Hey, everyone, welcome back to Nintendo Prime. Today, we are to bring you all of Nintendo's sales updates. They're a big financial meeting. We got the total lifetime sale update for the Nintendo Switch itself, launch sales for Pokemon Legends Arceus, and so much more. Now, before I get into this, I want to remind you, we do have a giveaway going on right now for two copies of Mario Strikers' Battle League. This giveaway is for our kickoff event for Prime Gaming Fest on June 9th at 9 a.m. That is when the winners will be announced. If you want to enter to win one of two copies, so two different winners for this game, all you gotta do is head down and click on the link in the description or the pinned comment. I wish all of you guys luck. And if this is the first time you've ever seen a Nintendo Prime video, I would appreciate if you would subscribe. Now, let's just get right into the data because we have so much to get into. First up, the Nintendo Switch has shipped 107.65 million units as of March 31st, 2022. This is actually 4.11 million units shipped for the final quarter of their fiscal year. This is really, really good and really impressive sales in general. I am very, very happy with these sales, of course, and I'm sure Nintendo is as well. As you'll see later, they ended up selling, ah, where is it right here? They ended up selling 23.06 million units for the year, which is slightly ahead of their last projection of just 23 million. Now, we have all the updated software sales listed right here and I'm really, really, this is just awesome. So Mario Kart 8 Deluxe has sold now 45 million. That is a 1.98 million increase for the quarter. Animal Crossing New Horizons has sold 38.64 million, a 1.02 million increase for the quarter. Super Smash Bros. Ultimate has now sold 28.17 million, which is 770,000 plus units for the quarter. Legend of Zelda Breath of the Wild has now sold 26.55 million. That is 750,000 unit increase for the quarter. Pokemon Sword and Shield has now sold 24.27 million, a 370,000 unit increase for the quarter. Super Mario Odyssey is now at 23.5 million, a 480,000 increase for the quarter. Super Mario Party is now at 17.78 million. That's a 390,000 unit increase for the quarter. Pokemon Brilliant Diamond and Shining Pearl are now at 14.65 million units. That is 680,000 units for the quarter. Pokemon Let's Go. So this would be the, you know, let's go Pokemon, or let's go Pikachu and Eevee are now at 14.53 million. That's a 200,000 unit increase for the quarter. Rig Fit Adventure is at 14.09 million units. That's a 560,000 unit increase for the quarter. New Super Mario Bros. New Deluxe is at 13.31 million. That's a 590,000 unit increase for the quarter. Splatoon 2 is at 13.30 million units. That's a 620,000 increase since September of 2021 because we didn't have, we didn't really get unit updates for this before in the last quarter. So Pokemon Legends Arceus debuted at 12.64 million units. Luigi's Mansion 3 is at 11.43 million units. That's all 390,000 in the last quarter. Super Mario 3D World Plus Bowser's Fury is at 9.43 million units. That's an increase of 580,000 units in the last quarter. Mario Party Superstars is at 6.88 million. That is a 1.45 million increase for the quarter. Clubhouse Games 51, Worldwide Classics is at 4.22 million and they just give us a general update of 1.08 million since the March of 2021. They didn't give us any updates on it before. So, hey look, there you go. Metroid actually crossed a million for the year. The Legend of Zelda Skyward Sword HD is at 3.91 million units. That is a 60K increase for the quarter. Metroid Dread is at 2.90 million units. That is 160,000 unit increase. Still hasn't crossed 3 million. Come on Metroid Dread. I know we could do it guys. Let's get it across 3 million. That would be amazing. Next up Kirby and the Forgotten Land at 2.65 million. That's the full launch sales. Remember that launched right at the end of the quarter. New Pokemon Snap is at 2.40 million. That's a 40,000 increase although it doesn't have Japan sales because it wasn't published by Nintendo in Japan. Mario Golf Super Rush is at 2.35 million. That had a 90K increase for the quarter. Metopia is at 1.68 million with a 50,000 unit increase for the quarter. Big Brain Academy Brain vs Brain is at 1.59 million with a 310,000 unit increase for the quarter. Warrior Wear get it together is at 1.27 million with a 30,000 unit increase for the quarter. And Game Builder Garage is at 1.06 million with a 50,000 unit increase. Remember Nintendo does not really report on anything other than their million sellers. So if they have any other IP on Switch that hasn't sold a million units it won't be listed by Nintendo officially. So next up I wanted to focus on this Nintendo has listed an updated on its 2022 releases for Bayonetta 3. And you're seeing here that, hey, look, Bayonetta 3 is still coming out this year. Some of you guys might be wondering where are the rest of Nintendo's games? How come I don't see Mario Plus Rabbids sparks of hope on this list? Well, because Nintendo doesn't make that game that's Ubisoft. It won't actually appear on Nintendo's list in the first place. So you can still see that they're pretty rock solid here on these games with July 29th with Xenoblade 3, September 9th for Splatoon 3, obviously late 2022 for Pokemon Scarlet Violet and Bayonetta 3 is still listed for this year. This is pretty good news that Bayonetta 3 is still listed. This should quell any worries that Nintendo still does not have Bayonetta 3 in the plans. It's just a matter of what month that they want to drop Bayonetta 3. So good, good, good, good, good news for all of us. Obviously though, you look at this and you go, I think I have a little bit something after September besides just these two games, right? Well, I guess that's what a potential direct next month could be for. Next up, John Cartwright noted something really, really interesting here about the Nintendo Switch. There aren't more Switch consoles than there are Wii U games. So 107.65 million hardware here, only 130.48 million pieces of software were ever sold for Wii U. That is astonishing to see, like it's hard for me to even fathom that this is possible despite the Wii U not being a big success, but hot, damn. Now obviously, if Switch software ever hits a billion that will be really impressive as well. Now I wanted to show this next one because Nintendo wasn't the only one dropping their financials tonight. Sony was as well. So PlayStation quarter four results, so their final results for the year, they sold two million PlayStation 5s in the fourth quarter. Lifetime to date PlayStation 5s sold are at 19.3 million. They sold by the way around 11 million PlayStation 5s in the last fiscal year that, they're very, very, very, very heavily supply constrained, I would presume, because 11 million is probably not what Sony is hoping to sell, especially when you have Nintendo Switch authors selling 23 million in that same span. Anyway, they're at 47.4 million PlayStation Plus subs, which is actually down year over year. Digital software ratio is 71% of all sales are digital. 70.5 million PlayStation software with 14.5 million first party software this quarter. Sony doesn't give us the same exact details on a game by game basis as Nintendo does. So this is kind of what we're stuck with here for our knowledge base on that. So what do we really learn here? We learned that Nintendo is still killing it, that they still expect to sell 21 million units this fiscal year, which is absolutely insane. And Band Out of Three is still coming. Metroid Dreads, to me I'm a little bit disappointed Metroid Dread didn't hit three million. It's not really showing a strong tail of sales at this point. I do think by the end of this year, it probably will hit three million. But obviously some of us had some hopes that maybe it could push the four or five. It kind of looks like Metroid Dread doesn't have that evergreen effect that other Nintendo games have. That is what it is. You know, it always was kind of wishful thinking that Metroid Dread, even though being an amazing game, could have an evergreen effect because Metroid has never been an evergreen franchise for Nintendo. So maybe that's actually a candidate for a price drop at some point this year. I don't know, maybe it's just a hint, hint Nintendo. That might be the game that needs a price drop to continue to push sales. But you know what? I'm actually really, really thrilled overall with these results. I think Nintendo had a very, very strong showing. The fact that they sold more Nintendo Switch units than their last projection stated just by a little bit. Now it was only about 60,000 units more than they projected, but still that is more than they projected. And the fact that they're still projecting to sell another 21 million is insane because that means by the end of this next fiscal year, it should be right around 128 million units sold, which is pretty impressive. Now this presumes they don't end up having to shift their projections down. Nintendo obviously has been able to secure much more manufacturing than Sony. That much is clear. The fact that Sony could only sell 11 million PlayStation 5s in the same span that Nintendo Switch is more than double that. And we know Microsoft who doesn't obviously do their quarters based on the Japanese calendar. Microsoft has been ramping up Xbox production like crazy. They have thrown money after money, after money the problem. I've heard hundreds of millions of dollars thrown at the manufacturing issue to the point that they are flooding the market with Xbox series right now, trying to take advantage of the fact that Sony is unable to secure enough manufacturing to actually keep up with demand, let alone keep up with Nintendo. And now they're struggling to keep up with Xbox as well. Xbox is actually rapidly catching up to PlayStation 5 sales because of it. So kudos to Microsoft for kind of trying to take advantage of the fact that Sony is really struggling here. Because yes, we all know there's a lot of chip shortages in this and that, but a lot of it just comes down to what is the manufacturing that you can secure? And Nintendo is able to secure more than 20 million units being made per year. Something Sony is unable to do for whatever reason. And now Microsoft is taking advantage of that, throwing money at the problem and actually securing more manufacturing than Sony can at the moment as well. So very, very interesting to see that Nintendo, the current market leader, is having no problem maintaining the unit production momentum. And obviously Microsoft is throwing money at the problem to make sure that they are now coming ahead of PlayStation as well. It's gonna be interesting to see how Sony responds this upcoming fiscal year because clearly they can't sit there and let Nintendo and Microsoft gobble up all of the manufacturing lines and all of the chips and all, basically taking up all the factory space because that's just gonna keep pushing PlayStation 5 into this weird position where Sony is kind of like Valve's Steam Deck. Just lots of demand, but can't actually come close to making enough units. I'm very curious on this battle for manufacturing and the battle with the markets. Like basically Nintendo has all the lines they do because they threw a lot of money at it. Microsoft is now getting all the lines they are in manufacturing because they also threw a lot of money at it. Both of those companies are throwing the weight of their pocketbooks to keep these unit productions up, even though it might hurt the overall profit margins, although Nintendo's profits were obviously yet another record profit year for Nintendo, so they're not hurting. Nintendo is also the richest company in Japan and can afford to throw more money at the problem, maybe even then Sony can, so I don't know. It's gonna be very interesting. Obviously we have new factories opening up in 2023 that could solve some of this. It won't solve all of it until about 2025, I think, is when all of the new factories will be opened by 2025 and then at that point, there shouldn't really be any problems, but 2025 is a hell of a long ways away. So if Microsoft and Nintendo gobble up all of the new manufacturing at the new plants next year and Sony is still struggling, it'll be very interesting what's going to happen here. By the way, I don't think this is necessarily a good thing. I want all the companies to not have any problems at manufacturing, but this is cool. I'm really happy. These are really big numbers and I think as Nintendo fans, we should all be very, very happy. So thank you guys so much for tuning in and I'll catch you in the next video.


Alright guys, what's up? Welcome back to another video. Welcome back to the channel. Question and Answers video. So you guys sent in a bunch of questions and today I'm gonna answer them. I'm gonna get right into this video. First question comes from Logan. How long have you been skating? That's hard to say because I've been skating on and off.  Next question is from Javier Sanchez and it says, when did you start tattooing and do you tattoo in CA? I probably started tattooing about eight, nine years ago now and yes I do tattoo out here. I tattooed three days a week. Out here it's 12 hour days so that's like from noon until midnight three days a week. Next question comes from Aiden Sluber. Probably butchered your last name but he asks, how's Cali been? Cali's been great. It's awesome. I love it out here. So much freedom and opportunity in this country and it just seems like California is like this place you need to be if you're trying to do something. You know what I mean? Like I was trying to do stuff in Sydney but I don't know different vibes in Sydney. I feel like California is definitely the place that you want to be to be an entrepreneur per se. Next question comes from the Jet Black Wings and they ask, will there ever be an Enoch school photo deck? That'd be cool I think. I think it would be cool too but then I would put myself right in front of all the criticism and all the haters that are going to say, you copied FA blah blah blah blah blah blah so that would be a cool idea but I'm not going to do it because everyone's going to think that I ripped FA and haters love to hate. The next question comes from Radha Karani and he asks, favorite music? I can't really pinpoint my favorite music genre. I've listened to so many different genres over the years. It's hard to say like some days in the morning I could be listening to Fleetwood Mac and then that same day in the afternoon be listening to like Chief Keev so I don't really have a genre apart from like I don't really listen to like EDM. Alright next question here comes from, I don't know if I can pronounce your name, Matthew Zumbi and he asks, the main difference between Australia and California? I'm not going to go too into depth with this question because this is a topic I want to do for like another video. I've got a really cool video in mind but the main differences between Australia and California is definitely being in Southern California. This is the epicenter of skateboarding in the world so I'm privileged to be around the scene here and to be able to connect with different like-minded YouTube skateboarders and skateboarders and just people of that same scene. Whereas in Australia the population of Australia is much smaller so there's going to be less people that are involved in the skateboard scene meaning that there's going to be less people to kind of bounce off and collaborate with and work with so that's probably one of the main differences. The other main difference is the weather. It's rained probably three times since I've been here. It never rains here. The money lasts longer here like a $20 US note will probably last you the same as like I don't know $30, $40 in Australia so the money lasts longer here but then there's the tipping. You have to tip at most like city and restaurants.  That's probably another main difference. All right next question comes from first-rate skate and they asked what's the biggest culture shock you had moving to the USA? So not long ago I had my first experience at the urgent care. I went in to see a doctor, needed an x-ray and there's actually a sign so it's like a doctor's office. You go in, there's a waiting area, there's a reception, there's some TVs on the wall and there was a sign at the desk that said check out legit. It said check out like you were at Woolwerves or Coles or at the grocery store and you have to pay to see the doctor. So I ended up paying 95 bucks just to talk to the doctor and then I paid another 130 to get an x-ray and then I'm up for another $420 to get an MRI on my ankle. So yeah that's the number one biggest culture shock for me was experience how the kind of healthcare system here works. Next question is from Kevin Ramirez and he asks do you like Xavier Wolf? Yes I like Xavier Wolf, shouts out Sush Hello Water Boys. Next question comes from Danny Cabanas he asks do you FW the baggy pants trend in skating? I think yeah it looks cool. I've tried to wear baggy pants but for some reason when I wear baggy pants it kind of makes me look really short, makes my legs look short I don't like it so I kind of stick to like the normal straight leg. I don't wear skinny jeans anymore though I used to wear skinny jeans and skate but I think it's dope. A few people have asked me if I was going to get the pole of big boys and I said like no it's like I don't want to spend that much money on some pants like that. I'm sure they're dope but I'm just I don't know haven't really hit that that time in my life where I want to put on baggy pants again. I mean I used to wear baggy pants like that when I was in my grade four and listen to like Limp Biscuit and Eminem you know. Next question comes from Skateboard underscore swiper941 he asks Ricky from Braille went to Outback Steakhouse have you been if you so if so did you like it? Well funny story about Outback Steakhouse. Outback Steakhouse is actually owned by two dudes from Florida it's not owned by an Australian so that was a really funny thing that I found out but yeah before I was a vegan I used to be at Outback Steakhouse weekly I used to go in and get like dinner there like at least once a week back before I was a vegan. Next question comes from Jeremy Hampton sorry for pronouncing your name real. Are you coming out to NYC? I do want to come out to the east coast I really want to check out New York but I can't catch a plane right now in the country for reasons um so yeah I love to get out there and skate but I'm not going to drive out there because driving up to Washington and back was a big trip so I feel like driving out to the east coast would be like three times that so one day I'll be able to fly out there and it'll be dope so yeah. Next question comes from Peter Chavez he asks why do you like hockey boards? I like hockey boards NFA boards because of the shape they have that really cool shovel nose concave is really steep before I skated hockey I skated Baker and Deathwish and honestly Baker and Deathwish the concave is quite mellow and flat so jumping onto like a hockey slash FAA it's been rad because I just feel like there's more kind of pulp in the board at least for me anyway. Next question comes from Slimeball and they asks have you ever quit skating for like a year or more? So the longest I've been off the board one time was about nine months and the other time would probably would have been about six months so I feel like that's probably nine plus six that's more than a year so yeah I have been off the board for that long it wasn't all that one time though it was like the nine months I skated for a bit again then it was like the six months and then I've been skating from then until now. Next question comes from Dylan Green do you plan on staying in the USA long term? Yes I do I love it out here as an Australian being born and raised in Australia you don't understand the amount of opportunity and freedom you have in the USA like being in Australia it's kind of like a police state the government want to kind of control you I feel like I sound like a conspiracy theories but I'm just telling you living in Australia it's like super strict compared to out here there's so much more freedom out here you're not getting hassled so much for things from like the government or the police and whatnot well at least I have it anyway but yeah I do want to stay in the USA long term. Next question comes from David Hart and he asks what's one thing you miss most about your hometown or maybe something you took for granted back home not realizing until you came to the USA? Definitely the biggest thing that has hit that has hit me and made me feel homesick about my hometown is like waking up in the morning in Australia anyway you'd wake up in the morning you can hear like the cockatoos squawking and there's like cicadas outside and stuff you can just hear nature I guess whereas here you wake up and you don't really hear that I mean you'll hear the occasional crow every now and then but you won't hear cookaburras you won't hear cockatoos you won't hear magpies that kind of stuff so like the wildlife really hits me about my hometown and just because living in Southern California doing this kind of stuff it's very past pace you've got to be like ready to go out and get it like every day whereas living back home in Australia I was like a sleepy little town and I could kind of procrastinate more I guess and I wouldn't have to worry about having to like be on the ball every day whereas here I'm like pushing and pushing and pushing so yeah it's like the main thing team Tom jump and they asked what's your setup basically I ride anything between 838 to 85 hockey slash fa I ride independent 149s I believe that the standards are not the hollows I have Bronson Roars and Bronson G3s I have two setups they're roughly the same and the wheels are between a 52 to 53 millimeter 101 conical full conical shape that's about it and I think I have bronze hardware next question comes from emotive visuals I can't talk and they asked the tattoos you did on your homey was super professional any aspirations towards working out at or owning your own tattoo shop someday thanks man to begin with thank you um I used to want to own my own shop in my hometown where I used to live and like just go to work and like tattoo every day and live that tattoo lifestyle but I kind of got over it no offense to the tattoo industry I just got over it because I feel like I had kind of exhausted myself with the amount of energy and effort I'd put into pursuing tattooing which is fine but I started pursuing tattooing at a very young age I was like 17 18 years old I got my first apprenticeship in a shop when I was 18 and my experience with the industry wasn't the most positive so now I'm trying to like slow down a bit like I still can do a really nice tattoo and like draw and whatever but I'm not so like yeah man like ink masters whoo like yeah dude traditional whoo like I can do a nice tattoo I can draw I can put a nice tattoo on someone that wants to get a nice tattoo but I'm not like yeah dude like I'm going to be in this industry until I'm like 80 I'm going to own my own shop I'm just kind of like oh cool like whatever but um yeah I used to want to own my own shop but I don't anymore that's the long-winded answer to your question next question comes from Trey Gabriel and they ask do you miss your homies back in Australia yes I miss my homies back in Australia um it seems like the momentum that I had tried to build with my local skate scene and with my friends back then has kept building since I've left shouts out to Leon really really proud of him because um he jumped on the youtube thing he hustled it out got videos done he just hit a thousand subscribers so yeah super proud of you Leon it's really awesome to see you do this because I felt like such a black sheep doing youtube back in Sydney like especially youtube skateboarding um yeah people just weren't about it back then but now more people are kind of coming around to the idea and it's just opening other avenues to everybody so yeah it's awesome and I miss my homies back in Australia all right next question comes from Daniel Green what's up bro can you come back up to Washington and finish my arm dude come down come down to southern California I mean once you get back from your um training and stuff come down we'll finish our arm for sure next question comes from nobody 86 and they ask how do you deal with homesickness usually if I'm homesick it usually happens like once a week I'll feel homesick I'll chuck on some like Australian content I'll listen to like some Australian music like Australian crawl called chisel and then um yeah usually if I'm listening to that stuff watching that stuff sometimes I'll ring I'll ring my mom talk to my mom or like I'll just message them and my friends back in Australia that's how I kind of deal with homesickness but yeah dude the homesickness out here is real it hits super hard um yeah I don't know if you've ever listened to sticky fingers but that song Australia Street like when I hear it it like it just hits you know next question comes from Steven Welsh and they ask what is a good passing time you do other than skating I've been messing around with graffiti again because my ankles I can't skate to my normal ability so I've been messing around with graffiti again I've been riding my fix gear bike a lot more um that's about it riding graffiti and then riding my fixie so yeah next question comes from underscore dot time page dot underscore they ask favorite skate video my favorite skate video mind you I didn't really grow up watching skate videos like I wasn't I grew up not poor but not rich and not in the middle so I don't know where that would that have land me but I kind of only the first ever skate video I watched was um bacon destroy and it was because I bought it through like iTunes or something and that was the first ever skate video I watched I'd seen snippets of other videos like um what's that girl one and it was super crazy yeah right I've seen snippets of stuff online back in the early days of the internet but I never watched from end to end a proper skate video but my all-time favorite skate video it sounds a bit biased because it's from Australia but passport kitsch that's like sick just the skating just the music cut scenes editing it just flows so together it flows so together it flows together so well in a way that's like very authentic and Australia like you can watch skate videos the majority of skate videos are from the USA and I'm just watching kitsch it's like I can relate more because I can I know those what's in real life and it's sick to see people skating those spots but yeah favorite skate video kitsch passport if you haven't watched it go and check it out right now not right now but after you watch this video next question comes from still lost and they asked I know you're a vegan and I think I've seen you say no to drinking as well are you straight edge and what's your top three hardcore bands I stopped drinking when I was 17 I can't really say how long I've been completely so before because it'd give away my age but I stopped drinking when I was 17 living in Australia the drinking age is 18 so you naturally start to drink when you're like well I had I first got drunk when I was 13 so you're usually drinking from like 13 14 15 16 17 and by all by the time I was 17 I was like over it I couldn't skate the next day or so hungover had a bunch of pimples and it was just a gross feeling being hungover and throwing up and stuff so yeah uh what's your favorite what's your top three hardcore bands if we're talking like hardcore hardcore probably hoods it's a hardcore they're a hardcore band from Sacramento death before disona hardcore band from boston and then probably I'd have to say mad ball or no no sorry chromags and mad ball top three next question comes from sudyashi and they ask when you get thrown off your skate game for a day or so what do you do to overcome it so basically the more you skate the more consistent you're going to be the more natural you're going to feel on your board I used to skate about three times a week now I've been skating once a week because of my ankle I shouldn't be skating at all but I can't have myself anyway usually if you're if you're not feeling as your normal self on your board I'll just try to take it slow go back to your basics hit your allies hit your 180s hit your knowledge hit your 50s 50s hit your board slides just take it slow don't try to force yourself into like getting right back into your old kind of skate ability enjoy being out skating because honestly a lot of people don't get the opportunity to go out and skate it's either they don't skate they're injured they have to go to work or they're stuck at home with like their girlfriends or partners and they can't get out and skate so if you're being if you're able to like leave the house and go and skate that's awesome like you should really appreciate being well and being able to skate I'm trying to punch through as many questions as I can I don't want it to be a super long video next question comes from arjun storm they ask what does skating mean to you skating means a lot to me because I feel like if I didn't skate and if I hadn't skated at such a young age I wouldn't know who I'd become and just as who I am as a human I feel like skateboarding has taught me a lot of things that are good things you know so yeah that's what skating means to me kind of it's a guide I feel like it's like a guide for my life in a way next question this is a good one comes from noa syvenka advice for a skater living in quiet Australia all right now this is a tricky one because I'm not too sure whereabouts in Australia you are from but if you're skating in quiet Australia I'm gonna hope you have a local park and I'm gonna hope that it's a decent local park I want to say decent at least it has a flat ledge a flat bar and a quarter pipe because that's kind of the basis of what you need my advice would be to you kind of have to push yourself yourself in that way I mean I don't know if you have friends to skate with out there but if you're skating majority majority by yourself it's going to be tough so the more stuff that you look at online that's going to be the scene for you is to be able to look at Instagram YouTube watch people skating there and then you're going to have to apply that energy to your skate sessions and it's not all bad though I mean I used to skate a lot quite a bit so I'll write in my phone tricks that I wanted to learn and tricks that I wanted to progress on and I would just tick them off the list so that's some advice you could make a hit list of what you want to try to learn or what you want to film kind of that thing but um yeah it is tough dude next question comes from sara and they asked what got you into skateboarding so when I was a small little boy my dad had VHS recorded a snippet of the news I think it was like channel 9 news and it was like the last section before the end of the news program and it was about skateboarders in New York and I feel like it was Brooklyn banks are skating at and these dudes are just ripping and I was like mind blown because before that I had a skateboard but before that point I didn't know that's what it was for I just thought you rode the skateboard like you just ride your bike up and down the driveway when you're a kid so I've seen that video and then um the coolest thing from that video I seen was the guy was talking to the news anchor and he's like yo I gotta go gotta catch my bus and then this bus like pulled out of the street he threw down his board asset dropped off the gutter and grabbed the back of the bus and like sketched the bus out of the frame and I thought it was the coolest thing ever so that's what got me into skateboarding something from the news next question comes from tylo pulse and they asked what is the idea or meaning behind your brand evening what made you want to go that so basically I chose the word evening to run with because I like the evening time like when the sun's starting to go down you get all those cool colors in the sky and usually if you've been out skating all day with your friends your body's tired your body's releasing the dopamine and you feel kind of you feel really nice you feel really relaxed and you feel kind of I don't know it's hard to put a unless that's happened to you out skating you've been skating all day with your friends you see the sun going down you get those endorphins it's hard to explain but that's basically why because I like evening time and it's an easy word to remember evening and it's simple so people aren't going to forget what it is instead of having some crazy brand name like or something like that it's just like evening it's simple it's effective and everybody knows what evening is next question comes from the homie janik ever in Germany he asks what's your way to overcome hesitation you have to break through that wall like you fray down your board and then just about when you're about to get to that point where you need to start thinking about popping onto a rail ledge popping out of a quarter pipe anything there's a wall and you kind of have to push through it it's kind of a it's true but as it sounds it's kind of a blind faith thing like you know your own body you know physically what you can do skateboarding um you just have to kind of push through it and then hope for the best nine times out of ten you'll push through it get on and the outcome won't be as bad even if you bail the outcome isn't as bad as what you think in the in your head is going to be so you've kind of just got to force yourself per se through it i don't really have that's how i do it anyway um next question comes from marco check on they asked what inspired you to make videos basically i had a lot of time in my hands in between jobs i'd been watching a lot of youtube i'd fell down the skate youtube rabbit hole and then i tried to look for a strain skate youtubers and back then it was none and i was like ding why is anyone else doing this i should do this so that's what got me into making videos next question comes from jude chats out jude jude from texas and he asks what are some things you recommend doing such trying when you feel stagnant in your progression of skating if you feel stagnant in the progression of your skating that means that you're not looking at skating enough you're not watching enough skate videos you're not watching enough skate content um you need to pick tricks you want to learn dude like i prior to before dan told me how to blunt i was scared to doing blunts and i wanted to learn them because they look cool and i was like you know what i'm just going to spend my time and i'm going to learn how to do the trick so definitely progressing it's kind of a double edged sword because it's like you feel stagnant because you're not progressing but the only way to feel better about skating is progressing so you need to push yourself to progress in a way so all the scary tricks you want to do they're the ones you've got to work on next question dude i think i've smashed like most of these questions out next question comes from beanie kellaman and they ask face tattoos yes or no i mean i've tattooed a bunch of faces it's nothing new to me personally i probably wouldn't get my face tattooed because i just don't think it'd suit me i have too much of a baby face to get my face tattooed i look kind of i don't know i look kind of strange leave the face tattoos to the people that like look like gnarly they look like they can rock them i'm i'm too baby face to have a face tattoo if you guys want to ask more questions i could probably do another one of these down the track so yeah shout out for hanging out all the way to the end of this video hearing me answer all these questions and listening to my terrible delivery delivery of speech yeah follow me on instagram at enarkism follow evening mob join the mob today evening mob.com go grab one of these sick t-shirts it's about it guys cheers for sending me in so many questions to answer that was fun had a lot of fun i need a drink now because my voice is dry but yeah hopefully i'll catch you guys in the next video cheers for watching


From Hollywood, it's time now for... Johnny Duller. Joe Restillley at Homicide returning your call, Johnny. I've uncovered a couple of items on the Harvey Stone killing Joe. Good. Let's have him. Remember Alvin Gentry? The crank who made the fake confession in my office yesterday. Yeah, what about him? Looks like he's not a psycho after all. What do you mean? I just found out he's a friend of Helen Barrett's. Well... Yeah, I gotta admit my hunch about her innocence just took a nosedive. I also learned that Harvey's secretary, Martha Winters, used to be his girlfriend. Yeah, I'm up. Did you want to make a statement? You want to hear it? You bet I do. And every weekday night, Bob Bailey in the transcribed adventures of the man with the action-packed expense account, America's fabulous freelance insurance investigator... Joe Restillley, Johnny Duller. Expense accounts submitted by Special Investigator Johnny Duller to the Home Office, Northeast and Demnity Associates, Hartford, Connecticut. Assignment, the imperfect alibi matter, location, New York City. Expense account continued. Item 10, a $1.40 cam from my hotel to police headquarters. Martha Winters, secretary to the murdered man Harvey Stone, was in Lieutenant Joe Restillley's office. She was a blonde.  He could really pick them. Mr. Dollar here, which you just told me? No, not at all, Lieutenant. You see, Mr. Dollar, I have a small apartment in the same building as Mr. Stone's apartment. On East 57th? Yes. Harvey, as Mr. Stone transacted most of the business at his apartment more than the office when he was in town. That's mainly why he kept the apartment. And we felt it would be more convenient for me to be nearby. I see. Well, the night before last... It was the night of the murder. Yes. I'd been out to a show. I got home about 11.30. Go on. I saw Helen Barrett walking toward Mr. Stone's apartment. What? You sure about the time? Well, not right down to the second, of course, but I am positive it was within five minutes of 11.30. I see. Well, why did you wait until this morning to tell us this? Well, I... Come on. Let's have it, Miss Winters. Well, naturally, no one likes to get mixed up in things like this. I didn't want to make trouble for anybody. Helen Barrett always seemed like a nice person. But Mr. Stone was my employer and my friend. After thinking it over, I could see what my duty was. You say Harvey Stone was your friend. Was he anything more than that? I don't think I know what you mean, Mr. Dollar. I think you do. I understand that at one time you and Harvey were planning to be married. That's true. But that's all in the past. Oh. Yes, we decided mutually that it was a mistake. We've been friends ever since, but nothing more than that. I see. Well, heard enough, Johnny? Yeah. Okay, Miss Winters. That'll be all. Thanks for coming in. We'll get in touch with you again if we need any further information. All right. Anytime, Lieutenant. Well, Johnny, according to Martha Winters' statement, Helen Barrett was in Harvey's apartment at the approximate time of the murder. We know it was somewhere between 11.30 and midnight. Helen said she left Harvey's apartment around 11 to go home and pack. They were going to a lope. When he didn't come for her, she got worried. She went back to his apartment around midnight, found him dead. But that story won't hold water if Martha's telling the truth. Yeah. If. You don't sound convinced. Are you, Joe? Ah, I don't know, Johnny. I don't know. It's a pretty nauseating shortage of facts in this case. Nauseating's the word for it, all right. No, I mean literally. When I get one like this, my stomach starts acting up. Joe, what have we got in the way of facts? Well, number one, Harvey Stone was shot in the forehead with a 38 Smith and Wesson sometime between 11.30 and midnight. Yeah. And even that fact got twisted around yesterday by Alvin Gentry when he made what he called a confession. He said he shot Stone in the chest with a colt 45 and threw the gun in the river. Yeah. You told me you'd found out he was a friend of Helen's. His confession doesn't look good for her, believe me. I know. But I can't seem to lose my hunch that she's innocent. Look, Johnny, I don't blame you for trying at your job. What do you mean? Harvey Stone was insured for $150,000 by the company you represent. Yeah, that's right. OK, as Father E.J. Stone and his young stepmother Daphne are the joint beneficiaries. Now, if one of them should turn out to be the murderer, your company wouldn't have to pay out. Wait a minute, Joe, wait a minute. I think you know me well enough to figure out a lot rather see that company pay through the nose than convict an innocent person. Sure. But just about everything, we've got points to Helen Barrett. Just about, but not quite. For instance. For instance, Harvey's father, E.J. Stone, he thought Harvey was running the business into the ground. He didn't like it. He also didn't like the fact that Harvey and his stepmother were pretty friendly. Man, wheelchairs liable to resent a lot of things. Yeah, that's just the point. E.J. can get out of his wheelchair when he wants to. I saw him out of it yesterday. Sure. Then there's Daphne herself. She opposed the idea of Harvey marrying Helen. Said she wanted to protect the stone name. But that sounds pretty fishy coming from somebody who used to be a chorus girl herself. Did you ask her about that picture of her? You spotted in Dutch Krieger's office? Yeah, she said that was all in the past. But I wonder. Dutch got kicked out of a business deal by Harvey. He wouldn't forget that, and he's a tough cookie. And there still could be a connection between him and Daphne. Here we go again. Could be. OK, OK. So I guess what it all adds up to is just that I kind of got myself sold on Helen. Sure, I've been sold on people, too. Sometimes it's ended up costing me. So now I just hold back and don't make up my mind one way or another. All right. It's turned out to be a pretty good idea, too. Why don't you try it, Johnny? Expense account item 11, a double martini for me. Well, I thought over what Joe Rusteliot said. Sure, it was good advice not to get too sold on people, but it didn't help me much at the moment. I still couldn't believe Helen Barrett had killed Harvey's stone. But I had to admit that if she wasn't the killer, it left a lot of things unexplained. For one thing, Alvin Gentry's fake confession. It sure looked like he was trying to shield her. I checked and learned that he managed a supper club where Helen used to sing. I decided to have a talk with him. I found him on a corner table. Yeah? I'm Johnny Dollar. Gentry, we, uh, we met in Lieutenant Rusteli's office. Yeah. I'd like to talk to you. What about? About the Harvey Stone killing. There's nothing to talk about. I don't agree. I think there is. I made my confession you guys didn't believe me. Well, now that's because you got a few of the things wrong, Gentry. One interest me now is not your confession, but the reason you made it. What do you mean? When you said Harvey Stone had been making a play for your girl, a hatchet girl, wasn't it? You, you said that's why you killed him. So? So you said you didn't know Helen Barrett. I don't. But you're lying. Look, darling.  She used to go with her, and you were waiting in her apartment the night of the murder when she left Harvey's and came home to pack. Well, how about it, Gentry? Okay, so I do know Helen, but she didn't kill Stone. How do you know? She couldn't have. She's not that kind. Oh, sure. You were waiting in her apartment that night. Why? I wanted to see her. What about? She used to sing here. She drew good crowds. I wanted her back. What kind of a mood was she in when she got to her apartment? What do you mean? Well, did she talk about Harvey Stone any? Did she seem mad or upset? I don't remember. Cut it out, Gentry. I want straight answers. Well, I guess they had a little argument. What about? I don't know. Anyway, it doesn't matter. Helen didn't kill Stone. She was... She was with me. You mean for a few minutes at her apartment? I mean longer than a few minutes. She was with me at the time of the killing. Now, look, Gentry. I know you're trying to help Helen, but believe me, this isn't helping her. First, you make a phony confession, and now all of a sudden you're giving her an alibi.  You can say that again. But I realized later it wasn't necessary. I realized that Helen had been with me at the time of the killing. You're going to stick to that story? Sure, I am. Under oath? Under oath. Perjury's a pretty serious thing, Gentry. Perjury's pretty hard to prove, dolly. One thing seemed pretty clear. Alvin Gentry was apparently convinced that Helen had killed Harvey Stone. He was doing everything he could think of, even perjuring himself to shield her. And the more he scrambled, the worse he began to look for her. Then, too, there was the statement of Martha Winters, Harvey's secretary, that she'd seen Helen returning to his apartment that would put Helen back there during the time of the murder. I still wasn't completely convinced that Martha Winters was telling the truth, so I spent the rest of the afternoon checking on her to see what I could find out. And a couple of things I found out were pretty interesting. So interesting that I decided to try to run a little bluff on her. Hello, Martha. I'd like to talk to you. Well, I was just on my way out. Well, this won't take long. Please, come in. Thanks. It's about that statement you made to Lieutenant Rustelli this morning. Well, I really haven't anything more to add to it, Mr. Dollar. Look, I'm sorry, but I have an engagement... Yeah, you told us this morning that you and Harvey Stone used to go together. But you called it off and were just, uh, friends after that. Yes, that's right. Now, look, Mr. Dollar, I... But that isn't the story I picked up at the office of the Stone Corporation a while ago, Martha. The office? Now, what right of you to go snooping around that office? Sorry, Martha, but snooping's my business. You know, you pick up a lot of interesting information that way. Well, if you're going to listen to office gossip... For instance, I found out it was Harvey who called off the deal with you. No.  There've been a couple of nasty scenes about it. That's a lot. Matter of fact, once or twice, he'd almost made up his mind to can you, but each time he decided not to. Lies! Lies! All of it! Okay, okay. We'll let that go for a minute. Now, about your statement this morning... Mr. Dollar, I haven't time to stand here and repeat what I've already said. That's where you're wrong, Martha. You've got time to hear this. You'll take time. Well, what is it? You said you saw Helen heading for Harvey's apartment at 11.30. Yes, I did. Where were you at the time? Why, here? In your apartment, here? But your apartment's around the corner of the hall from Harvey's. How could you have seen her from here? Well, I didn't mean I was in my apartment. I was at the entrance just coming in. The front entrance, huh? Yes. But Helen came in the side entrance. You couldn't have seen her from the front. Fine. Anyway, I hadn't reached the front entrance yet. I was outside. Sorry, Martha. The doorman and the cop on the beat both would have seen Helen. I dare you. You lied, didn't you? No. You didn't see her at all. Well, it had to be Helen. She's the one who killed him. I know she did. You lied, didn't you, Martha? But it hadn't been for her. If it weren't for her, maybe you'd be Mrs. Harvey Stone, huh? I didn't mean that. I meant Harvey'd still be alive. I just didn't want her to get away with it. You lied, Martha. You didn't see Helen at all. Yes, I lied, Mr. Dollar. Yeah. My bluff about the doorman, the cop on the beat and Helen coming in the side entrance had paid off. Looking at Martha, I didn't exactly feel like giving three cheers about it. But one thing was clear, though. The Harvey Stone murder case had just busted wide open again. Here's our star to tell you about the final episode of this week's story. Tomorrow, the wind-up. A gambler sticks his life on his hand and loses. Join us, won't you? Yours truly, Johnny Dollar. Today, Johnny Dollar starring Bob Bailey is transcribed in Hollywood, written by Robert Reif. It is produced and directed by Jack Johnstone. Be sure to join us tomorrow night, same time and station for the next exciting episode of yours truly, Johnny Dollar, Roy Rowan speaking.


Hi everyone, I'm Joe for jasmuscasewakes.com with another one box break of 2022 Panini clearly Donnerous football. Random division break number 14 with an early bird spot giveaway if you weren't in the first five spots taken. There's four and there's five. Good luck Tristan and Tice roll it randomize it four and a five nine times one two three four five six seven eight and ninth and final time yeah Tristan definitely have the odds on his side after nine you get the extra spot let's randomize you a division we'll put the results right there roll it randomize it snake eyes two times easy one and two Tristan down to Tristan snake eyes for the divisions one and two NFC East down to the NFC North alright Tristan NFC East and AFC East Matt with the AFC South Tristan NFC South Logan AFC West Tristan AFC North Tice NFC West and Tristan NFC North it's alphabetized by division and any trades just a quick little one box break I'll leave the video running see if anybody mentions any trade commentary another one box break is up if you want to check that out jasmuscasewakes.com no no whispers I have a whisper of a trade trade window going once trade window going twice TWC trade window closed here's the final print out right here in this division break thanks everyone might have to change that toner pretty soon printing a lot of lists all right let's see what we have here redemption that's that's the autographs any guesses on the redemption for bragging rights so Wilson here's a Tyler Algier to 175 NFC South Tristan oh and a Brock Purdy rated rookie card nice that goes to Tice and the NFC West good time to get this one of the favorites probably by now the favorite for for MVP I would think Garrett Wilson nice Kenny Pickett out of Pierce Romeo Dobbs not too bad with the Kenny Pickett AFC North Tristan hopefully Kenny Pickett gets healthy bounces back Garrett Wilson not too bad at all Breeze Hall those are for the AFC East for Tristan he's had Tyler Algier another numbered card all right redemption we use that blank card right there good luck everybody it's gonna be a clearly rated rookie autograph blue D a Dan Damien Damien Pierce there's Damien Pierce that's a you just had a Damien Pierce right that's Texans I think there he is Texans AFC South that'll be from Matt last spot mojo strikes again 70% of the time last Bob mojo hits 100% of the time there you go gang I'm Joe for jaspyscasebreaks.com the Brock Purdy hunt continues we do have another one box break loaded up so check it out jaspyscasebreaks.com bye bye


Welcome to JSA TV and JSA Podcasts, the newsroom for telecom and data center professionals. I'm Barb Mitchell, coming to you today from Monaco, where we're together in person at DataCloud 2022. And joining me is Patrick Giangrosso, vice president of MCFI. Could you tell us a little bit for our viewers who may not know? I mean, I'm sure they all do by now, but for any who may not, can you tell us a little bit about MCFI? Thank you. So MCFI is an organization based in Austin, Texas, specializes in data center retrofits, data center upgrades, but recently been doing a lot more in the data center space with turnkey solutions, easily deployable containerized data centers, high density data centers, and then around pre-engineered, pre-designed data centers with low cost of deployment around 8 million a megawatt and can be deployed in a significantly shorter period of time than most data centers. So for people who are really just trying to get to market quickly with a small footprint. And so you mentioned deployments. I think you've had a lot of news this year already on some of your advancements and announcements and deployments. Tell us a little bit to give us the highlight reel if you can. Yeah. So one of the deployments we've just recently announced was with BBT in Midland, Texas. It's our genius design, small footprints of half megawatt data center. They can expand it to a megawatt over time. And it's really for their clients in the Permian Basin that are looking to measure, monitor, and control their energy deployments throughout the Permian Basin. So that's one of them. Another one is yet to be announced, but it's with a client that who's doing file coins sort of applications, Bitcoin mining, and it's high density in a container, 500 kilowatts in a 58 foot container that can be deployed in 20 weeks. So from the point of go to the point it's going to be deployed, it's in 20 weeks ready to go out in the middle of nowhere. Impressive. And also I see something in your hand. Do you want to tell us about that at all? I think that you are now a best selling author contributor to the greener data. It launched on Earth Day just less than a week ago. It's already a best selling book for our industry. And we're quite proud of all the great thoughts in it.  Can you talk about that? Yeah. So number one, thank you, JSA for really pulling everybody together and getting this done. I think five months and it was from get go to publish to a really good idea, really good concept. I think I'm chapter five. My English teachers are all on the ground, didn't realize I could write as well as I do. But yeah, I'm really excited about it. And it's the whole idea around the sustainability and measuring and monitoring and a way to really report on sustainability and how we're not there yet. But I think with the announcement of I-Masons and a few other people we're getting to where we can measure, monitor carbon output and really be common around what we're talking about and have a goal to reach. And I think that was a key part of this. It makes that it'll help grow sustainability and grow carbon reduction. MCFI has really kind of tried to do that from their concepts with our microgenius solution, which is a solar-based microgrid that uses solar as the primary energy source. Lithium ion for right through at night and then fuel cells for when the sun is not there and you're right out of the energy on the batteries. So a very sustainable solution. You can use green hydrogen if you can find it. Otherwise you start with something a little something else for hydrogen back up and alternatively move into green hydrogen at a later time. So great to have you contributing to that and I agree it is you know there's a lot of energy around that at this conference right? It's nice that this lunch just in time for data cloud and it's been such a big part of the conversation here this week and it's so great that you're a part of that. So you know thank you for the work that you do there. Anything else you want us to keep our eyes out for with MCFI as you know the year progresses? Yeah I think you're going to start seeing more of I wouldn't have said this a year ago but the containerized data center and really driving density and energy efficiency I think you're going to see more of and I think this idea around being able to deliver a data center quickly in smaller footprints is something that's really coming. You still have the cloud guys building big but it's coming with AI and machine learning at a lower level and I think what we're doing there is really going to help drive the industry forward. Thank you so much. Thank you for joining us today. It's nice to see you again. I mean we saw each other a couple of months ago at PTC but it's nice to see each other again. I know they've been we've been pretty fortunate but yeah yeah so thank you thank you very much and thank you viewers for tuning in to JSA TV and JSA podcasts. Happy networking.


Er, zato... ... prepare... ... ... in jih posebno tem bezpoči so kot prič tega oč unfortunately called the individual, and it involves things like a bdf about that big war and presentation or just something obješčen, da je prav, da je to različno. A zelo je, da je vse izvedno, da je to odrečno. Tako, da je to odrečno. I to je, da je začeno. Tako, da je početula, da je to priplizivačna, da je priplizivačna, da je počet. Značili smo z소�pljučne, imamo mestu Vihamo in izpočimo lepšje, ki se pripravil prijez可能 nr. 3, TEM SP, strijačno izintense mnačenje, in prijez je postožite površen, kako je ječe smetmil, počeli mora ještje, kako iečeste nučnje naša ušličnje splašen´t,ako je ještje, ko ještje, kako se nakršeš nočt, pa, skaj užit Sleep on ZDN.   Here we have a very good There we have a Very good There we have a Very good There we have a Very good Yeah I was Gov'e Yeah I was Gov'e Yeah I was izvečne začene, da ne je hodnje komod izgovorjecne, bojo inoče odveljno prikstellnje, ale da bom invented tudi, in idete drugi komod in postage na dativki tega. Proste, sem vse tega in tudi vse začena, in več zelo jaz v Pozivni, da je ni v stavnih vsega, da ogledajte obzela, in bilo, da je to prijačjel. In bilo, da jih imaš umelju v modi, vzpešlja všečga moja kratjih. In tako tako, da jih je bilo, ne bo še, da noga je, da jih imaš umelju vštej, tako, da jih je všeč jih zelo vrte. Njak. Až bo spes whipped mače, vse wej. Na trac, moče ga So this challenge the first thing, it was for my ability of accessibility and having a small little foundation on photo that can do this extension on in general and specifically require some sort of extension on. zelo, kako se je obč autosočnia z nalnehoj sezprav. Selesaт je nalnehoj sezprav, ker je je zelo ovo COVID-19. Zelo, zelo to boaked vni bani. Zelo, kaj je joka se mozi, ampak je še mezalenozno. Bez vlošena. Prvi, kaj je ta, zachejnjel se vse droženo zelo. Je občas , na podobno, ... in in the right after saving, the upending software where we are in that file, and do something in that file. We have the power, the AI, the command and the Z. And finally, right after the files is completed, these are parts. That means we are already trying to unproved it. And in that case, it is based on time to synchronize the files to the files. Kaj je bolj in vse svoj ob scans. Aha, je z risky, bojmo, ki jo? To je lahko. Še je konec, če sličajo. Surizm. Tam je ten pomembno, da je kotastic, če nju najvešle, več smakaj, nekako je zelo, ko je tvoj bolj. Tako, minut, in vseto. Taj, as ed, na izegene Это je o revoljne xibe, kako ngovorilek na stahle, na srečnosti, pa je aseština, kako je kot račaj, si tudi kakal ngačurje in tukaj pa tukaj prindavan nekaj nekaj poslade o naših stahle. Pizdajem, kako ngovorilestim, To je dobro. Prej se zelo. Prej se je vse delno počelila, ki se quazite, zato je to vročnje, vse je zelo, tako naredite, tako tako zelo, tudi ta vzelo. Tako, zelo, lahko vzelo, tako zelo, tudi ta vzelo, vsak ono izvedan, ko želi imati na Zenon. Kaj je dokazin postojevac, da je sva nješte, čutak, kaj je. Sva nega, ko je. Ki zelo neskup, ki včak je, ki jeh zelo... Nezavrano namenj, ko je dolga, ki me začati, da ne zelo... Nezavrano, da je... Po koncu, ki bo neskup, da je tukaj... Ale, kar... po neko zelo ... Or, for a few other cases, and for those I had to pick something to assume, and the answer is about form, and so on. So, as I mentioned, there are three different types of underneath objects, and luckily it's not a good class, but underneath is what, this is three different implementations in the underneath object menu. So, in case of other object, we have a little object, and perhaps we will use it for some later. So, we have the only embedded object, which has many data, but we are trying to use it as an application to show the data to you, like, I don't know, PDF reader, or Microsoft Office for Microsoft, or so on. Then we have this common embedded object, which is common, as in, it's available on the right or on the left. And then we try to create a document model of R and R, and below it is a little bit like that. Then we have, the last idea is with dummy embedded object, where we use the only embedded concept, and we just say that we have a replacement bitmap, and we have some packet random data, and we don't know what to do with it. See, the most interesting part is when it's an actual embedded, embedded, where you have some sort of artist of course, and a nonformat, and you really just have a very low working system that can you handle this model for me, and it does work. Look of a Z-walking, some application, where it's compact, and we have no knowledge about that. This works on the other part, it has a long list of layers, and all of the time we have to correctly see that at the end of the resource is what they expect. So the situation is that if by this one you buy a long list of random products, and they put each of them in the order that they know, and that you close the box and get the contents of these. But, see, it's a bit tricky. So of course there is the same point. It contents, and it's a package, and it's a compressor package. And then you send it there, and you have the record of the document, which is somewhat different than that, as a child, along these, and somewhat different than that, you have the XHT1. Now, the XHT1 fragment is constructed separately, so you can write on it, consume it, what that may contain under the project. So you have your XHT1, and you have your region, the reference XHT1, and you have some native data, referred by them, but it doesn't. That native data can be an RTF format, and the RTF format can have a markup of three persons under the object. RTF format can markup to be for the only one object, so you can have a tag for the only one company in the world. So you use stories that identify, where you say it's not really an only one, and now this is only two companies. And for only two companies now, we find an aquagora from Microsoft, a binary format, so it could be somebody, and then, blacked it, it could fit that. We have a region, where it's hard to do all the other products. And all of these has to work in both directions, so you have to open all these bags, and expect the right amount, and the format of information to pass it to the next layer, and it's working, and you can modify the document, if you want to do it in the other direction. And then it's working. So what was, or perhaps quite tricky, is how to have the RTF documents to be only two containers, which is really designed for the actual format, but they can be ordered in person in these four-block filter. So what I have to do is separate that through the bit, and then I could choose that in the right amount, and they should work better. So in terms of testing, this feature is about making point something, that you don't have to fix that task. So you do the clean amount of change, just so that the task passes again, and then, this is usually working, and not finding a task. But on the bench, it's useful to write tasks. So first, I focus just on any one task, and there is a dedicated RTF pollinator that you can possibly work with, and then, as a result of that, I try to write additional requirements for RTF. I say, this is more like an integration of the new task, and I did most of the work while using the large copies of existing RTF files. I do that to write a saved up blog, and then I use this one and once that was working, then I just used both to find our task manager missing, and we already had to see the test fields for the HTML export vector, so I could just use the framework to go with it. So, as usually, this was the first task, so it tends to be done from the minutes. So, this was useful for the browser community for, we said that it was possible to separate the general translation from the RTF site, probably the general translation is something that HTML filter is not done, it means some little new features here are done, and previously for the RTF HTML export it's hard to change, hard to finish, and there is this alternative implementation where it's on a C++ code, and we know that C++ is in line in this news. So, thanks for listening.


Blessings upon the father of virtues of Fala Abbas, Aisam, and today, insha'Allah, we are going to be doing some lamentations on his tragic, tragic story that touches so many of our hearts just because so many of us relate to the amazing values that he displayed on that day. And from my point, I want to take you back, not to the story, I don't want to take you to the story of Karbala and himself, but I want to take you to the birth of Fala Abbas and his upbringing. When his mother, Ummul Benin, who almost taught him to be the father of virtues, teaches him how to pray, and specifically, preparing him for prayer in Karbala. She says, my Abbas, whenever you pray, ask Allah to protect Hossein, but don't raise your hands when you make your da'a to prepare yourself for prayer in Karbala. My son, Abbas, you are young, but now today I'm going to teach you my beloved how to pray. The rest of us raise our hands, and our palms face the sky. Don't do the Abbas. You'll make the angels cry. When we have dreams, Allah will call, but you pray for Hossein, and that is all, whenever you're in need, you pray for your brother to prepare yourself for prayer in Karbala. When you wake up for Fajr, and your Lord you call, ask Allah for Hossein's morning to be peaceful, and when the Dhuhr prayer calls your name, ask Allah to make Hossein's evening blissful.  I beg you every single day, say this prayer, to prepare yourself for prayer in Karbala. My Abbas, when we pray, we raise our hands, but don't copy us Abbas, your Lord, he understands. If you raise your hands, you'll hear crying the heavens. If you raise your hands Abbas, you'll hear crying the heavens. Why? Because your hands, they smell just like the scent of Karbala's scent.  My son Abbas, we ask Allah when we're in need, and one day they will turn to you to intercede. Our Lord is the one who says, be and it shall be.  My tears, they soak the ground when I prostrate, beseeching. They flow like a river, where I see you crouching. I see for the water your two hands are reaching. I see for the water your two hands are reaching, for you not to drink my son. I spent years praying. My Abbas don't let me down, throw that water where it was found. I taught you to offer all other's water to prepare yourself for prayer in Karbala. My Abbas when you do fall in Karbala, raise your two handless arms, and pray towards Allah. Tell him that you spent your life praying for your brother, but now on this day you have a wish from your own desire. Just a wish, say, oh Allah, before I am slain, let me once again see my Hossein. Try to use your arms to wipe the blood from your eyes to prepare yourself for prayer in Karbala.  Allahumma salli ala alhamdulillah, alhamdulillah, alhamdulillah, once again, we send our blessings upon the father of virtues, al-Abbas, al-Islam, and today, of course, is a day when our hearts connect to the messaibah of Abbas, al-Islam, and we connect to that messaibah by the Lamentations and the Poetry, and I want to be joined once again by Sayyid al-Iqeem. Thank you for joining us once again. So Insha'Allah you have the Lamentations for us. Please introduce them. No, after that, Insha'Allah. Go ahead. So Insha'Allah this is a poem written in a way where it's a conversation between the L'Abbas, al-Islam, and Imam Hussein. Each paragraph has its significance and it's a conversation written by our dear brother Sayyid al-Namani. I just want to say what an honour it is to be able to recite for this individual and this studio specifically is right behind him. So this is like such an honour right now and to have it obviously in tradition this is the commemoration of his night and for us just to be sitting here commemorating his death in a language which is foreign to this nation here is just such an honour and blessing. So we have to just thank Allah for this honour. So this poem is written by our dear brother Sayyid al-Namani. Abbas please call me by my name oh please oh brother I now feel lonely with you gone who will be flag bearer.  Abbas says oh master how can I say that's what my mother said this man respects until you die but oh master just one request remove the blood from my eye so I can see last time you won last time Hussain asks what will I say to Ruqayya you're here if I squander a heart will break her fourth quake for the water's sake for the water's sake picture the scene a tragedy two brothers laid but one can't say that's my brother Abbas say protect you Hussain says oh brother he's upon you he just takes his final breaths upon this land he looks to see Zayne being grief blood by the sun Abbas says oh master to rest here to their master a servant can't be buried so near be buried so near Hussain picks up the body parts of Abbas Hussain picks up the body parts of Abbas his left and right sums from the floor what that's was until the flash can be flag of the army were parts of him this broke his heart back on a part one last glance one last glance as we know they say that in every majlis from our scene I say the father is present so we sent our salams to her and we hope inshallah she accept from us a small service in honor of the father of virtues Abbas we were here today commemorating the tragedy of Islam and truly this story is one that impacts the hearts not just because of the sadness of what happened to him as a person physically also because we learned from how much he gave away how selfless he was they say there was nothing to stop him from drinking water to replenish his own energy which may have even helped him in the battle with his loyalty to her mom saying Islam and in the wider spectrum of things is something greater than himself something that we can learn as well was such that he didn't he refused to take a sip of water just because amounts in itself was thirsty that's how much his his loyalty was there are even stories that mention that the reason for the Abbas islam was killed was because he didn't actively fight in the battle with his mom saying didn't give him the fight he only gave permission to go and get the water to bring back to the children and these are lessons that we can learn in our daily life whenever we see someone in need of help whenever we see someone that needs a hand whenever we see someone that is poor living in austerity living under oppression that needs something from us whenever people come to you and me needing something that might hurt us to give away it might be difficult to give away it's in those moments in our life that we have to remember the selflessness of Abbas islam and we have to begin to ask ourselves when we are here on the seventh of Muharram every single year weeping as we all do over the tragedy of al-Abbas islam are our tears may a crocodile tears where they are just flowing because we find parts of the story sad or are we weeping and crying because we just like a full abbas when these moments are presented to us in life we will also give away what is there to us we will also be selfless for the sake of Allah and in the way of Maulana Sain al-Bait and the last part we are here every single day at 10 p.m. UK time 12 a.m. midnight Calabala time where life maulana Sain al-Qalabala which will begin with a show called welcome to Calabala which is your opportunity to call in and send your salams and your salutations to Maulana Sain al-Qalabala and perform a ziyarat thereafter one hour later 11 p.m. UK time 1 a.m. Calabala time said al-Hakeem I guess we're right now will be resigning ziyarat al- ashura live on TV thereafter I will be joining you inshallah joined by said ayah Nawab but we are discussing the journey of Maulana Sain al-Hakeem from Medina to Calabala in the context of what we can learn from that story and we shall conclude every show just like today with some lamentations in honor of the ad-libate and the story of Maulana Sain al-Hakeem and inshallah there will be a final show after the eve of ashura on the day of ashura itself Fasham ghariban so please stay tuned for that inshallah we'll see you again tomorrow waslamu alaykum jami'an warahmatullahi wabarakatuh


Afternoon, everybody. OK, let's get into this. 25 minutes. OK, I'm addressing two different projects today. The first is the Getting It Right on Rights project, led by the Digital Public Library of America and Europeana. And the second one is the UK Orphan Works licensing scheme launched by the UK government in October last year. The Getting It Right on Rights project, it's an ambitious project to develop standardised right statements for GLAMs. The right statements they are developing are intended to be interoperable, machine-readable, and internationally usable, so tailored to overcome the issues of legal jurisdiction. The plan is to develop right statements that will indicate copyright status of works and inform users on how those works might be used. The group proposes hosting these statements on a website so wherever the right statements appear, there can be a link to a definitive explanation to the statement terms. It's no surprise that the work to develop standard rights statements is being led by two major GLAM content aggregators. The missions of the DPLA, Europeana, Trove, and Digital New Zealand are all about helping their users find, share, and use content relating to their particular geographical area. The content these aggregators are assembling is not only sourced from contributors within their geographical location. Collecting institutions around the world have surprisingly enough collected from around the world, so aggregators are also gathering material related to their geographical region from institutions in other locations. The rules each contributor uses to determine the copyright status of their contribution will change from country to country. It's a fact that the rules of copyright are based on the laws of the country where the copying occurs. There's no set international rules for copyright. I like to think of copyright like a patchwork quilt covering the world. Each patch is a legal jurisdiction, and the copyright rules depend on which patch the copying occurs in. The rules change as soon as you move over that stitching from one patch to another, and the rules can change substantially. There's also limited consistency in the right statements used by contributing organisations to these aggregators. This slide shows just some of the terms GLAMs use to describe works that are out of copyright. Because the aggregators are combining metadata from so many different contributors, the numbers of different rights statements are a real issue. The DPLA has over 85,000 different rights statements covering 10 million items, and Digital New Zealand is in a much more positive space having only 21,000 different rights statements covering 33 million items. But 21,000 statements. Don't you think that's crazy? Yeah, sort of why. I don't see how we can expect our users to navigate all of our different rights statements to come up with something meaningful that they can understand. This lack of consistency is an issue not just for aggregators. We need them to do the work we do as individual GLAM organisations. We'll also want to contribute to the growing number of collaborative digital projects out there. Projects such as Google Art Project or Auckland Museums Online Senataf or Government projects such as Te Ara. Consistent rights statements are going to become ever more important. I see this project as having a real opportunity to provide some consistency for our users. Having consistency across the sector worldwide will help us work together more easily. So what have the DPLA and Europeana done so far with this project? Well, they've done quite a bit in the last 16 months. In June last year, they received a $300,000 funding grant from the Knight Foundation. And in May this year, they issued two draft white papers for feedback and consultation. One on the recommended rights statements and the other on technical infrastructure. In July 2015, consultation and feedback was completed. And Tuesday last week, hot off the press, the final white papers for the statements and for the technical infrastructure were published. And they're now working on developing a website to host those statements. So these are the confirmed statements. At first glance, it looks like there's a lot of options here. But compared to $21,000, it's actually pretty good. There's only 19. So let's look at whether these statements will actually work using Tepapa's collection and rights data as an example. So this is broadly Tepapa's approach for copyright and reuse statements and collections online. I've coloured the rights statements on the right with green for no rights reserved, amber for some rights reserved and red for all rights reserved. Firstly, I can see Tepapa using the in-copyright statement. For those works where we know that they're in copyright and where we've either licensed for Tepapa's use or we've got contact details for the right copyright holder, this subset of data currently sits into Tepapa's all rights reserved statement. I can also see us using this second statement for those works that I've assessed as orphan works. Tepapa has 55,000 works where it's likely they're in copyright, but where the copyright owner has been unable to be identified or contacted even after a diligent search to a high standard. Orphanworks is a useful name for this group because it's got no legal standing in the New Zealand legal jurisdiction. So this rights statement is actually a good and transparent reflection of the actual situation. I'm also looking at adding into Tepapa's rights framework the full suite of Creative Commons licences to future proof any collecting that we may occur that might occur where the donor or rights holder have assigned a Creative Commons licence to new acquisitions. Tepapa already uses a Creative Commons licence. It's the attribution non-commercial and no derivatives for collection works and digital surrogates where Tepapa owns the copyright. It's unlikely Tepapa will waive all rights reserved and all rights and use the CC0 as this isn't recommended under the New Zealand Government open licensing framework, but a donor might do so in the future so it will be useful to have it available. So moving on to the statements reflecting works where copyright doesn't apply. If Tepapa does adopt this schema, I don't think I'll be using the Creative Commons public domain marks for Tepapa's material, at least for the foreseeable future. Currently New Zealand Goal recommends the no-known copyright statement and it's a consistent statement adopted by the National Library, Alexander Taupo Library material, Auckland Museum, Tepapa and Auckland Libraries as well as others in New Zealand. In the future it might be a priority to tease out of this group those works where we definitely know they're in the public domain and all jurisdictions and also those where we definitely know they're in the public domain and solely in the New Zealand jurisdiction, but right now I'll probably stick with the no-known rights statement. Using the statement is not preventing others from using the work and there's clear information on what people can do with the work and collections online. It's pretty clear that we're encouraging reuse for those materials. Another statement Tepapa would use is the no copyright and other contractual restrictions statement. Mostly for those out-of-copyright images considered towing or works under the definition of the Y262 report. I think it would be more useful for Tepapa and internationally if there was a statement in the schema specifically acknowledging traditional knowledge. I know feedback was provided on this point to the statements working group but it wasn't included. I'm still hopeful that it might be considered in the future. The group have said that this is just the start of the project and the intention is that these statements will actually evolve over time. Certainly for Tepapa's uses we're very interested in users recognising traditional knowledge communities. When we're the copyright holder of images we can insist on consultation with Kaitiaki regarding proposed uses but for those works in the public domain Tepapa can really only control via access and reuse agreements at the moment. This means we have less control to insist that consultation with relevant Kaitiaki groups is completed prior to use. The user may not always realise that consideration should be given to a culture other than theirs. The no copyright contractual restriction statement is a statement that will allow Tepapa to be transparent that there are additional issues to consider when using those particular materials. We'd also use the statement in those rare instances in Tepapa's collection where donor restrictions are associated with collection items. Finally, I'd also use the copyright not evaluated statement. The team developing these statements are keen that this particular one is not used as a sort of dumping ground of uncertainty. But I see this as a really useful designation to indicate the quantity of work Glam's still have to do with rights research. Copyright research just doesn't happen out of the blue. In most cases institutions are starting into online collection projects having to create a whole new set of metadata. The rights metadata has not previously existed and that is a stack of work. Tepapa still has a vast array of catalogue records online that describe collection items without reproducing the images of that particular collection item. I like the idea of declaring outright that we haven't assessed the rights yet. Maybe somebody will do my job for me and contact me with the rights information. I'd love that. If users know the situation then they can make their own judgement as to what they need and whether to contact Tepapa. So my reading of this is the project is doing great work and it gets a big tick for me. I think it's got real promise, particularly as it's coming at a time when New Zealand institutions are looking at their rights statements and scheming. And I'm watching this project with real interest to see where it goes. Right, so let's move on to Orphan Works. OK, the Orphan Works, the UK Orphan Works licensing scheme was launched by the UK government in October last year. And just as a quick note, I tend to look at things with a particular bias towards my own institution. So I'm looking at this licensing scheme recognising that my institution holds quite a few standalone artistic works that are orphaned. Like I said, there's 55,000 of them. So first of all, a definition, what is an orphaned work? Well, it's any work, not just literary works or sound recordings or film, but any work that is eligible for copyright where after a search is completed, the copyright holder is unknown or unable to be traced. When you can't find or can't identify the copyright holder, you're now in a situation where copyright is preventing the public from accessing these works and is hindering the spread and use of past knowledge. These works are essentially locked up with no one holding the key. You can still give users physical access to the work, but the benefits of digital access are not available legally. If your organisation does provide access to digital copies of this work, then it's a copyright infringement and the institution is taking a calculated risk. Some governments are starting to recognise this problem and looking at developing a copyright exception for orphaned works. The main orphaned works policy work has been happening in the EU and in the USA. In New Zealand, there's only been a small amount of work so far and tiny in comparison. So let's have a look specifically at the European Union. OK, so the European Union directive is an exception to copyright that all member states to the EU must have added to their national laws by the end of 2014. As with other copyright exceptions, it's very limited and specific. It's definitely not a free-for-all. To qualify for the copyright exception, you have to make sure that the work isn't orphaned because a diligent search must be completed. There are only certain organisations that qualify for this exception. The use must be non-commercial and related specifically to digitisation and online display only. Only to the collection items of the institution applying the copyright exception qualify. And those works that are deemed to be orphaned must be registered with an administrative body in the EU. And worst of all, well, the exception applies only to those works that are written or film or sound recordings or embedded images within those works. So the elephant in the room is that the EU directive sounds great for Glam's, but it doesn't include standalone artistic works like paintings, drawings, photographs and sculpture. So the orphaned works directive is of limited use for, say, art galleries and museums that have large collections of standalone artistic works. And this is where the UK orphan works licensing scheme comes in. The UK Intellectual Property Office runs the licensing scheme and it covers any type of orphaned work. Anyone can apply for a licence for an either commercial or non-commercial use. And in order to qualify for a licence, applicants must prove that the work is orphaned by submitting a digitised version of the work and information regarding their diligence search for the copyright holder. The Intellectual Property Office checks the diligence search, decides whether or not to accept the licence application. And if they do, the work is registered as an orphan work in a publicly searchable database and a licence is issued. So let's have a look at the investment a UK institution needs to make to get an orphan work licence. Let's say for use in an online collections database there's a not-so-random example. And let's use the number of orphan works into Puppa's collection as a starting point. So 55,000. First step, digitisation and diligence search. Digitisation, let's have a good look at the object and find any inscriptions. Good digitisation practice would cover not only digitising the item, but also digitising the information associated with the item. So you might find some copyright clues in there, holder clues in there. And then it's onto the diligence search for the copyright holder. A check of places to look would include things like a Google search, databases of other collecting institutions, companies registered, birth deaths and marriages, probate searches, telephone white pages, genealogy websites, the whole Kibbutel. It's costly in staff time and money, but it's good information, collection information practice, and we're doing it anyway, whether or not there was an orphan works licensing scheme. And then it's onto applying to the UK Intellectual Property Office for the 55,000 licences. The cheapest rate for application in the UK if you apply for 30 works at a time is a cost of 80 pounds per application. With 55,000 works to get through, that's a lot of applications and a lot of fees. That application fee there shows me that UK institutions will have a strong incentive not to use this scheme for licensing in bulk. It's more likely that the UK institutions will cherry pick which orphan works their licence because of this application fee. You might wonder why this fee is so large. Don't forget there's a requirement to register the orphan works. So in addition to covering the cost of reviewing the diligence search, this fee is also going towards some way of covering the cost of administering this scheme. So let's assume that the UK institution we're dealing with has got a grant to pay for this and keeps going through the process. Because our institution is only interested in reproducing these standalone artistic orphan works for non-commercial use in an online database, we're going to be applying for the non-commercial licence. Now this licence is pretty broad. You get all of these uses in association with this licence. So after the hefty application fee payment, I'm starting to feel a little bit better. That's quite a few uses. So if all the applications pass and the diligence searches are accepted by the Intellectual Property Office in the UK, what's the licence fee? Again, the rate's pretty good. It's 10 pence per non-commercial licence. But when applying for licences in bulk, it's still a sizeable fee. And worst of all, UK institutions will need to re-licence every seven years. That's the maximum term of the licence. I think a limited term can be useful. Information on artists and copyright holders does improve every year. The searches I did seven years ago are likely to get different results if I did them again today. However, conducting a diligent search to a high standard on all 55,000 works every seven years will be a huge investment of staff time for any institution. Te Papa conducts a diligent search on every use. So there's a search when the item is digitised for online use. Then there's another diligent search if the item is used in the exhibition or publication project. There's also a diligent search triggered when other works by the same creator are cleared for online use. And also, if more information on the maker is found during curatorial research. But none of the searching means that I revisit all 55,000 works regularly. The online reproduction might be the only time the work is used while it's orphaned. I rely on rights holders to come to me to find the works and come back to me and identify themselves. And I rely on time passing and the yearly data checks to see what works are likely to go from orphaned to the out-of-copyright basket. Under the UK scheme, part of the terms of the licence is that the orphaned work, once licensed, is credited as an orphaned work. And I think this is really useful as it allows rights holders to see up front that the works they might consider theirs are actually orphaned and will hopefully prompt the rights holders to get in touch. Given the quantity of licensing that would be required with mass digitisations of collections, I'm also wondering what the licence renewal process is. Do you get a discount on that huge application fee? If you're applying in bulk and you're doing a renewal, I don't know. I mean, I'm assuming UK institutions will be up for the same fees every seven years. So who's using it? Well, it's not inundated. In the past year, there's been 293 orphaned works registered so far. There's a couple of case studies in the Intellectual Property that the Intellectual Property Office have added to their website. Both Leeds Museum and Sheffields Museums have cleared works by an in-copyright artist for their collection online databases. Now, it's the same artist, so I'm assuming they got together and did the application as a team. Splitting costs. And this particular museum cleared in-copyright photographs by a nurse from World War I for use in an interactive learning resource. I think it's interesting that the scheme isn't reflecting bulk digitisation efforts, but rather licensing individual works or small sets of works by single makers. I can also see orphan works like the licensing scheme to be useful in those instances where there's a commercial product being developed and the person investing in that work wants some certainty regarding licensing from a commercial perspective that makes sense. I just want to remind you what did UK glam institutions do before this licensing scheme came into place? There were a number that did the diligence search to reduce the risk and then took the leap and reproduced the works online. Some of the institutions also listed the artists that were considered orphaned on a separate webpage in their website. This is something that the Tate and the National Portrait Gallery did and continue to do. And it isn't just galleries. The Public Catalog Foundation researched every oil painting and public ownership in the UK. And they too published orphan works both online and in their print catalogs. These institutions have yet to get the works licensed using the scheme and I wonder if they're going to. The Tate List 18 artists, the National Portrait Gallery lists over 70 artists and I'm not sure how many of the artworks in the 210,000 oil paintings digitised by the Public Catalog Foundation are considered orphaned but it's likely to be in the hundreds if not thousands of works. Given that these works have been online for some years prior to the launch of the licensing scheme, what was the risk of the copyright holder coming forward for these institutions? Is the protection afforded by the licensing scheme worth the cost of obtaining the licences in the first place? Or will these institutions just continue to take the risks given that nobody has obviously approached them in the years that the works have been up online? Like these UK institutions, Te Papa takes the risk and reproduces orphaned works online after a good diligent search. We've got an immediate takedown process if approached by copyright holders or possible copyright holders. And just to clarify in the... Well, since I started this job in 2006, there have been three occasions where a copyright holder has contacted me and on two of those occasions they didn't know they were the copyright holder and I had to tell them and there was only one instance where we've been charged for non-commercial use and that was $350 with 55,000 works. So, good idea for New Zealand. With the Ministry of Foreign Affairs and Trade confirming that copyright will be extended to DEATH PLUS 70 as part of the Transpacific Partnership Agreement and as more New Zealand institutions digitise their collections, the orphan works problem is going to grow. New Zealand definitely needs to take a copyright exception, needs to consider a copyright exception for orphan works for Glam collections, what shape that takes and where the New Zealand should follow the lead of the AU directive and all the UK licensing scheme is up for debate. There are some elements that look useful but I think we should learn from the experience of the EU and the UK and improve on it. Thank you. Thank you, Victoria. We do have five minutes if anybody has any questions. I missed the first couple of minutes. I may be covering all ground but can you confirm that the UK system means that the copy that you put online isn't an infringing copy? That's right. So, it gives you a bit of immunity. It is immunity, yes. Yes. Any other questions? It's an... If you've judged the risk and you think that's an adequate approach, then I'm not going to argue against you. I would think in terms of publications that's a possible way forward. Certainly others have done that as well and just dealt with it as rights holders have come forward. I think as long as you've got a strategy in place and are willing to take the risk, do it. She can ask the recent. I've got a question. I was just wondering, Victoria, how much do you think a clear and instructive takedown notice would ameliorate the situation? Do you think it's anyway as a... Is it a good next step? Well, the next best thing and how much does it protect an institution? It doesn't protect an institution. You don't get a free pass. You're either infringing or you're not infringing. But that said, every time... If you are infringing, having a positive and open discussion with any possible rights holder that comes forward and being prepared to apologise and emphasise the goodwill goes a long way. I mean, of the three instances where it's happened to me, well, all three were thrilled that the items were actually online. There was just one that would have liked a payment for it. So, we didn't go to court. We didn't have a horrible discussion. It was very amicable. We had an amicable negotiation and we settled. Any more questions? Well... I don't know whether you can comment as well. My understanding is the British have also implemented an extended collective licensing thing in parallel with this. Is that right? Yeah, that was the... Is that going? That's, again, that's the EU directive. So, that doesn't include standalone works. It includes written works and it includes sound recordings and film. So, that's the EU directive. So, that doesn't include standalone works. So, that doesn't include recordings and film and any standalone works that might be incorporated within those items. The interesting thing with that is that the diligence search has to be done on both the embedded works within the works and the works themselves. So, if you're dealing with a publication with 56 illustrations, you still have to do the diligence search for each illustration. And in addition to that, you... It's a copyright exception, but you still need to register with the EU. So, you register, but there's no... As far as I'm aware, there's no administration fee associated with that. So, only the orphan works licensing scheme in the UK that has that administration fee and licensing fee associated with it. And that's partially so that they can... I'm assuming get a bit of bank of money together so that if a copyright holder does come forward, they can negotiate a payment for the uses that they've licensed. The licensing scheme or the... Yeah, it doesn't seem to. 293 orphan works in a year, that's pretty slim. I thought there'd be at least a couple of thousand, but that's... And of that 293, there's probably at least a couple of institutions that have cleared 10 to 15 works, so it's not 203 applications per se. 293 works and, I don't know, I don't know, much less, many less applications, I would say. So, maybe people don't know about it, I don't know. It seems to be very slow and not use them bulk. We've got time for one more question of... I guess it's a comment more than a question around why it's not used that much. I mean, my position is fundamental opposition to licensing of orphan works because they're orphans for a reason. It's because you can't find the rights holder. You can't locate them or you can't identify them. And so, certainly, I think people are saying, well, why would I apply for a licence for something to give me some small measure of security when the rights holder is 99.999% likely never to come forward? I think the issue is trying to deal with the risk-averse nature of our institutions and make wise decisions about what works that are orphans that we should digitise and to not go down the road where we're actually paying someone like Cal, for example, in Australia, to manage our risk for us. We can do that ourselves. I mean, my preferred option in New Zealand would be to have an orphan works exception where a diligent search occurred.  The artists are artists are artists. Thank you, everybody. Thank you very much, Victoria.