers coming around here later saying he got a bad deal on that. Well, Oliver Anderson, she's my cousin. She's not a bad deal. Oh, well, I just got a side look. I've always tried to be nice to your side of the family. Gee, Pop, what's Mom crying about? Well, I guess she's happy, too. I'm not happy. Well, what are you, then? Here we go again, folks. The Anderson family is written by Howard Swart, directed by Herb Lytton, and features Dick Lane as Oliver, Louise Arthur as Mary, Walter Tetley as Junior, and Herbert Rollinson as Homer. Martha was played by Jacqueline DeWitt, Myrtle by Ginny Johnson, Slim by Doug Young, and Mr. Briggs by George Peroni. Music by Gordon Kibbey, sound effects by Ray Erlenborn, and your announcer is Ken Peters. The Anderson family is a Hollywood broadcaster's production, transcribed from Hollywood.