Live from Gillette Stadium in Foxboro, Massachusetts, extracting the signal from the noise, it's theCUBE, covering VTUG's New England Winter Warmer 2016. Now your host, Stu Miniman. Hi, welcome back to theCUBE here at Gillette Stadium, actually on the EMC level of the VTUG event here at the home of the Patriots. Happy to have on the program two guys from EMC, Brad Malt, who's the Senior Director of Converged Infrastructure, Strategy and EMC's Corporate Office of the CTO. Brad, your second time on the program, first time in your role at EMC. Thank you for joining us. Thank you. And I've also got John Mark Walker, who's the Director of Open Source Programs with the EMC ASD Group. John, your first time on the program, I believe, right? This is my second time. I was on when I was the Gluster guy for Red Hat at the OpenSack Summit. Excellent. Two years ago. So both of you, your second time on the program, but first time in your roles at EMC. Maybe let's start with, what brought you to EMC? What are you currently working on? Brad, we'll start with you. Sure. So because I'm in the CTO office, working under John Rose's organization, I have the fun time of getting to look forward a lot and getting to look at all new technologies as they come out. How are they impacting EMC? How do we utilize those technologies? And really trying to help the VCE organization now the EMC Converged Platforms Division really drive more of their products forward. All right, so John Mark, same question for you. I came here from Red Hat like four months ago, specifically because they EMC released Copperhead as an open source proposition. I thought, well, huh, that's interesting. So I started talking to these guys and wouldn't you know it? There are lots of open source plans and I'm here to kind of direct open source traffic in the Advanced Software Division. Okay, I guess, yeah, let's jump off of there and talk a little bit. What does it mean, you know, what's happening in open source at EMC and how's the culture of EMC fit with open source? Brad, maybe to start with you? Sure, so we definitely have two different perspectives. So I'm gonna take the perspective I have, which is open source for EMC is actually a very vital for us to really embrace. And we've actually been doing a very good job of that. As John could talk about, I would say his organization and once tightly tied to John's are doing an exceptional job of getting different projects submitted through code, EMC code and other organizations. I am very much tied back from the CTO office to one of our projects, Rack HD, which we're gonna talk a little bit about. But for me, the open source initiative is to make sure that customers understand we have nothing to hide anymore. It's out there, look at what we're doing, work with us on it, adopt it in different ways and then watch as we introduce it into our EMC technologies. And I just think the open kimono approach that we're basically pulling on here is really a benefit from an EMC perspective. It's a cultural shift. Yeah, Brad, I'm curious, your perspective, you came from kind of the partner channel side. So was this a gap in EMC's offering before, in your opinion? So the funny thing is, specifically in the Rack HD project, which we'll talk more about, I wouldn't say that's so much a gap in EMC's portfolio as it was something that was being done multiple times over. So we were looking for a stream lineable, automatable thing that we could latch onto. It worked out really well, hardware management orchestration, let's automate that more, let's publish it out through open source and let's try and simplify EMC's go to markets. And that's really what Rack HD is doing through open source now. So John, you came from the open source background. The place known for open source. I've been involved in open source companies since 1999 when I was at VA Linux and we had our big IPO and then fell off a cliff with everyone else in the dot com boom. But it's interesting, back then, the question was, will open source survive? Will open source be important? And it's really interesting to come to the point where it's about, wow, look at all this open source stuff in the infrastructure side. And the big shift that's happened now is that customers are actually asking and demanding for open source. They want to reduce their risk. They don't want the risk of vendor lock in. But at the same time, there's a place for companies like EMC to come in and reduce the risk even further by saying, okay, we're going to take this open source code and we're going to productize it, make the experience better for you, we'll make it integrated, you can do a lot more with it, it'll be a lot more flexible, but it's still going to be a product that we sell. And that's kind of what I came on board to explore and define internal EMC. Okay, so you've mentioned Rack HD, Brad, can you just for audience explain the basics, what it is, what problem it solves and why it's needed? Sure, so the Rack HD project at its most simplest level is called Hardware Management Orchestration. What it basically is, it's a API driven hardware abstraction layer that allows you to manage different server slash compute platforms and network platforms from their lowest basic bits. It allows you to manage the BIOS and the firmware, to configure the BIOS and RAID controllers and NIC cards, to inventory and discover servers and switches upon initial boot up of that device. It allows you to lay down the operating system with a predetermined configuration from somebody northbound. It basically allows you to do this but across a heterogeneous set of vendors. It's not tied to EMC hardware. It allows you to do this with white box vendors through Dell and HP and Cisco and U-Namen. So because of that, when people northbound want to automate infrastructure, why call five different tools because you have five different components in the infrastructure? Why not be able to make a single call and have that abstraction layer disseminate that amongst the actual vendors underneath the covers? And that's really the purpose of where RAC-HD is going. Okay, so I guess one of the questions that leads to, and maybe John, you can help answer, is it's great that I think the idea of being able to manage my infrastructure from an IP standpoint, I hear a lot of customers asking for that. The question is, who gets involved in it? Will the community rally around this? Will this just be an EMC thing or how does the community embrace it? I think there's a strong demand in general for from customers, from partners, from all sorts of individuals who want this flexible, open source infrastructure. And if you look at the kind of overriding themes between our worlds, it's all about, it's all about the flexible infrastructure. It's all about integration with existing workflows. And when you think about the best way to do that, obviously open source gives the best pathway towards that kind of fully integrated environment. So if you look at something like Copperhead, it's all about how do we take these multiple storage systems underneath and find a way to attach them to these multiple orchestration frameworks sitting above everything. How do we connect them in a way that makes sense with a customer in a way that's expected and delivers you user experience they're looking for? When you look at how much open source enables from the converged infrastructure point of view, there really can be no other alternative except for the infrastructure to be open source. What allows things to connect without going through the traditional rigmarole of, well, I'm a product guy, let me talk to this other product guy at another company and see if we can do something. All the middleman is completely cut out with open source because now we got engineers talking directly to each other. And to that end, Intel is a huge partner of ours on Copperhead. They've devoted an architect and engineer and they're actually bringing four more engineers to the project. They're leading the integration with OpenStack, for example. So you talk about that northbound integration. And they also connected us with some grad students at Oregon State. And so they were working with us on the southbound side helping us connect more storage systems underneath. So it's all about the, you know, multiple parties coming together to solve this problem that everyone has. Yeah, so, you know, as an industry, we've been talking about automation for quite a while now. So I guess, you know, two parts. Number one is why now?  We don't have the time.  I think right now you're seeing a maturation of open source tooling that's allowing these things to be pieced together more seamlessly. You know, OpenStack didn't exist five years ago, or if it did, it was a very immature version of it. And now you're getting to the point where between OpenStack and the container world and all the pieces that make up what we're talking, you know, calling cloud native, you know, cloud foundry as an example. All the pieces are adding up now, and now with REC HD you're starting to see that go all the way down to the hardware layer. And you can get to the point now where you can build this fully integrated stack that's fully open source, and that's a really exciting time. You're just seeing more acceleration based on the maturation of all these individual components. Well, I think part of it also is the adoption of not just open source, but automation as you're kind of hitting it on. When you look at the industry, you can break out the service provider cloud types of vendors out there. They very much are heavy into automation. They're the ones that are pushing, driving the open stacks of the world and all those different frameworks. So at somebody at that level, they want something open sourced, able to automate, API driven, they want all that. The enterprise guys are kind of in a really funny space right now, right? We have this whole DevOps movement, cloud native apps, whatever you want to call it. They're trying to turn themselves into what the web scale guys are today, right? They realize for their business to succeed long term, they have to automate, but they don't know how. They don't know they're learning on the fly. So the more technologies that we can put out there that enable automation of different aspects, I think the easier overtime it will become for them to do it. Now the real trick is not to just give them a layer of technology and say, here, go use it. It's going to be, here's a layer of technology that integrates with this other layer of technology that has this really cool puppet chef ansible thing on top of it. And all you got to do is build a recipe and everything works together in a stack. And that was the promise of OpenStack at some level, which is, hey, here's this gigantic thing, but there's also other smaller variations out there, Mesosphere, Kubernetes, we can go through the list. Now the real trick I think in the industry is going to be in the next five to 10 years in the mid-market SMB space, which is, how does that keep going downstream? I don't see the SMB mid-market space going after API integration on their own. They just don't have the staff, the people, the IT expertise. But the learnings from enterprise and service provider are going to probably end up rolling up into probably simplified UIs. And this is where converged infrastructure, hyper-converged infrastructure is interesting. Because if we can take the learnings of the service provider, cloud guys, enterprise guys, roll that in through UI automation layers that use the same tools as the enterprise guys, but deliver them through different packaging, you see the future where converged and hyper-converged needs to go. It's so interesting to hear you talk about that because about 10 years ago, I worked at a company called Hyperic, and we were all about open source management. And one of our mantras was make your stuff manageable. And at the time, no one could figure out what on earth we were talking about. I guess we were ahead of our time. Eventually it was sold to VMware and it became part of that suite of products. But it's funny now because to your point, everything you're seeing now that's part of the cloud native or third platform is built to be managed and built to be integrated into this larger orchestration framework. And that's a real sea change, I think, because people already have in mind that their tool that they're creating is going to fit into this larger context and they have to make it able to do that. All right, so Brad, I'm wondering if you can help connect the dots for us between kind of where converged infrastructure is. So obviously- Didn't they just do it? Yeah, so let's go down a level just because you'd say, okay, a customer, I bought a V block or maybe I'm looking at the VX rack type stuff. And VCE has their vision software, they've got the VCE V scale, which is trying to help pull together some of really the EMC pieces. So how do I get from there to what we've been talking about with the rack age today? So I think what's going to happen is it's going to be a maturity of things over time, right? When you look at the original premise of a V block, the whole purpose of that was to deliver all of these technologies that you could buy yourself and DIY it, but to deliver it more of a purpose-built, best practice as engineer solution and allow you to consume it that way. The original intention of that was never to get into the DevOps space, was not in to get to this API programmatic space because we didn't know about that space honestly back when VCE started. Whereas when you look towards like a VX rack type of a delivery model like we're aiming at now with that, that is dead set in the middle of this whole cloud native apps platform three type of a world. So by its nature it is being developed with those primitives in mind. It's using rack HD through on rack underneath the covers, right? It's using vision as part of its governance and compliance engine and it's wrapping that together with UIs and workflows and stuff. Well what you're going to see is those types of learnings that we pull out of the VX rack world are going to go into V scale. They're going to go into V block and all of a sudden over time you're going to be able to see the EMC converged infrastructure and hyperconverged portfolio be able to be consumed through UIs and APIs that should scale across V scale, V blocks, VX racks and all the different aspects. All right, so at Wikibon we've got a new definition we put out recently called true private cloud. True private cloud. Well, to be honest what we say is most of the stuff we've been talking about for the last few years if you go to 10 customers and you ask them what a true private cloud is and what they have. The pseudo cloud. They all have different pieces and there's not a lot of similarity. So, you know, similar. We have some VMs sitting over here. The cloud, right. It was virtualization plus is kind of what it is. So the management orchestration is a big piece but also one of the things I'm wondering if you can help kind of square the circle on is what about the public cloud integration because customers, every customer's using public clouds and tying it in and from an application standpoint my data is going to be in a variety of places. We've got applications and reasons to have things at the edge or on-prem but there's resources that I'm going to leverage from the public cloud. So how do these things that we've been talking about tie into public? The trick with the public cloud is it's the definition of cloud and I'm not going there again. But in the public cloud space you actually have to get into what do you mean by integration of public cloud? So what I mean by that is you have the data aspect of integration, right? Well, is my data replicated to a public cloud thing or does it have to be translated when it moves to a public cloud, right? So there's the data integration aspects which obviously EMC has done very well at. We've made a ton of acquisitions recently and these are kind of what the inter-cloud linkings that you have to talk about. Things like cloud array which allows us to cache data as well as move data up into public cloud. You know, mad genetics and all these different things that we have that back up in the cloud and all that. You're seeing EMC push people towards we got to treat data in a hybrid, you know, private cloud stance almost the same way you do in the public cloud and we just had to extend. It's an extension game. M&O is different though. Management orchestration is a very different discussion because this is when you get into the discussion of I have a virtual machine running in my local cloud, my local site. How do I get that to run up into a virtual stream into a Amazon, into a Azure or whatever it's going to be? That's a very different game because you're not dealing with the data aspect as much as how do you manage them in the same way with the same SLAs? You know, how do you extend all of your localized data center primitives into and translated into the public cloud? That's where we look at things like virtual stream helping us out a lot in that space. That's where we look at a lot of VMware technologies and we say if we can extend virtual stream and some of the VMware aspects into the public cloud space which is what's happening very quickly, then we have a great story. Data side happens on the back end from an EMC core perspective. Virtual streamer ready is that hybrid public private depending on how you utilize them because they can be used in all stances. VMware has again public private cloud instances and if they all get packaged and delivered through VCE then you can see in the future of VXrack or VBlock being an extension of a public cloud and not vice versa. Because some people look at public cloud as an extension of private cloud but why shouldn't you look at your private cloud as an extension of a larger public cloud? And that's what another stance you can actually take on it through our tool set. I think customers definitely want to be able to manage all the things whether it's public, private or hybrid. I'm not sure that customers actually want to migrate data to and from but they definitely want to be able to control and that's kind of the biggest thing that they need to be able to do. Whoever can deliver that the first test and what the most test is going to be is the big one in the data center. I believe it's automate all the things. Correct? Automate everything, exactly. All the things. It's nirvana. Absolutely. So just, I know we're running short on time here but what about containers? How does that fit into everything we've been discussing? Is this ready for it? Containers. It's not, yeah. What's? Sorry, just joking. I was like containers, what's that? So container, I mean actually Rexray is probably one of the great discussions we have but Rexray is a project started by the RMCE code guys talking about basically storage abstraction for containers and it's kind of like a container's eye view of storage underneath whether it's local to the container or stored somewhere else in some other storage system. But containers in general, I mean it's what automates it. If you look at the vision of cloud and what it was intended to do, containers I believe allow us to move more quickly to that ultimate destination which is ultimate application delivery, ultimate application support regardless of platform. There's a word I'm looking for that I'm not finding but you know where I'm going with that. The ability to have a application work in an expected way no matter where you're launching it or where it's going or where it's pulling data from. I think for me containers, well first of all when you look at EMC, I'm going to put containers on the same level as virtual machines. Not that they do the same thing or they act the same way but when you're looking to deliver an application or a microservice it could be in a VM, wholly owned separate container that's totally secluded or sorry that type of container or the native Docker container which has a lot of different aspects to it. There's a lot of concerns and issues in the natural container space which is security, persistent storage management. We can go down the list things that in the virtual machine world have been solved but they both are delivery mechanisms for a application or a service. With that being said, as you move forward into a lot of these natural features moving up into the application, into Cassandra, into Redis and all those fun things, you don't need all those natural things to live down at the virtual machine level. It's okay living higher and getting less from a container world and that's how we view it. So if I was to look at containers and for me the converged infrastructure world, they're the same class citizen as a virtual machine. There's no reason in that infrastructure layer I should be able to handle both of them and do similar things maybe for different use cases depending on the applications running on them. I guess one of the things I just want to make sure is if I look at what Rack HD does, if containers become more important, it hasn't, Rack HD is ready for that. Rack HD, well the cool thing is we don't care. We will lay down whatever operating system you ask of us, VMware, or you can go into any Red Hat or Linux with KVM enabled or without it. And so in the end of the day, if you just need containers, we'll lay down CoreOS or whatever you want for that. If you want virtual machines, ESXi, or whatever you want there, we can handle all of that on the same hardware. So for us, we don't care what you're going to put on top of it. Right. Okay, so please. I would say there's still the perception that containers are faster. Whether that's true or not, there's still that perception that definitely persists out there in the ether. Okay, so if people want to find out more about these projects, it could contribute to them. Where do they go find out more? We can go to copperhead.org and start downloading today. We have vagrant scripts, OVF files, or just source code that you can play around with. And for RackHD, you can go to github.com slash rackHD. The other best location for all of this is actually the EMC code website for EMC, where you're going to find links to all of our open source projects, including Rex Ray and many others. Okay, Brad and John, thanks for coming on the program again, and we'll be back with more coverage here from the VTUG, the EMC level of Gillette Stadium. Thanks for watching.


This story is about the challenges of designing a palquin or palki as it's popularly called for ferrying pilgrims to hillside shrine of Vaishnodevi in Jammu. Many pilgrims, especially the old and disabled, need help to negotiate the steep uphill climb up to the shrine. This Vaishnodevi Yatra starts from a place called Katra and on this four and a half hour long journey, the porter's dexterity in manoeuvring the palki through narrow alleys and slippery roads is truly amazing. But the palki itself, the one that has been in use for so many years, is anything but sophisticated. A heavy structure made of galvanized iron pipes, usually used for water lines, are welded together to form a structure. This is tied to a wooden pole which rests on the porter's shoulder. This unwieldy chair continued to be offered as a service only due to the porter's ability to carry heavy loads, improvise solutions in emergencies and keep the passengers safe. We were approached by the government to redesign the palki. Our basic brief was that we had to reduce the drudgery of the porter's, make the palki lighter, much sturdier and more durable. I took the resolve that I will reduce the drudgery of the porter's. So this was the championing the cost aspect as we were talking about earlier. The context refers to understanding the user's socio-economic and cultural and environmental conditions. We made a trip to Katra for getting a first-hand experience of the journey to Vaishnodevi. On a palki, of course, the trip gave us an in-depth understanding of the porter's need and also made us very close and empathize with the porter's. We learned to appreciate the special requirements of the terrain. By translating our ideas into actual prototypes, we had already crossed the first pitfall of the design death. It is not that this challenge was entirely new to us. We had already designed a palki for the tourists in the Ajanta caves but the stark dissimilarity of the two terrains told us that the Ajanta design would never work in Vaishnodevi. Now remember, we are looking at the context very closely. The traditional design also reflected that for Ajanta, the four porters stand front and back on both sides like a square formation. But for Vaishnodevi, all four men are in a single file. Why the single file? Just because they are very narrow alleys and very crowded pathways with ponies and pilgrims and hence if they are not in a single file, they just cannot manoeuvre and actually take the palki forward. In fact, I must tell you this that when we tested our Ajanta palki just for checking out at Vaishnodevi, you graded the traffic jam. Yes and then the palki didn't move but the porters were very happy to use it. So they were using early in the morning when there was less rush and they liked the lightweight designs. They were using it only for the lightweight purpose. Such observations was critical in making us more sensitive to the social and geographical context in which our design was to make an intervention. But they never considered building a road. There was a motorable road part of the way but the government agreed to keep commercial vehicles off the road so that porters will not lose their likelihoods. So the very idea behind redesigning the palki was to safeguard their means of subsistence while reducing the load on their shoulders. Interaction with users led us to the third concern which is the comprehension which is the stage of arriving at design insights. The existing palki was heavy and easily damaged. The crude structure actually did not have the capacity to withstand the load of the palki for a long duration of time. They were good for some months. Most of the time it would be engaged by an aged or physically challenged pilgrim who boarded the palki along with a luggage. Whenever it broke it was welded locally but the material itself was not suitable for welding. We visited the location several times during the design process. During each visit we refined our understanding of the porters need. In fact we were becoming very very empathetic to the porters needs. We studied how the porters coordinated at bends and climbs. The manner in which they shifted the weight from one shoulder to another shoulder because of the very heavy loads was also studied in detail. We realized that we had to stay close to some time tested features of the old design. The grips at the right places for the porters and others inbuilt safety features that help them carry the passengers safely. So now do we come to the fourth see the check? The check refers to creating a list of key requirements or we commonly say product brief. The major points in a product brief for the palki were to reduce the drudgery of the porters to make a change in the basic material for better durability, design a more comfortable seating arrangement for the pilgrims and create a long lasting product. The check captures all the insights thus it gives a clear direction for ID generation. The fifth see for conception refers to generating many ideas and combining them to create multiple concepts. We incorporated the different requirements of various teams of porters whom we interviewed and thoroughly assessed the context to come up with as many as five different prototypes. Each of them was tested which led to improvements in the next model. The choice of stainless steel solved the problem of durability and lightness but we had to modify the diameter of the pipes so that we could ensure strength and durability. The design process had taught us that we could not radically alter the existing design without seriously affecting the porters functionality because they were using these palkis for ages. Hence we made some dimensional changes only after user testing in the field with the porters. Did you conduct any structural analysis? You caught it as the right place. In fact we were late in getting back to our engineering professors to do a structural analysis. We took the help of a colleague from IIT Bombay itself, Professor Yogesh Desai and expert in structures. He told us that our structure was unsafe for long use. He helped us redesign the chair for structural stability over a long period of time with a large factor of safety. The structural analysis helped us make our product more usable and to our surprise it also improved the looks. The work of translating a prototype into a product, a designer thus needs to collaborate with structural engineers and manufacturing experts. That brings us to the sixth C, the crafting. Refers to converting the selected concept into functional prototypes and finally to mass-producible products. Why do you need to mass-produce the palki? Because there are around 600 porters and they also ferry pilgrims during the Amanat Yatra. After taking in all the ergonomic and structural inputs, we finalized the design of the palki in bent and welded lightweight stainless steel pipes. To reduce the weight, the seats were made from perforated stainless steel sheets. The wooden pole from the original design was retained for better comfort at the points where it came in contact with the porters' shoulders. Are we now at the final C? Yes, connection is the seventh and final C. It refers to the solution that leads to user satisfaction and delight thus completing the innovation cycle. Nina, can you please hand over that model to me? In case of the palki, we took the final prototype to Katra for user trials. We were thrilled when both the porters and the pilgrims were very satisfied with the experience. This story illustrates why the designer can never hope to work magic in isolation as every design project brings together skills from a number of interconnected fields.


Good to have you all back for another episode, which happens to be the 213, so think they're wise human, humane architecture. We're broadcasting live from all over the places, although two are the same places, but the other place is in Long Beach, California, and we have our leisure legend, hardworking, Ron Lindgren with us. Hi, Ron. Whoa. And besides me, we have our statehood kid, DeSoto Brown with us in his Bishop Museum. Welcome back, guys. Greetings. Greetings. All right. So actually, last week wasn't the show, there was some technical glitches, but the week before when we were in preparation for the show, that was the commemoration of the 20th year with the World Trade Center disaster. And so we obviously could not think about that. And besides all the grief physically and emotionally that will be there forever, obviously, and that being commemorated, we were thinking as far as our discipline and our profession. But if anything, architecture for all of us, I can say, is basically human event and activity that spatializes and only then becomes form, and not the other way around as postmodernists used to do that. So that being said, it reminds me of the theory of relativity, Einstein's, because when I finally came to your holy land as a student in the early 90s at age 25 or so, my peers were saying, how can you go to such a country where someone like Bush runs it? And you guys have heard that Bush basically said what 9-11 was then, back then with external attack, we might actually have internal attack. And he was pointing out to what happened in January of this year in Washington, D.C. So the message is obviously, be kind to each other, be nice to each other. And again, I would have never thought I could feel so much for Bush, but again, all things are relative, right? So if- Time changes things as well. Absolutely, yeah. And talking, if you analyze it sort of architecturally, and this is sort of always walking on raw eggs and the fine line, but and it's probably up for more shows, as we already said, we will do. But if you look at the typology that was targeted, right, you can describe it as a male and money dominated, high rise, vertical high rises, some call it fellow symbols. And so that was attacked. And the architect, Minoru Yamazaki, turning to a positive and getting us into the show, also has blessed us and left us with two projects on the island and first slide for that. And one we already started too many years ago in 2018 did a show about. And that is 1350 Alamoana Boulevard. And to a certain degree, talking, you know, this recent weekend with this sort of event, next weekend we have an event coming up in my culture, which is the election of the president. And, you know, talking male dominated typology, there is also the female obviously, and then there is the feminine.  But also in case of Angela Merkel, who doesn't have own kids, but I feel she adopted all of us and millions of immigrants as to be her kids, and was doing a pretty good job for almost two decades. I'm kind of very anxious to see what's going to happen. We have another woman running, she's the leader of the Green Party, but I'm kind of curious if she's able to make it. So we will see. Cutting the corner to architecture, I want to throw out that these buildings here are very feminine in their touches because they care because they basically are wonderful biochlametic buildings that not just look cool, still until today, but also feel cool inside because they're very biochlametically designed. And next slide, the other project that Yamazaki has built on the island was built even earlier before 1350 Alamoana Boulevard, and that is even named after a female. And who is that guys? It's named after Queen Emma and Queen Emma Gardens is the name of the development in the heart of downtown Honolulu, and we're going to do an entire show about that. So we won't get into too many of the details right now, but something that does pertain to what you were just saying, Martin, about male and female, feminine and masculine. The architect Yamazaki went through a number of bouts of criticism during his time for perhaps being treated as overly feminine, or his work was perceived as overly feminine. Personally, I don't see that, but that is something that we've been discussing among ourselves recently, and we will get to when we do our show about Queen Emma Gardens. And we're very happy to have you, Ron, as a Zeitgeist colleague of Yamazaki, because he was obviously no offense, you're a young guy compared to him. He was the next older generation, but still, you were around in the heart of your profession when he was also practicing. So we look forward to your intel insights into that, Ron. But give us a little appetizer for that, so people will watch that show too. The primary thing to understand if you don't realize this is that Yamazaki at the age of 50 was commissioned in 1962 to design the World Trade Center, which we've talked about this recently. And Yamazaki was a modern architect who dealt a lot with ornamentalism, and the people loved his work. The architecture critics not so much. They felt that it wasn't modern enough, utilitarian enough, and it wasn't austere enough to be true modernism. We'll be talking about Yamazaki's work on the tower during that show later on the Queen Emma Gardens. Yeah, we will also talk about who you see there mentioned his partner in crime, the structural engineer, who played a key role in the project, and that's the great Alfred Yead. And this is a poster of the great exhibit that Bunda Kanistakon has put up there and it's out there. And what these two gentlemen at the very bottom left are doing there, also let's keep that for later. So, talking vertical high rises, and these are sort of shorter vertical high rises, but let's return to horizontal high rises and go to the next slide, because this is the continuation and actually the conclusion of our volume five about the Monarchy Beach Hotel on the Big Island by SOM. And so we're sort of at the end of observing what what it used to be and what it luckily and still in large parts still is, but now we want to look into the future, what could be its future and what could be the future for hospitality design overall. So this is a picture of the contemporary hotel room. And it's also finally giving us, you know, as we all hopefully, you know, after the last four shows really love the hotel, this puts it into perspective, talking theory or relativity again, what's the price for it. And so guys, let me know what you think about all that. Well, you got it, you have a listing right here of a price of 759 euros, which would be a nightly rate for the Monarchy Beach Hotel. But Ron, you have looked into this as well. And it's not, that's not what's called the rack rate. That's not what everybody has to pay. Yeah, the fact is that room rates vary somewhat in almost all hotels, largely because of the variation in views. The rooms, the typical rooms that have an ocean or bay view would be about $1,150 a night.  Well, two rooms plus feeding those buggers, that's about $3,000 a night. So that's the clientele that we're talking about at the Monarchy. It's not for everyone. Yeah. And we're looking, I was going to just say too, that we're looking at a picture of the hotel rooms as they appear now. And the hotel underwent a major renovation after an earthquake in 2013 caused some significant structural damage. Most of the hotel was okay, but they did need to do some repairs and they took that as a time to do a major renovation. And one of the things that happened, interestingly, was that they knocked out walls to enlarge the sizes of the rooms. So what we were content with back in 1965 for a luxury hotel, nowadays people want bigger rooms. And so the number of rooms in the hotel actually was reduced to make the rooms bigger in addition to the other changes which Martin and the rest of us are about to discuss in critique, let's say. Yeah, and that gets us back to the top right picture with your colleague and friend, Larry Stricker, Ron, who was fairly nice, you guys are nice to begin with, but he was excusing the current owner for what he had done in the renovation and not sort of maintaining the wooden shutters there because he said that might have been too costly. But then again, this was estimated to be a 100 million renovation and it ended up being 200 million. So give us a break, costs cannot be an excuse. That's sort of a lame excuse. And so I'm feeling the same, if I'm pulling out 1150 bucks for what down there looks to me as sort of a peer import raton, sort of like a standard. And we also were thinking that what looks like wooden floor, that is probably laminate. So again, that is not the standard we're talking about. And I want to even be more cynical because you could basically reside in the Grand Hotel in Waikiki, the Waikiki Grand that is a proud to be a two star hotel as we show it at the top left. And you see, you get the same finesse of a guardrail that's very cleverly designed and comprised of an opaque bottom part and a translucent vertical part. And while you might feel because the general public talking about customer's taste usually conceives vertical guardrails as prison like, I have horizontal ones, right? So mine is better. But it's only a fraction of the price of the Malakia Hotel. So guys, just really give us a break. Don't try to follow a taste of customers where unfortunately in that zeitgeist there might not be a taste right now anymore. So where is this going? And so go to the next slide because some of us basically have memories from how it was authentically and who are these guys? Well, that's me. The invitation that you see on the right hand side was given to was sent to my parents. And I didn't remember until I just looked into this that my parents had been guests at the opening of the Malakia Beach Hotel in July of 1965. And then a few weeks later after that opening, the entire family went to stay at Malakia for I think two nights to check out this wonderful new hotel. So that's a picture of me in 1965 at the age of 11 with the brand new Malakia Beach Hotel behind me. And as an 11 year old, I was very impressed with a lot of things that we've talked about the openness, the blue tile, the art objects that are scattered around the hotel. Just the general design of the bottom floor where you had this two story effect where you were eating your breakfast and lunch in this open space facing out onto the bay was magnificent when you had your lunch buffet. And again, these were things that as an 11 year old, I didn't know about architecture, but I did know that this was a special interesting hotel, particularly in this very rocky, dry setting that you were looking over this vista. And yet you were in this incredibly comfortable, magnificent new hotel that was very modern, but was also not sterile was not anyway. It impressed me a great deal. So yes, I have personal memories of having gone to the hotel when it was brand new. And as you can tell, made a big favorable impression upon me. As one can tell, so immortalized in your memories and others. And so next slide immortalized also through this book here by Don Hibbert, Our Conscious of the Islands, Designing Paradise, which also featured most of your projects, Ron, and that's how you got to know him. And again, he is describing it the way it was. And so people, this book is still out for sale. So guys buy it, it's an awesome book. And then you have expectations to see it the way it was. And next slide. Luckily, this time, guess what? The owner has actually agreed with us. They must because here you see a current sort of, you know, depictions of the client, how he wants people to see. And they basically commissioned this photographer, Gray Malin, to put a car that's familiar to us. And we will talk about when we resume our auto architecture show. This is a car that at least once it reached you because for that, before that it came out of the darkest ages of my culture.  And that was in the 60s, early 70s when you got it, the thing, the VW181. So they're right on in understanding these times and sort of re-celebrating them. And as you mentioned, Ron, and this is a teardrop has been for Larry and for us because in the Manalani, in the 200 million dollar renovation, they threw out these wonderful blue tiles and put wood over them. And here, they're still there. And another proof of evidence how this, you know, might be sort of re-appreciated is this image up there by the artist Nick Kuchar, who's starting to become famous on the island, who was again using a similar thing, VW181. So that all being said, when you would do the next renovation coming up at some point, how would you renovate it? And we have a suggestion for that. Go to the next slide. Surprise, surprise. Why is that surprising, guys? Well, it's surprising because what we want to do is go back to the original appearance. And the way the hotel originally looked, and pardon me, Bella, I'm trying to get to see what I'm supposed to be looking at. The hotel originally had this interior view. And you can see that it's got several features. First of all, it has those wooden shutters. And second of all, it's got a Laohala mat on the floor. And a Laohala mat is a native made type of thing. Laohala comes from the tree, the leaves of the hollet tree. And mats like this used to be available in the 1960s that you could purchase. And now, of course, they're extremely expensive. They're no longer as available as they were. And it would be very difficult to get a number of them to put in hotel rooms. And also in this view, you can see the Mauna Kea Beach Hotel logo, which appears in the sky above the woman sitting on the lanai. But also you'll see that on the bed, there is a hat that has a hat band that also has that same logo on it. Mauna Kea Beach Hotel was the first hotel in probably Hawaii to not only create a really recognizable logo, but also to sell it. You could go to the shop at the hotel and buy clothing that had that same logo on it. You could buy towels. You could buy terry cloth robes, et cetera. And that was the way to identify the hotel. It's also a way to merchandise it and to also advertise it when somebody's wearing your clothes. Yeah. And talking merchandise and the logo up in the sky, we put this there provocatively because it's the same logo they still obey to. And so we think then still obey also to the design details and have no excuse to bring the wooden shutters back, have no excuse to bring this mat back, have no excuse to put this more quality raton furniture in that is above and beyond the peer import one that you currently have. So no excuses, guys. We look forward to that one. And going to the next slide, which is our last view of this horizontal high rise and actually the other one, having followed by your firm, Ron and your business partner, Larry Stricker. And we threw in that little, we've been talking about United Airlines, who was also the owner of the shoreline seaside hotel that talking LE and Ed Killingsworth were doing as their only spec project that we did a show about. But also this hotel, which are exotic escapism experts, Suzanne did the homework on top of us. She found out that United Airlines was actually the one who bought it from Rockefeller and then it went into other ownership. And this gets us actually to concluding SOM. And while SOM was doing one other project for my university at UH, the engineering school, as far as hospitality, it actually stayed one hit one there, Ron. And you are the one to tell us the intels about that. Yes. This slide, a broad view of this urban hotel. This was the first hotel that the San Francisco office of Skidmoregs and Merrill were approached to do in the islands. The second hotel also was very urbane in its design. But that turned out to be a problem with the client. This was going to be the Coppola Bay Hotel. The client, when they finally saw the model of what the building would look like, realized that at least in his vine, it was to urbane and he didn't like to see that sitting on his countryside. Well, that was a boon to the Killingsworth office because Colin Cameron, the head of Maui land in Pineapple, then came to our office, commissioned us to do the hotel. And then I was honored to be the project architect in charge of the working drawings for the hotel. Yeah, let's go to the next slide where we see your fine masterpiece, Ron. But, well, maybe save for the next slide, what sort of, you know, what's the history of this one here. And let's go to the next slide. Because, well, talking clients, talking wirehousers, Ron, that gets you going as far as memories. Yes. Skidmoregs and Merrill, Wirehouser, Ed Killingsworth, they're all kinds of ties. The picture up at the top is of what was called a ground scaper. It was a skyscraper on its side. There were a number of these being built in the late 60s, early 70s. This happens to be for timber products and a timber land company, Wirehouser. And they had Skidmoregs and Merrill designed this building. It has some similarities to the Mauna Kea in the sense that this is a series of terraces that step up and back. This is five stories. All those terraces are smothered in greenery and vines. There's this wonderful balance between a 130-acre campus of open forest land and this building, which is very recessive in the sense that it doesn't stand out very much. The landscape and the building have a wonderful balance. The landscape architect for this building happened to be Peter Walker. And Peter Walker was a great friend of Ed Killingsworth because they worked together at Sun Valley, Idaho, the ski resort there. Ed was the master plan planner there for a number of years. Pete Walker planned the landscaping. And this building, unfortunately, was abandoned by Wirehouser and the fate of that property and of the wonderful balance between a site and a building hangs in the balance at the moment. Yeah, these similarities again go even further above and beyond, Ron, because this might have been been formed by the Mauna Kea because it's by Charles Beset. It's designer as well. And again, as you said, Doko Momo that we all members of and fans of basically bring this to the public attention and say this is a keeper, this is a saver. So that gets us to the next slide, which is, Ron, you have the original magazine with you on hand and please hold it up into the camera. And this is from the early 90s, right? A magazine that gives a ranking about the best public resorts. And guess what? The one that we've been praising rightly so in the last five shows, this included only ends up on number five here. So which are the four better ones? And one of them we just talked about Kapalua Bay, but that one, the show quote, we kind of moved off the column here because it's unfortunately torn down and replaced by something really hideous. The Kahala Hilton, which is Ed's first pioneering piece of your guys' work here, the last renovation only substantially and not surfacially has been performed by you, Ron, and it's up for the next one.  So do that. The Mauna Lani we had touched upon didn't go so well, 200 million dollars spent for seriously basically violating its tropical exotic nature. And as of this morning, Ron, me, the patrolling observer on my morning job, the Hali Kalani, October 1st, they're reopening, getting closer and closer. It continues to look like they're just only doing sort of slight touch-ups. And I was joking as the next show will be about the great Oscar Niemeyer, I think they're a little inspired and do an Oscar-y kind of a bar kind of thing that is sort of, you know, metal studs that kind of, you know, curves out of the Haltry restaurant, but that can easily be washed away by the next, you know, larger storm while all your bones will stay. So no worries about that. But again, needless to say, the little sarcasm in this here, getting back to serious, there's a really urgent need to raise these appreciation and attention for you guys' work. And luckily, Eric Bricker is doing that at the bottom right. He's getting out of the bushes basically advertising what he's doing next, a movie about your guys' work. And hopefully that will, all the ones left who own a killing's worth and don't know what they have, they will after that. So in the few minutes left, we go to the last slide. And looking into the future, I leave it up to you to discuss what the future of hospitality around your core competence could be for the island. Well, this is a fantasy view of what might be the future of Honolulu. And we see the existing high rises fall sort of falling into ruin and being covered by vegetation being replaced by Primitiva III, which is the project that Martin has, his emerging generation of young architecture students have recently designed. And the fantasy is, again, that the Primitiva III will be not only where people live, but also visitors come and hang around for a while and live like local people do. That might be the future of tourism. And these are quite a different type of building, which we, Ron, you could talk about what you think that Primitiva III is like. Well, it's sort of the ultimate expression of what Martin and the next generation that he is talking to are striving for it. And it has two words, easy breezy, open to the elements. You don't come to Hawaii and sequester yourself in a room, or even if you do, you have the opportunity of opening doors, windows, louvers, whatever they might be, or maybe there are no doors, windows and louvers. And the breeze is passing through. You've got a view of the ocean. The glorious sun is setting off in the west. It's living in the tropics in the most elemental and satisfying way. And people who come to Hawaii now are not living that way as much as they could, and they deserve it. And in fact, that's what $3,000 a night should buy someone. In fact, it's the opposite, because besides easy breezy, it's inclusive, right? This is for all the people. The most with the lease, we build it with tensile system. And so it's the opposite in giving paradise back to everyone, which decreasingly we have, right? And by the way, we're not the only tropics, right? There are other tropics out there. There are reopening the islands for us Europeans again, as you might have heard, and so and other countries, but still there is increasing competition. So next time this gets us back to the Macaronnesian Hawaii, which is the island of Madeira, which is one over from the Canary Islands, that you just saw just before the show said there's a striking similarity in many ways, and very recently also, as far as volcanic eruption. Yes, exactly right. More about that next week. See you back then looking forward to and until then, stay increasingly inclusively tropical exotic. Bye-bye.


What I did agree with our kind of or MD was that okay, so my ancestral mothers and fathers the rune hilda and bae wolves Thousands of years ago So during the summer, you know rune hilda was out there getting plants and we were having a lot of non poisonous leaves and some tubers and a lot of dirt And some small animals that she was catching in the nets Bae wolf was out there getting the bigger game and bringing that back and then during the winter I wasn't eating many plant materials and I was either not eating or is eating carnivore So I was willing to admit that certainly Several months out of every year. I was either fasting or being a carnivore and at least You know seven months to nine months out of the year. I was clearly an omnivore That is what we have the most historical precedent with as it as Homo sapiens are being omnivores just very occasionally carnivores and Fairly occasionally having to fast Hey, let me on that same subject. Let's let me give you another question so My wife and I you know will eat, you know our meal at dinner Because that's quite frankly when we're both home. We both work and yeah, same here And so what what say you that really if we were going to do this correctly? we should eat our meal at breakfast and Then start our fast at that point well Again, let's sort of think about bae wolf and broon held a back there about a hundred thousand years ago You know Bae wolf was out there hunting and so he's going to come back in the afternoon with his brothers and cousins, etc And they'll probably be showing up around one o'clock Then I'm making I'm cooking that stuff. So maybe at best. I'm eating two or three o'clock so I bet We have probably a longer history of the feast Mid-afternoon And that's when we ate and we probably had one meal a day. I mean The concept of three meals a day was a newly introduced European Dictum to separate themselves from the savages and my guess is historically we probably had one meal a day when we are farmers Came farmers 10,000 years ago We might have had a meal before going out and doing the farm work You've slaved all day in the fields working your tail off and you come back in and you have another meal in the evening So it might have had two meals a day But when we were hunting and gathering it was one meal Okay, and it was probably late afternoon Mid-afternoon at the earliest. Yes, I tell my patients we didn't crawl out of our cave and say what's for breakfast? Yeah, we need to go catch it. Yeah, and breakfast means break fast and yeah when we found it The other thing that interests me is as you know Our cortisol levels rise early in the morning around starting around four o'clock in the morning And that actually kicks up our blood sugar And my argument to people saying breakfast is the most important meal of the day would be that we seemingly have an evolutionary fix for the fact that we weren't going to have food early in the day because Cortisol you know makes us insulin resistant and it kicks up our blood sugar and we're actually often running So I all my diabetic patients I actually say haven't you noticed that your blood sugar goes up early in the morning and they go Yeah, and I said well believe it or not that that's on purpose and you were you were designed for this So the idea that we've got to get that meal in first thing that we wake up just it doesn't make any Physiologic sense. No, no, I don't think there's any need for that. All right So Like I say you you change your ideas bless your heart What have you learned about the microbiome that you didn't know five years ago? That my colleagues are really getting excited about our microbiome that They admit we don't really know what species we should have in a microbiome Even my microbiome scientist admits that he doesn't know what species are the right species to have that Probably it's what these species can do And that you know microbes are gene-swapping all of the time And so even though we may have these probiotics because they're being cultured in these big steel vats They're gene-swapping all the time. We don't know what processes That microbe can do and it's the processes that I need not the name of the species So the research that is really the most interesting is the research that looks at the Metabolites the metabolome Then we've got that frozen. So so so we're going to be analyzing that Metabolon looks at about 20,000 different compounds that are in your urine your blood your poop your spinal fluid and sees how that changes So it's gonna we're writing grants now. So hopefully there'll be a time But I'm going to be able to analyze the changes in our blood Urine and stool as people adopt the wall's diet or as they adopt any of the other diets that we study I and because you see That is what I think the change in the diet that you advocate in that I advocate That are our gut then you know digest that foods into smaller compounds that get into our bloodstream that help us run the chemistry of life and It's it's the microbiome making these metabolites that influence our health So that's very exciting. I talked about that in the book. We are writing grants Hopefully in the next couple of years, we will you know get funded be able to analyze that stuff And so, you know, hopefully in 2021 or 2022 I can begin to much much more specifically address that Fantastic You're famous for advising people to eat nine cups of vegetables a day now. Yeah. Yeah. Now most people equate because of dietary advice fruits and vegetables as Equally healthy and because fruits takes good and vegetables don't They tend to head for the fruits in your new book you Aren't particularly wild about fruit and as you know, I have told people to give fruit the boot So what say you? So our fruit is very very different It's been cultivated to have a lot more starch. I have a lot higher fructose content And so that's very different than the type of fruits that would have been our ancestors would have consumed for them berries Would have been like this huge treat a very seasonal treat. You could have that and it Probably does not have it nearly the amount of lectins because they plants want us to eat the fruits So they aren't going to be as noxious towards it true the fruits that we have Cultivated and created again have so much more fructose so many more carbs And frankly so do a lot of the starchy vegetables So what I've discovered in my clinics and our clinical trials is that People ramped up on the fruit and did not have near the amount of vegetables. I wanted them to have So I've made it much more explicit that We're dialing down the fruit and my preference is that what we're talking about Ideally our berries. I think berries are the most beneficial of the fruit It's so much more important to get the greens to get the sulfur and a small amount of fruit If you have a belly that's bigger than your butt then I'd rather you not have any fruit And that's that's most Americans unfortunately Unfortunately, that is most Americans and unfortunately most children now too You know, that's true


Softball is sweeping the city as the Bemidji Blaze host their annual youth tournaments. 54 teams competing over four different age divisions, all playing this weekend trying to merge victorious. Today the 14 and 10 year old divisions kicked things off. We'll start things off with the 14 new teams. A lot of games to be played. Get those field workers out and working. Bemidji with the 4-1 lead in the fourth. Alana Rea grounds one out to third but the throw is on time but just a little bit high. One run scores from second. Two batters later. Maddie Bass it smacks one over the second baseman's mitt. Rea scores to make it 6-1. Same inning the Blaze are piling it on. Savannah Haugen hits one back to the pitcher but you put the ball in play. Good things will happen. The throw gets away. Two run scores. That's where this one ends but Bemidji takes it 8-1.


Remember a Hallmark card when you carry enough to send the very best. There's an outstanding story chosen by one of the world's best known authors. The distinguished novelist, Mr. James Hilton. Good evening, ladies and gentlemen. This is James Hilton. Tonight on our Hallmark Playhouse, we turn again to the rich store of our national history and dramatize one of its exciting chapters, The Career of Andrew Jackson. With Alfred Leland Crabb's fine book, Home to the Hermitage, is our source. We shall tell the life story and also the love story of a soldier who became a president. America's seventh president, as a matter of fact. Like many another occupant of the White House, he kept a home to go to when his fighting days were over. And this home in the beautiful Tennessee countryside was well called The Hermitage. Andrew Jackson, old hickory as his admirers call him, was a man of strong and passionate heart. And to portray him, we are fortunate to have with us one of America's most stirring actors, Burgess Meredith. And now, a word about Hallmark cards from Frank Goss before we begin the first act of Home to the Hermitage. Hallmark is the name to remember when you want to remember your friends. For birthdays, weddings, anniversaries, holidays. There is a quality about Hallmark cards that whispers good taste. And you'll send them with pride for that identifying Hallmark on the back adds meaning. It says you cared enough to send the very best. Now Hallmark Playhouse presenting Alfred Leland Krabs home to the Hermitage, starring Burgess Meredith. The searching heart. We loved the Hermitage and we loved each other deeply. And yet there was this deep core of difference between us. I could leave the Hermitage content to know it was there waiting for Mark, but to reach the Hermitage was the word. I see her now as she looked on her bridal day more beautiful than any woman that ever lived before her. And more beautiful than any woman would ever be again. Beautiful day, Mr. Jackson. After all those months of heartaches and nightmares and terror, to be your wife. I don't think about the past. That's behind you. You keep your eyes on the future. There are no shadows in the future. I can't wait until we have our own home. I want to put my fingers into the soil and see it flower and bear fruit. I want to put curtains at your windows and plan your meals and tend your half fire. I want to make a home for you that will mean so much that you'll never leave it. Now wait, I have to leave at times. I'm a soldier and a fighting man as well as a lawyer, you know. When my country needs me, I must go. Yes, I know. When your country needs you, you will go. You're shivering. It's nothing. Someone must have walked across my grave. A grave? What kind of a conversation is this for our wedding day, Mrs. Jackson?  The hours of our youth. Tell me you love me, Mrs. Jackson. I love you, Mr. Jackson. Rachel. Oh, Rachel. In October of 1791, I took Rachel to the land I bought in the Cumberland country. And the autumn fires of gold and rod burned low by the roadside. And the trees were a glory of russet and scarlet against a blue, blue sky. And she stood in the shaft of sunlight looking up at us. She's a woman turned to gold. And the words she spoke gave meaning to the day and to my lifetime. Oh, my husband, we're home. We are home. We are home. As of Rachel, my mind has indelibly recorded. Rachel is a bride, a bride radiant and young.  Rachel happy. Rachel in despair. What shall we do? What shall we do? Andrew, as your friend, I dreaded to come to you with this news. And yet as your friend, once I'd learned it, there was nothing else to do. Now, look, that scoundrel, that blanket, Louis Rodin, deserted Rachel. He deserted long before we were married. But, John, we were assured the legislature had granted him a divorce. They didn't, Rachel. All the legislature did grant him was the right to sue for divorce. What can we do? Well, your former husband has procured a divorce recently, of course, but since you and Andrew have been married for some time now, I think it would be best just in case anything might come up at some future time to go through another marriage ceremony. No, no, I'm not going to put Rachel through any such humiliation. Andrew, you have a great career ahead of you. If there are any loose threads to be tied up, they should be tied up now.  Now, Mr. Jackson, there's no use letting your temper heat up until it's as red as your hair. If we've blundered, we must set it to right. Besides, I want to be absolutely positive that you can't get away from me. Rachel, I couldn't live without you. Well, what shall we do, John? As of our life together, she had only to put her hand on my arm and say my name in her own soft manner, and she had her way with me. And so we married again, and those whom the Lord had joined let no man put a sundry to push our plow across the years. Rachel at home and I, well, sometimes at home, sometimes away. I was a major general in the state militia, and I served a term as congressman from Tennessee, and from 1798 to 1804, I was judge of the Supreme Court in Tennessee. I was away from home for long months at a time. That was sorrow and happiness. We had a fine house for a while at Hunters Hill, but I lost that when I endorsed some notes for a friend. But the little we had left, I bought the hermitage. On those days, it was scarcely more than a two-story cabin, crest of a slope. It was sunset when Rachel first saw it. I looked at her face and I saw a radiance I'd never seen before. I swear I'll build you a finer house than the one we lost. Twice as fine, I swear it. Oh, Mr. Jackson, I never guessed it would be so beautiful.  I want to live here. I thought the other house was home, but it wasn't. Mr. Jackson, when you brought me here today, you brought me home to the hermitage. Here shall I live and die and love you eternally. For the fowls and portraits of Rachel watching the hermitage blossom and come to life beneath her hand. Oh, Mr. Jackson, just look down there. Did you ever see anything more glorious than those orchards in blossom? Rachel, Rachel, sitting in the lamp light with her sewing, listening to me talk about crops and their rotation, and wonder about the winds of soil and weather. You have no need to worry about the crops, my husband. The hermitage has been blessed by the Almighty. The crops will grow. Rachel, standing by the window with a baby in her arms, looking like a Madonna. Mr. Jackson, did you ever see anyone so beautiful? He's ours, ours to raise and keep. He's ours. Seven Donaldson's wife had to, and they can't raise them both. They said we could adopt him. Oh, Mr. Jackson, may I present Mr. Andrew Jackson, Junior. My memory is except my memories of Rachel. And then other sounds and voices fill my ears. The war drums and marching feet, the guttled dying screams of the Creek Indian and the Seminole, and the deep morning silence of the forest when their screams were still. And I remember being commissioned a major general in the National Army, and I recall quite vividly the splendid military front of King George's men, and how my ill-trained, ill-clad men fought for honor and for country, and they won. And I remember how as we marched toward home in weary camaraderie, those men of mine gave me a new name. Once more, I came home to the hermitage. But new forces would work all around me. New voices, new thoughts.  What's that? Oh, I came in to do some thinking. I didn't realize you'd come back from town. Rachel, I've been asked to run for president of the United States. President of the United States? Yeah. That would mean you would have to live in Washington. That would mean we'd have to live in Washington. Darling, you shiverings. Shall I close the windows? No, it isn't cold. Someone just walked across my grave. You know what they said to me when they asked me to run? Rachel, they said that I am like the nation. I was made in its image. Never before of any words pleased me as much. Rachel, this is my land. These are my people. I'm on fire to serve them. I'm on fire to help build this nation in every way I can. Then you must run for president, Mr. Jackson. Yes, Rachel. I must run for president. Starring Burgess Meredith. Here's a little game to try with your friends. Next time a group of you are together, ask this question. Ask what name they think of in greeting cards when they want to send the very best. I've tried this with my friends, with different groups, and they've always given the same answer. You see, greeting cards are a purchase that people really think about and consider carefully, and for an interesting reason. You buy greeting cards only to send to others, never for yourself, so naturally you want the finest. And above all, you want the words on each greeting card to express you to others. Words so sincere they will comfort a friend in sorrow.  Words so well chosen for every occasion they will make friends and keep friends and bring loved ones closer. And through the years, people have found just such words of strength and courage and friendliness and sympathy on hallmark cards. They've found there is always a hallmark card to say just what you want to say, the way you want to say it. That is why it is easy to remember it would be difficult to forget. To look for that hallmark on the back of every card you choose when you care enough to send the very best. And now here is the second act of Hone to the Hermitage, starring Burgess Meritus. Rachel, there's something happening to Rachel. This is that lad of Randleberry's. He's been hurt. He's asking to see. Now later, Reverend, you later I'll be glad to go and... Oh, Andrew, the lad's dying. It was the Lord himself that put you on the street. Well, I was going out to the Hermitage and my carriage to bring you in. You've been the boy's idol. He only wants to shake your hand before he dies. He says you stand for everything that's fine and honorable in this country. All right, Reverend. I'll go with you. You say the Lord himself put me on the street? I think perhaps the Lord put you on the street and sent you after me. I'll go with you. I remember Rachel's face when she heard I'd lost the first election or she was radiant with joy and relief. And I remember her face four years later. When I told her I'd been elected president of the United States for one fleeting moment before she had control of herself, she looked as though she'd been dealt a mortal blow. But then her head went back and she smiled. She was magnificent. Mr. Jackson, I'm very proud of you. Yes, my heart has recorded a thousand portals. I remember her face the night I found her sobbing downstairs. Yes, until I die, I remember her face that night. Rachel, what's wrong? What is it? Don't cry like that. Tell me what's wrong. You know I love you. Yes, I know you love me. Have I said something that hurt you if I have? I swear I didn't mean it. Mr. Jackson, I can't go to Washington with you. I can't go. Why not? Because I'm not the kind of woman to grace a president's house. What did you say? Look at me, Mr. Jackson. Look at me and... I'm not a poet or a musician, but if I was the greatest poet or finest musician in the world, I'd still lack the power to translate you into words or music. I see in you everything a man dreams and prays to find in the womb, and that's all I live for. Every man alive must envy me, for I found beauty and I married her, and I kept her for my wife. Oh, my dear. My dear. You have no idea at all what I really look like, have you? You look as I describe you. Today, I was at Mr. Back's shop in Nashville. I was in the back. The ladies were in a fitting room. They didn't know I was there. They said, one of them said, I do hope he won't take that woman to the White House with him. It's bad enough to have him there, but her. And another lady said, I understand she's a good hand in the kitchen, and someone else said, if he's got good sense, he'll leave her in the kitchen. That's where she belongs. Dirty malicious fork-tongued lion. I don't, Mr. Jackson. That doesn't help. No, it doesn't. You mustn't take it personally, Rachel. It isn't you that they hate, it's me. Those women are probably married to men who oppose me in the election. You must come to Washington with me, Rachel. I couldn't live there without you. I'm afraid you must, Mr. Jackson. Why? It's cold in here. Mr. Jackson, someone's walking across my grave. Rachel's dark hair on a white pillow was a sudden brief and hopeless illness. Dider-Bed trying to hold her against the tide that no man can control. Mr. President. Don't talk.  You must rest. I want to talk. I shall have time enough for resting presently.   And your hair was so red in the sunlight that it blinded me. That's why, you see, it isn't red now. Some of the days you and I have lived through have been hard on red hair. Seems as though it was summer only a day or so ago. Promise me one thing, that you'll keep the hermitage. Keep it just as we have kept it. Don't let strangers have it. We made it. We've lived here. It's... As long as I live, no one's ever going to have the hermitage, I promise you. I'll keep it just as you've kept it. The house and the fields and the gardens in orange. Oh, yes. I shall be close by. I shall know. I'll never be far from the hermitage, Mr. Jackson. Rachel. Rachel. You're going to be a great president. How can I be great without you beside me? I shall be here, waiting at the hermitage. I'll wait here for you until the end of your life. There's so much to do. So much to do. Rachel, how the days pass, all that somehow I stumbled through them, that suddenly, it was the last morning, it was time to go to Washington. Reverend Hume comes in. They ask me to tell you that your coach is waiting. Oh, thank you. Thank you. I've been writing some lines to leave out there with her. May I hear them? I wish you would. This is Rachel Jackson. She died on December the 22nd, 1828. And her face was fair. And her person pleasing, her temper amiable. But she was a benefactor to the rich in example, to the wretched and to the prosperous and ornament. Her pity went hand in hand with her benevolence and she thanked her creator for being permitted to do good. She was a being so gentle and so virtuous that slander might wound but could not dishonor. Even death when he took her from the arms of her husband could but transport her to the bosom of God. I'll be outside in the coat, General. I'm going to ride as far as town with you, if I may. What? Oh, yes, yes, yes, yes. A man must do the things he was meant to do. And personal heartache and grief must be put aside for the work at hand. Will you sleep peacefully while I'm gone until I come to wake you from your sleep? Until the day when no earth lies between us and I come home to you and home to the hermitage. I'm coming. And shamrocks and the wearer of the green. Before then you'll be choosing your hallmark cards to celebrate the occasion. For the friendly get-togetherness of St. Patrick's Day makes all America seem one big happy family. And whether your friends are Irish or not, they'll smile with pleasure as you wish them good luck in the finest Irish tradition. And there's no trouble at all with hallmark cards. The selection is so wide, you'll find hallmark cards for the Ryleys and the Rhyans, the O'Malleys and the Quinns. Delightful hallmark cards that transplant a little bit of heaven and sprinkle Irish eyes with laughter. For your own dear Cushilla McCree, you'll find a sentiment as lovely as the Lake Sochilarney. And for that friend who's simply green with envy of the Irish, there's a hallmark card to gladden his heart as he shares the day's festivities. So before next Thursday, visit the friendly store where you buy your hallmark cards for your St. Patrick's Day Remembrances. The hallmark on the back of each card will show you cared enough to send the very best. Here again is James Hilton. You've made one of the great characters of history live for us, Burgess Meredith. Thank you for a splendid performance. It's always an honor to appear on hallmark playhouse, Mr. Hilton. And I'd like to thank, if I may, Jeanette Nolan for a fine performance as old Hickory's wife. But I really enjoy doing tonight's story very much. And we liked it too, because with all its emphasis on love of home and family, it also happens to be true. It's just the sort of story we like to find for hallmark playhouse. Well, I think that explains why your program always makes one feel somehow the richer for having heard it. And hallmark cards have that effect too. They express such friendliness and sincerity. I'm always delighted to receive them. And I always look forward to hallmark playhouse. What have you selected for next week? Next week, in honor of St. Patrick's Day, we shall present the Three Wishes of Jamie McRuin by Charles O'Neill. The winner of a Christopher Award, this story tells of the Three Wishes of a young Irishman and how remarkably they shaped his life. And of equal pleasure to us is the fact that our star will be Richard Todd, whose recent success in Hollywood has also been remarkable. Our hallmark playhouse is every Thursday. Our director-producer is Bill Gay. Our music is composed and conducted by Lynn Murray and our script tonight was adapted by Jean Holloway. Next Thursday then, this is James Hilton saying, Good night. Those that have been carefully selected to give you expert and friendly service, remember hallmark cards when you carry them out to send the very best. This is Frank Goss saying good night to you all until next week at the same time when James Hilton returns to present Richard Todd in Charles O'Neill's The Three Wishes of Jamie McRuin. And in the weeks to come, Charles Bickford will star in Opalee Berryman's Pioneer Preacher. And for our Easter story, we singsters the Arbutus Bunnet on the hallmark playhouse. This is KNDC, Kansas City, Missouri.


to our channel. If you haven't yet, make sure you subscribe to stay up to date with all the content that we put out. At this point we've got success coaches who are recording content and putting it out there. Almost every 24 hours we've got a video going out on our YouTube channel. So make sure you subscribe to stay up to date with everything that we put out, which I know will help you and your business to grow and to scale. So don't stay stuck. Make sure you subscribe and stay up to date with the latest content. Now, if you want to also get in contact with me to discuss anything that I'm about to talk about today, or if you have any other questions that you would like to get on a quick call to ask me any questions you might have about your business, then there's two ways you can do that. First way is in the calendar. There will be, in the description of this video, there's a calendar link. You can click on it and book a free 15 to 20 minute call. I do these calls Monday to Friday every single day. I speak with coaches via Zoom, ask them questions, get an insight into how they're running the business, how they're operating, what is working, what is not working. And I share with them some actionable steps that they can take straight away to grow and scale. Now, if you don't want to do that and you just want to send me an email with a question, you can do that as well. My email is in the description as well. It's makemoneycoachingsportsatgmail.com. All right, so let's get straight into today's video. And today I want to talk about how to open multiple soccer centers across the country. Now, I've got no doubts that today's video and the content I'm going to share with you today is worth thousands of dollars. Okay, there's coaches who pay us, pay our company thousands of dollars to get our consulting, our help with stuff like we're going to talk about, like stuff that I'm going to be talking about today. Okay, now for you guys, you're fortunate enough that you're going to get a sneak preview into how to do it. But we have done this with multiple coaches in multiple sports. We've done it with coaches in baseball, in soccer, in basketball. So we have done it with coaches in a various number of sports who have opened multiple centers across the United States. And, well, they're currently doing it right now. So we have a lot of experience in what I'm going to be sharing with you today. And I hope this helps again, if you want to reach out to me and you want to talk about anything that I'm sharing with you, then you can do that by going into the description of this video, click on my calendar link. Let's jump on a call and I can share with you some steps that you can take this week to start to grow and scale your business, not just locally but nationally as well. Okay, so there's three things that you must do in order to open multiple centers across the country. Now, this video is more specific to soccer, but the principles can be used in all sports. If you're in basketball, you can use these principles. If you're in baseball, you can use these principles. If you're in American football, you can use these principles, right? Whatever sport you're in, these principles, they are similar or the same. So there's a lot more to this, but for reasons, I'm going to break it down into two or three points per section, because as I mentioned at the beginning, we do charge a lot of money for this type of consultant. And if this is something you want to do with your business, go national, reach out to us and we can help you with this. So the first one is build one solid location first that creates great reputation for your business.  It's got a great reputation. You're getting great results with your current clients, people in your local area and your local town and your local city, they all know you, they love you, they trust you and everyone is talking about what you do. Because if you want to go national, this is the reputation you need to take with you when you go into different cities. So when a business owner looks to go from, say they have a center in Baltimore and they're looking to open a second center all the way in San Antonio, Texas, once they get to San Antonio, they need to be able to show proof that their product, what their program does with players, with clients, works already. You've got a tried and tested method of already working. So the way this starts is you've got to build one solid location where you've got loads of clients coming in, they're working with you, you've built a team of coaches, you've got great results, players love what you do, players are succeeding at their clubs, on their teams, they're all buzzing about what your company does about your training and you've built a really good network of not just parents but coaches in your local area that know, like, trust you and also you've built partnerships maybe with local schools or local organizations. So in that city that you're originally from, that your first location is at, you are number one at what you do. And that's pretty much in order to go national, you need to be number one in one location. So that your method of coaching, your reputation is all solid and it's tried, proven and already tested and parents know what you do already. You've got a reputation and you're promoting your work through social media as well. So number one is you've got to start in one location, you've got to build that location to a point where it's successful, it's growing, it's buzzing, parents love you, players love you, coaches want to work for your company and it's really growing and it's got a great reputation. Now, second part, once we've got that solid first location, second part is now we've got to start to do our research in the other city or area that you want to expand your business into. So for example, if the first location is in Baltimore, Maryland, now we want to take that concept and we want to take it into Texas, San Antonio to be more precise. We need to do a couple of things. Number one, we need to do some research in that area. So who is the competition? Who is already in that area? What are your competitors already offering? What's working for them? What's not working for them? How many clients do they have? What do they offer? And what could you come in and separate yourself from your competitors? So what would you be doing differently that is not already being offered in that area? Now, the next point would be does that location have the right facility for my business and what are the costs to use that facility? So if you're in soccer and you want to expand, you need to look for a facility that you can train clients out of, that you can use all year round and that can become a set place for all the training, for all your one-to-one or your small groups or your camps or your clinics, that you can run all your training out of that one facility. And also, does it make financial costs? Are you spending a lot of money to use that space? If it's very expensive, then maybe it's not the right location for you at the moment and we might need to look for somewhere else within that city. I know because I've lived in Baltimore that some of the facilities around Baltimore, Maryland, they are very, very expensive. And I remember when I was coaching and working there, there were locations that the company I used to work for hired out turf fields and the price was ridiculous. They were charging our company anywhere between $100 to $120 per hour to use that turf field. Now, for the company it made sense because we had a massive clientele and we were a national company. We weren't just in one region, one location. So you need to make sure that you do the maths, you work out right. How much is this facility going to cost to run a session? Because at the beginning, when you move into a new region or a location or a city or an area, you need to work out what's the maths. If we use this facility and we've only got a small amount of clients to begin with, are we losing money? Are we breaking even or are we making a profit on that location? So you have to do the maths at the beginning to see what works for you and your company. The third bit is, are your potential clients there? So that's why we've got to do research in the area. Who's the competitor? What type of clients are your competitors working with? If they are working with clients that fits your perfect client profile, then maybe that's a good area to be in because your potential clients are in that area. Then is what is needed within that local area? So what problems do your competitors solve or if they don't solve any at all? What help do players in that region need that you can come in and solve a problem for them? So for some regions, right, it might be a case of a company coming in and helping players get recruited to play for college. Because maybe they're in an area where there's maybe one or two clubs, but they're only really rec clubs. They're run by volunteer parents. Parents don't really have any idea about how to get their child recruited, but you can come in as the trainer, as the specialist and focus your training. And the ultimate goal of your training, of your coaching, is to help players within that area to get recruited to go and play at college and play at the next level. So that could be a problem you solve, but you need to do your research in that area. What is your competitor offering? Do they not offer that you can offer? And what problem can you come into that area, to that city and solve that is needed by parents? Also, last point I made, which goes back to the second, in terms of does the location have the right facility, which is how expensive is the area? If you're moving into an area such as, for example, Hawaii, which is a very expensive region, I believe it's one of the most expensive regions in the United States, then ultimately it's not going to make financial sense at the beginning to go and move into there because you'll probably be losing money just because the area, the island is very expensive to rent. Also, because it's an island, does it have the right facility for your business? That's another thing you've got to take into account. So how expensive is the area? Does the area have the right facility? Are my clients in that area? Who is my competitor in that area? And where can I get clients from? How many clubs are in the area? How many high schools are in the area? How many elementary schools are in the area? Are there actually kids in the area that play soccer? Because if there's no kids and soccer isn't really popular, then ultimately you're not really going to get many clients from there. So you need to really study your market, study the city, and see exactly what it is like before you look to expand into that state, into that region, city or area. The third bit is promote and market the business. So now once we've ticked the boxes for the first two, we've built a solid reputation within our own city. We've achieved great results with clients, with customers. We've got a ton of testimonials, success stories. We've built solid partnerships with local brands, local organizations. We've now found a right facility in our new city that we've moved in. All the boxes are ticked. Now all we have to do is now we need to promote and market the business to our local customers. And our local parents, our local players, we need to promote, promote, promote so that now we need to look to try and drive traffic into what we're doing. So an idea or an example would be right if my business is based in Baltimore, Maryland, and I'm looking to expand into Texas, San Antonio to be precise. I might go to San Antonio. I found the right facility. I found the right location. I might go in there and run a free clinic. And I'm opening this clinic up to 20 players. It's free of charge. All parents have to do is they have to sign up online. And they need to make sure they sign up online. They put their details so that then after that clinic is over, we can then reach out to them about any upcoming one-to-one training we're looking to offer or small group training service that we're looking to offer. But everything needs to be done online so that parents can subscribe and register their child onto our free clinic. So once I've got my location in San Antonio, remember this is just an example. Now I need to look to see if I can build partnerships with local businesses that I can then promote my clinic to. So this might be your local bookstore. This might be a local school. It might be a local YMCA. It might be a local club. Maybe you partner with a club.  And then the other bit is now, once we have the free clinic or the event set up, another way is we need to now talk to parents and promote exactly what we do. So I've made it. The third point is paid Facebook ads or targeted marketing. So paid Facebook ads is obviously a very popular one at the moment. It's one that a lot of trainers do when they run events in big cities. Then you can target your marketing to a specific type of parent. So your clinic is for players aged 12 to 14 years old. Then you can target parents on Facebook who may have children of that age and who are into soccer. Also, you can join Facebook groups with parents that are in soccer. You can promote via those Facebook groups. There's a number of ways that you can do targeted marketing in order to build traction, to build interest and ultimately to build traffic towards your free promo event. So that once you have those 15 or 20 players in that one location, once you've got their information, the likelihood is that if they enjoy your training, they enjoy the experience, they like you as a coach, they like what you offer. The likelihood is that parents will sign up to continue training with you. Now, personally, when I work with coaches on this and coaches are looking to build a new location, typically what I get them to do is and what I encourage coaches to do is that unless there's about 20 to 25 players signed up to a camp or clinic, then it's not really worth running that event. So for example, if we're moving from Baltimore to San Antonio or we're just looking to expand, if we don't have at least minimum 20 kids subscribed or registered onto our free clinic in San Antonio, then it's not worth us really running the event because you've got to take into account if you get 20 kids that do your free event, 20 kids is a good number because half of them won't continue training with you. So you might end up registering anywhere between 10 to 12 kids from those 20. You could move them into your group training, which is your month-to-month actual training program. So once we run these events, we've got to make sure that we've got good amount of numbers because most parents will just come for the experience. They'll come for the experience, come to try it out, and then they won't continue. There'll be half that won't continue, there'll be another half that will, and they'll decide to carry on training with you. But we want to make sure that if we are running a camp or clinic event, we've got minimum amount of 20 players registered onto that camp or clinic so that that way it makes sense because once this over, the likelihood is half of them will continue training with you. So hopefully this video has helped you. If you need more help, as I mentioned at the beginning of the video, you can get in contact with me. There's two ways to do that. Number one is via Zoom. So visit the Canonly link in the description of this video. You can book a free 15 to 20-minute Zoom call. I can discuss a couple of the points with you that I've mentioned here. Or we can just talk about your business and see what you need help with. And I can show you some actionable steps to take this week to grow and scale. Or if you just want to send me a question, you can do that as well. Send it to my email which is makemoneycoachingsportsatgmail.com Before you go, make sure you subscribe to our channel to stay up to date with all the latest content that we put out. Thanks for watching and I'll see you on the next one.