Hello, welcome to ToppyTV. It is the match preview. Everton vs. Burnley, Gwldersham Park. A must-win game, and an opportunity to win a game with football since we beat Burnley. What happens? Yes, synergy, full circle, and you know, for sure, and that is Burnley, Burnley. It makes perfect sense that he's waited for this long to win a game. Possibly. Burnley had a bit of enough time, had the four games unbeaten, looked to have maybe steadied the ship a little bit, and it's going to be a tough game this, isn't it? It is going to be a tough game because we're not playing well at all. We've ground out the results at Newcastle the other night.  And I'll be honest, when we won that night, I didn't think we'd be sat here in April not having won a Premier League game since then, because that night we were so comfortable when we achieved more. We got two goals up, it was a comfortable victory. And yeah, we've not won since. And that is terrifying, absolutely terrifying. They have had an upturn in form, I think, the four unbeaten, Andy, like you say there. We know this is a huge pressure game. There can be no, from our perspective, there can be no other result that's acceptable than an Everton victory at the weekend, and that's far from guaranteed, so it's going to be a tough game. Do you think Burnley have just become a little bit more street smart in the last couple of months, where beforehand they were a little bit open, the goalkeeper was making mistakes, even though he's a very promising goalkeeper. They were getting caught again and again, probably doing the same thing, having a lot of possession, not taking chances. Do you think that the little team is just some of their plays? We cut out some of the nonsense. If we don't overplay, if we go a little bit more direct, if we play to the strengths of maybe some of the players, more experienced players, that will give us a little bit of a breathing room, because the Premier League isn't amazing. I think everyone does love to overcook the Premier League, but if we just get back to basics, it could really help us out. I think they've been a little bit more direct, haven't they? I think they've played nice football, but they've gone a little bit back to front quicker, I think, in recent games. They were very unlucky not to win at Stamford Bridge, and they've rolled the luck of times as well. They did have 10 men from the 40s. J. Rodríguez, it's the crossbar in the 98 minutes, something like that. Scissor kicks the rebound just over the bar. It would have been an unbelievable win for them. I think they were the better side against Wolves, the other night, it surfed more and drew that one as well. I think they have. I think David Datrow for Farner has been a decent outball for them up top, got a couple of goals as well. You see this sometimes with promoted sides, they eventually get used to the pace of the Premier League and not taking chances. Sometimes it comes too late. I think potentially it will come too late for barely this season, just because the format has to be a big up turn. It's not foregone conclusion because of the results of late, but if they did this at the click six weeks ago for them, then seven weeks ago, who knows what would have happened. But it's still going to be a hugely tough game and they do still give up a lot of chances. In that Chelsea game, Chelsea had 30 attempts at goal. I think everyone will get opportunities at the weekend, it's whether we can take them. Apparently you can see the 30 goals away, I think it is so far this season. I think the most he can see in the Premier League was 36 away, under Sean Dyche show. We've got to make sure that we take our opportunities as and when they come at the weekend. Yeah, definitely. The goal scullings, I think they scored two in both of the last couple of away games, which were obviously Chelsea and West Ham. So obviously there's been an up turn in the goals. They've had a winner home against Brentford, wasn't it? And obviously Brentford had the play sent off quite early. The Jor against Wolves this week, so they've been playing decent teams as well and getting results. I think for us it's a case of at least we can see that coming at least that they have had an up turn. I don't think people are going into the game because I think there's an idea of like there was a few weeks over the home games and going, yeah, we'll win those. I mean, I don't know why any of the family think that, but there was almost that idea. But I think now it's not, I think it's actually put a few people on their toes rather than thinking we'll go into this game and we'll be, you know, just got to turn up and win it. It'll be tougher than that and I think that's not a terrible mindset to go into the ground with. I think the worst thing is if you go into the mindset going into a ground thing and all we got to do is turn up today and we'll win this because these are absolutely terrible. It doesn't work like that and we shouldn't be thinking about that, whether it's Burnley, whether it's Sheffield United, whether it's Forrest. They'll be very tough games because we're not that much better than them. If at all better than them. And Burnley, for them, I think they'll be looking at this game thinking if we could beat Everton and they get a point deduction next week, you know what I mean? That's a nine pointer right there. We're back in the mix and we've got someone to go after. Obviously not just Luton and not just Forrest, we've got another team to go after and drag them into it. So it is a game that we've got to be very, very careful. Yes, we've beaten them a couple of times already this season. We were very comfortable against them when we beat them at home, but when we beat them in the league cup, we were at a good point of the season. It wasn't quite their first team. It's quite easy that night to be fair. They had a couple of moments. It ain't going to be like that on Saturday. Now, it was two very easy games that we played them in because we got goals and got ahead and it made it easier. They are a different proposition now, so it's not going to be easy in the slightest. They still create a lot of chances. They don't take a lot of the chances, but they do create a lot of chances. So ever they're going to have to be on the metal, but you're absolutely right in some respects. It's better they've had this uptane in form. If this was four games ago when they first got it, you know, on the next minute you tune it down after 20 minutes and you're like, where's this come from? These are rubbish. You know, that kind of thing, that mindset. I don't think any of it's only will go in to go to some park at the weekend and think these are rubbish because they're not. They just haven't been impotent this season really. The same as us, ironically. But the flip side to that is, if you want to look at it the other way, Everton have amassed 32 points this season and should be 13 points. They go into this game, points, deductions have brought that back down to seven, obviously. But we have more games than anybody in the bottom half or as many as the highest winner in that bottom half. It's just the problem is, we've had four terrible months of football and that's been an issue for us. We snatched the fever and the jaws of a draw or a victory last week at Bournemouth because they still look and think, I don't know how we lost the game because they were poor and we were even worse, we threw that away. We were terrible for 65 minutes at Newcastleodd and like them, when we almost realised that we'd had a little bit of the rubber to green where normally things had gone against us, it hadn't, we sort of picked our heads up and went, actually come on and shut me for us and when we went after it and were a little bit more free, we ended up getting a good point in the end. So I hope that from three o'clock the players can just get on it and get that intensity because if we get the intensity and go to some park and engage the crowd, we can wheel win this game. The worst thing that can happen on Saturday is we start slow and they take advantage of it straight away. They get the confidence from it. We have to start. You have to energise the crowd. There'll be nervousness around, of course, and it's good that Dom's scored the other night because he just takes that one less thing worrying about Dom. What about this stat? Since the starter last season, all nine of Everton's Premier League home wins have been to nil. So we've never won a game where the opposition is good at Goddison since the starter last season. That's terrifying. And we've lost nine of the last 14 Premier League home games against promoters, you've only won three. As many defeated we'd suffered in our previous 64 games. That's embarrassing. That's a culture that as far as I'm concerned. That's a culture of the way the club is running. A lot of them games have been the mindset that you said before, where we've just gone on, these are crap the promoters, we're bad at these, and before we know what we're behind and we've had no way of being able to turn that around. We've already lost to Luton this season. No, you go back to Luton on the season and it was that thing of like, this is the one, this is the give me, this is the give me. And before you know it, you won nil down. And then you're two nil down and you're like, now this is where the fight starts. We've got to start the fight from the first minute. And that's what was evident on the other night at St James' Park. I was like, when the subs came on, suddenly there was a realisation that we could get something out of the game. And why isn't the manager putting that into the players from the start? And I will put that on the manager. That is on the manager to set that and the coaches to set it from the first minute you go out. And if you don't like it, this is where subs come in. Because if you're watching something and you don't like it, I'm sorry, you've got to make changes. And those changes, those changes might be before our time if you're full. If you're Michael Silver, yeah. Or Marino back in the day, but at our time. This has happened five to many times this season. My players have just, should have been hooked, have been get away with it and then still don't come off for another 25 minutes. Or at all. That is 100% on the manager whether you like him or you don't like him. That stuff has to be set on the manager to go out there and say to the players, you go out from the first whistle and you start them. The only game I can remember us doing it properly this season with intensity from the first whistle was Bournemouth. And it was our best down performance. I know we beat Newcastle 3 in the last months of good performance, but the Bournemouth one, we were on them immediately right from the wake up. We scored early and everyone settled down. They couldn't get out their own box because we were on them and he's got to somehow create that dynamic for Saturday. It's got to be that. You know what, the crowd will respond. If everything come out fast and get on them and take the ball off them and have to, the crowd will be up which will carry the team. We haven't seen that performance. We've been slow. We haven't seen that for years. We've only won three home games. One of the things we talk about quite often is, is, you know, engage them with the fan base. And, you know, of course, the way it is, you're good isn't it? People are tired, people are fed up, people are angry, people don't know how to express all of those emotions because you're not giving them the other option, which is the joy and getting that out of the system. And I said this, I think I said this on the 1878 podcast, which you should all go and watch because it's amazing. Oftentimes, at good or some, we all know this, is that emotion can come out in other ways, which is over the years, the tackle, the refereeing decision, you know, whatever it is that gets people going, that barks, that gets people off the seats, that winds people up. Whatever it is that gets people going when we don't start maybe too well, or even that one chance where the opposition missed one and you're all go, how did he miss that? And you go, right, let's go. The whole crowd goes, what up, come on. And remember when we played, remember when we played in, it was my second season, we were in Europe when we played Kiev, and they missed a chance. And like in unison, everyone went, why aren't you up? And Gary, Stephen Natesmith turned on to the gladus season just sort of went, how did you all do that in one mind? We were all fuming because they should have scored and they didn't and it was like, we were absolutely fuming and it's that thing sometimes. And that happens because we start game slow and obviously something happens.  You don't settle the opposition. You've got something to back.  Without being insulting to anyone and I'm not, don't think I am being insulting. And I'm part of this. We don't know how to react like in a positive way to negative situations. We're not that fan base. We're not a fan base that can sit there and go, oh well done sir. I've seen people have stand out rounds with people who stand up and are telling people to back the team when we're being getting beat by Luton 2-0. Do you know what I mean? Because we need to, we need an outlet for our frustration because that is, a lot of people go out to the disgrace when people have a go at the players. But we're a working class fan base who look at the situation and go. If you don't wake up to this by may go and wake up to this, then what's going to wake you up for by when the game is so, the game, the way it's played now is you don't have those 50, 50, 50. You come out after the game, you look at the strategy and see how many tackles plays have gone. I've none of our midfielders made a tackle today. Like on Tuesday. Own anime, two tackles. Ghana came on and didn't make one tackle. And neither did Andre Gomez. The midfielders don't tackle. So how do you get that spark? How do you get that emotion out? The full level moment. You play on the front foot. And you win the ball back high. And it just galvanised at the crowd. You win the back go, go again. And the fans will go with you if you allowed the game to drop. And we all know what happened. It's like we've all, this is where again, people insult the intelligence of people who watch football go every week. When you watch football, there's only so many ways football can go. When you're watching a team build and build, you know what's coming. You know exactly what is coming. When Luton had all those corners, you knew you were going to score off a goal. And they did. And it's like people in football don't understand that. Don't understand that momentum side the same way. When referees make decisions and as a fan, as a player, you go, how did you not realise that he's just conjuring to that? It's like we see it from different ways. Everton have got to understand that the fan base can be such a powerful tool. But if you get on the wrong side of it, and I hate this thing of you, keep them quiet for 20 minutes, you'll make them hostile. Of course you'll make us hostile, because that means for 20 minutes. Everton didn't play football, didn't try. I think the problem we've got now is we are a coil spring. Because we've been battered from pillar to post. Absolutely. For Mishiri coming in, it was all, we're going to do this and we're going to do that. We were promised the earth and we've had nothing in the town. It's got worse, worse, worse to the situation. We're about to find out about a second point deduction. So we are a coil spring. So you've got to try and get us activated, as the manager would say, and keep us interested. And you do that by, like you said, listen, we don't, the way we play football is not conducive to getting you on the edge of your seat. But so you've got to do that with endeavour. You've got to do that with intensity. You've got to do that with crosses into the box and shots. And you've got to put a team like Bailey on the back foot. And if we put a team like Bailey on the back foot, it was a nice football inside. If you can get them hemmed in and the crowd playing its part, you can't overcome them. Lot of teams have beaten them, they've lost. Whatever it is, 1920 games this season, they're not a great side by any stretch. But they're improving. And if you allow them to play football, they will create chances and starting to score goals. So I've always believed the best form of defence is attack. Get after them and put them on the back foot. And I think what you can do with a Goddison. And if you get it right at Goddison, you win games. The reason why I haven't won three games at home all season is because we haven't got it right. We just haven't got it right. There's been too many games where you're sat there. And after 15 minutes, nothing's happened. And the players are... How many games have you witnessed in the last few years where the away teams come out and you think, get a fast start today? And after two or three minutes, they're just knocking the ball about and you're evidently sat in the defensive shape and you're going, what's happening? Why can't we get the ball? And the away team is just stroking it round and everything's flattening and flattening and flattening and it becomes a game of football. Where it's just... It could be any pitch this. It's not a home game now because it could just be any pitch. We have to make it so they feel under pressure. Right from me, absolutely. Right, let's have a little look at the staff pack for the game. This Saturday, the 6th of April, three o'clock kick off at Goddison Park, Everton take on Burnley in the Premier League. The two teams have met 17 times in the Premier League. A total of nine wins go into the Toffees and seven to Burnley and one draw. Burnley have won twice out there seven wins at Goddison Park. In the reverse fixture this season, Everton beat Burnley 2-0 at Turfmore back in December with a goal from O'nana and a second goal from Michael Keane a few minutes later. Everton actually played Burnley two years ago on the 6th of April, which ended in a 3-2 win to Burnley at Turfmore. The last time Burnley beat Everton at Goddison Park was March 2021, a 2-1 victory over the Toffees. The season so far, Everton 6-16, they've won eight games, drawn eight and lost 14 games. Burnley sit 19th, they've won four, drawn seven and lost 20 games. Burnley have only kept two clean sheets this season, whereas Everton have kept eight. The top scorer between the two teams is Abdelai Decore. He is still on six goals and is still Everton's top scorer. Burnley's top scorer this season is joined between Zechie Amduni and Jacob Brun Larson with four goals each. The most creative player between the two sides is former Burnley player Dwight McNeill. He's got five assists this season. Dara O'Shaith follows behind with four assists. There you go, Dara. Burnley win just seems so far away, doesn't it? Anyway, let's have a little look at Burnley's main man at the moment. Yeah, Brun Larson. I didn't think he was going to be the main man. The main man. 25 games, four goals from an XG of 3.58. No assists. And his XA is 1.39.  I think that's why Ned's gone for him. He's obviously a very busy player. You know, like I said before, they've got the fan there as well who spent some time at Union Billion on long Chelsea striker, of course, but scored a few goals as well. So he got, and J. Rodríguez, he was good at Chelsea. So he got some plays who can cause your problems and we've just got to be on it and make sure we are on it. Let's have a look at that. Team that faced Walls as well. So for Farners, obviously back for that game because he couldn't play against Chelsea at the weekend who were his parents in club. Obviously Lyle Foster back into the side as well recently as well. And he's a good, good player. Got a goal in him as well. Sander Bears, we know all about. Big problem of field play. And obviously they've changed the goalkeeper as well, haven't they recently as well. So pretty formulaic. They've just had an uptain in confidence and realised that if they want to stay in the Premier League they've got to score goals and that's what they've done, haven't they? They've changed it around. Let's have a little look at our team from the other night against Newcastle. You can imagine there will be possible changes in kind because obviously he brought Ashley Young in. He brought Ben Godfrey from left back to right back so whether he put it in the left back or the right back so whether he brought Ben Godfrey from left back to right back so whether he put Seamus back in. I don't know whether he put Harrison back in.  Does he put Dom in? That's the thing. But the goal scorers have been coming off the bench in the last couple of games. So who knows? Can you see changes Ashley Young maybe going out and Harrison coming back in? Possibly. He rested Harrison the other night didn't he? He did say Amadou Rownaan has got a couple of issues. That's helpful for him isn't it? Because that means he can drop them. I think there's issues are passable for them. 200 doesn't like that. No, I think I can see changes. I think Dom will start. I think he'll come in for Beto. Beto dropped to the bench because I think he'll want Calvert Loom to build on that goal and maybe Jack Harrison will be. Will come in for Ashley Young. He might want to leave him in there and just have Harrison as maybe an impact. All that's interesting because obviously Michael Enggol stay in the other two. Does he go for Shea back in the right back and take off free out? I don't think he will. I can see definitely one change in Dom in a Calvert Loom and then the other one may well be Amadou Rownaan is just on the bench and then the two are in atrishigan again because I think that the others will want to come a little cameo the other night. It's not men in black this. Come on, we know what happens. I'm saying? Let him have cameos off the bench. What about Dan Zyme? Because no one's asking. Well he's saying, he said he's not ready. He's not ready. I mean Dom is still not ready. So. No, no, no. No, Dom and I understand I'm going to train for a week, and I'm going to train on the drone for 3 weeks. Well, I'm going to tell you that. I'm going to tell you that. In the gymni oedd y ddeion y instances. You need to miss two more games. We don't have to play. It's freaky. You don't ever have to play for them. It's tremendous. I can play now, those two games then I can play the last six and we don't have to pay for them as well. I said he could finish the season, he could be big, he could come back... ..and score a winner yng nghydabu. Who knows? Who knows? That's the thing, I'm a bit bad. Ond yna'r cynnwys gael. Yn y cas yw, rwy'n credu syniad ar y gwaith i fynd. Ac yw'r cynnwys, sy'n cwerddio? Fy erinu gwnaeth yw'n gwybod... Mae'n gwybod. Mae'n gwybod a iechyd ar yn y fath i fynd. Wellu cyrraeddiaeth yn tych yn dwyr i fynd? Mae'r cyrraedd cyn- Yn y cas yw'r cyrraedd yn y fath i'w gyrwch. Yn yn y meddwl ar gyfer y gwefaint. Subscribe if you haven't already, you want more great videos, join us on the top of the TV premiere, where all the videos are ad-free and on the podcast are ad-free, and who wants pesky ads when you're trying to watch and listen to things, I don't know. 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It's time for the Lawn Jean Chronoscope, a television journal of the important issues of the hour, brought to you every Monday, Wednesday, and Friday. A presentation of the Lawn Jean Wittner Watch Company, maker of Lawn Jean, the world's most honored watch, and Wittner, distinguished companion to the world honored Lawn Jean. Good evening. This is Frank Knight. May I introduce our co-editors for this edition of the Lawn Jean Chronoscope? Mr. William Bradford Huey, editor of the American Mercury, and Mr. Kenneth Cramer, executive editor of Business Week Magazine. Our distinguished guest for this evening is Mr. Eugene S. Gregg of the United States Council International Chamber of Commerce. The opinions expressed are necessarily those of the speakers. Mr. Gregg, I suppose that as a member of the executive committee of the United States Council Chamber of Commerce, you are an American who's essentially interested in promoting world trade. Is that correct, sir? That is correct, because no country of the world is self-sufficient to itself, and it's only by having an expanding volume of international trade that we can hope to have the standards of living of the various peoples of the world raised. Well, our viewers have heard a number of programs relative to the difficulties that have been caused by the iron curtains being drawn in the world. Now, sir, how does the iron curtain affect our allies in Western Europe? Our allies in Western Europe traditionally got a large percentage of their grains, tempered tempered products, coal, raw materials from Eastern Europe, and in turn paid for those materials by the export to Eastern Europe of manufactured and semi-manufactured products. Now, once again, what are the products that our friends in Western Europe need most badly from behind the iron curtain? They need wheat, they need coarse grains to feed cattle, to feed poultry, they need timber, timber products, mine props, wood pulp, coal, raw materials. And are the nations of Western Europe getting some of those products now from Russia and the other nations behind the curtain? They're getting relatively small amounts today because of two factors. First, the imperial ambitions of the Communist Russians have put restrictions on what they will permit to go to Western Europe, and our own governments, including the one in ours in the United States, have also put restrictions on what can be exported behind the iron curtain. Are you concerned, aren't we, with certain things that are being sent from Western Europe to the countries behind the iron curtain at the present time? Necessarily, if any of those products will definitely help, they warrant potential of the Communists. But on the other hand, our allies in Europe are keenly interested in getting the foodstuffs and the raw materials that they so badly need. To simplify, in Europe, it's the problem of two enemies trading with one another, isn't it? That is correct. Each one's jockeying for advantage, but our allies very badly need timber and wheat and coarse grains. Now, if they don't get it from Eastern Europe, do we have to supply it? They have had to seek alternative sources, and unfortunately the sources where such materials are immediately available are nearly all dollar sources. They already have been short of dollars, and being unable to get the cheap materials from behind the iron curtain aggravates their shortage of dollars. Now, that means that if they have to get it from us, we have to give them most of the dollars to pay for it, don't we? That is what we have been doing since the war and up to this time. To illustrate, sir, a ton of coal that Italy needs, if they get it from Poland, which is behind the iron curtain, how much does Italy pay for Polish coal? About half what they would pay if the coal came from the United States. In other words, they'd pay something like $10 or $11 a ton, and from us it would be $23 or $24 a ton. So we either have to let them get the coal from Poland, or else we have to sell it to them at $24 a ton, and we have to give them a lot of the dollars. Unless we're willing to permit our allies in Western Europe to sell more goods to us in this country and earn the dollars themselves. Well, now, that's the problem.  We think it would be in the interests of ourselves and of our allies if our trade barriers into this country could be lowered so that Europe could earn its way rather than to have us give money to them. Well, now, can that be done without hardship to large groups of workmen and investors in this country? If our trade barriers are materially reduced unquestionably, there will be some hardship in some industries that have a vested interest in our present tariff, or in some segments of the agricultural community. On the other hand, I think we tend to lose sight of the fact that the decade in which our tariff barriers were the highest was the decade in which we had the most massive unemployment we've ever had. Is there any other thing that we can do in order to help the situation? Would it help, for example, if Americans increased their investments abroad? It would help if Americans could do that. Americans are doing it in certain parts of the world where there is a free interchangeability of exchanges. For instance, Canada, Saudi Arabia, Venezuela, even little Liberia. But those are regions that do not in particular help the problem in Western Europe. Would it help any if we had the government guarantee some of the investments that might be made in Western Europe, for example? Our government at the present time is doing a little of that, but in general, the business community with which I am familiar is not very keen about guarantees. That would then put us back into place that the primary salvation would be in getting more imports brought into this country from Western Europe. Yes, that seems to me to be the best solution of the problem. And if it is going to be difficult politically to get our trade barriers reduced, we may have to fall back on the device which is already established in some of our legislation of paying the industries or the segments of the agricultural community which are hurt by such a lowering of our barriers, a differential. We do that at the present time for building ships or operating ships. Do I understand you to say that the International Chamber of Commerce might advocate the extension of subsidy payments in this country? It is studying the problem at this time and this is one of the possible solutions in the interest of diminishing the grants and aid in large quantities that we have been giving abroad. Mr. Gregg, I believe that our viewers would like you to repeat once again those three or four nations which seem to offer the best opportunities for American investment today. Canada, where we are making huge investments in Labrador to bring out iron ore. Venezuela, where we have huge investments in oil and are now making large investments to bring out iron ore. Saudi Arabia, where we have huge investments to bring out petroleum. And Little Liberia, we are making investments there to bring out iron ore. But there are large areas in the world today that don't seem to offer much opportunity to American capital. That's correct. Now on the point of trade, is there anything that might be done or that should be done in addition to the reduction of tariffs that would result in a lowering of trade barriers? Well, we have had in this country for a number of years the so-called reciprocal trade treaty legislation which has resulted in the lowering of some of the barriers. But there will have to be a more vigorous attack on barriers than is possible under existing legislation. If Europe is given an opportunity really to earn her way in this country. Isn't there also a certain amount of red tape in connection with customs that might be eliminated that would help to promote a freer flow of trade? Yes, the trade barriers in this country are not so much the duties that are in our tariff legislation as the procedures in our tariff legislation having to do with fixing the value on which duties are to be assessed and the way in which those duties are assessed. Mr. Gregg, we've said a good deal now about the iron curtain in Western Europe. I'm sure that our viewers would appreciate your telling us a little something about the trade problem in Japan and in Asia. There is a problem in Japan that is as serious as that in Western Europe. Japan formally got practically all of her coal, iron ore, manganese, a great part of her foodstuffs from Manchuria, North China. Today Japan cannot get these materials from those sources and the problem before the Western democracies if they wish Japan to stay with them is where can Japan get these materials? Well, sir, I believe then that to simplify, this is true, isn't it? The world is simply divided into two parts and as long as those two curtains are there, we're going to have these terrible trade problems, aren't we? Oh, yes. And do you see any chance or any indication that this problem may be lessening any, that the Russians and their group may be less recalcitrant in the future? Well, I think that the pot shouldn't call the kettle black in the restrictions, but through the iron curtain, I think we have been just about as severe as the Russians have. But at any rate, our viewers can expect that this problem will remain with us for quite a while and it's going to be a very difficult one to solve. Oh, there's no question about that. Well, thank you, Mr. Gregg, very much for being with us tonight, sir. The editorial board for this edition of the Lawn Jean Chronoscope was Mr. William Bradford Huey and Mr. Kenneth Kramer. Our distinguished guest was Mr. Eugene S. Gregg of the United States Council International Chamber of Commerce. If there's one reason above all, above all others, why so many people want to buy Lawn Jean watches, that reason is confidence. William Pitt once said, confidence is a plant of slow growth. The great confidence in the Lawn Jean watches of today matured from the excellent performance of millions of Lawn Jean watches over the past 86 years. That same performance that has won for Lawn Jean watches in open competition with the world's leading watches, ten World Fair Grand Prizes, twenty-eight gold medals and countless honors for accuracy from the leading government observatories, has also won for Lawn Jean the title of the world's most honored watch. The beauty, the good taste of every Lawn Jean watch is self-evident. The years have proved that any Lawn Jean watch can be purchased with confidence, that it will deliver in full measure the greater accuracy and longer life for which Lawn Jean watches are world-honored. Lawn Jean, the world's most honored watch, premier product of the Lawn Jean Witner Watch Company since 1866, maker of watches of the highest character. 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So, the stronger reliance on image and range-based modeling techniques to document Rokat, the Rokat heritage in Scandinavia, has enhanced our ability to study the images on the bedrock panels and gain new knowledge about those who applied them. So, research. The Swedish Rokat Research Archive was able to show, for example, just making an example, that an early Bronze Age boat was carved on one of the slabs in the famous Bronze Age can in Chile by being able to identify the curvature of the crown. It's very technical. If you all would be here, you could shoot you with that stuff. Several case studies have shown that in many cases the cup marks and the individual spears are the earliest engravings to which then later warrior figures have been applied, sort of the biography we heard from Martin already. Recent new documentations of large-scale panels that were documented previously increased the number of known petroglyphs significantly. For example, through a collaborative laser-scanning project involving the Swedish Rokat Research Archive and the Regional Heritage Board of Estonia. So, there's a lot of work done, but as promising as encouraging as these results are, it would be remiss not to discuss some of the shortcomings of 3D imaging techniques. So, in the following, we aim to discuss some of these issues and propose a possible solution. The proposed method is relatively fast, effective and easy to carry out. Since the output looks very similar to the visualizations produced by the old technique Fotage, we call it digital Fotage, but that's just a label. Also, if anybody knows of the people who do similar work, please tell us in the comment section about it, because we would like to hook up with them. So, we're not pretending to do anything new, but just show our approach to it. First, I will discuss a bit the traditional rubbing or Fotage method, which has in Scandinavia, as I learned from... We've got some most famously introduced by a journal Rokat researcher, Dietrich Ivers, who was also in Italy and Spain, as I learned, in the 1960s and 70s. I suppose we're all familiar with Fotage, so I'm sort of skipping how it's done part. There are some problematic aspects with Fotage, and Marta has touched on it. I would just summarize them. So, Fotage is a very protected process, and for the large families in Scandinavia, it can take several days up to a week to actually get the documentation done. The second problem is that usually multiple sheets of paper are used, which need to be refitted later, which invites problems. You see this, actually, if you go to the archive, you see some very ill-fitted Fotage, which sort of split figures and put them on different levels. Fotage has difficulties in picking up depth differences, and of course in the 2D plane, depth differences are not recorded. The storage requires special conditions for the paper, which can be costly, as the archive has experienced. And the tactile first examination of the rock surface and the intensity of the graphite application depend on the expectations, experiences and perceptions of the person who documents. So, there's a high amount of bias inscribed into the documentation. And lastly, dissemination can be difficult unless you scan it and put it online. But Fotage has a very exciting advantage. It creates a very striking visualization. It's a visualization where you immediately are able to grasp what's on the workbook panel. So, with that, I go to the 3D documentation after some pioneer projects of image-based and range-based modeling. In the early 2000s, these techniques have gained real traction in the past five to six years in Scandinavia. This has a lot to do with increasingly cost-efficient equipment and software, but also with much, much more user-friendly applications. Internally, the new techniques are slowly replacing tracing and Fotage as standard documentations. And we will discuss this with James, I know, but I think it's for a good reason. So, since they are 3D models, they record depth differences. Investigations can take place from an endless variety of viewing and lighting angles, including those not possible in the field. We have a more or less correct representation of spatial relations in the 3D model. And since the methods record everything that is on the panel, if they're employed correctly, there's no bias in the recording itself. There's obviously some bias in the interpretation, but not in the recording itself. But there are problems in 3D modeling. So, one of the problems is we saw a couple of movies showing 3D models, and this is again for a reason, because the human eye can't perceive 3D unless there is motion. And this is a problem for the dissemination of 3D models or our 3D documentations. Because usually we put in images. And if you use meshlib and use different lighting angles, as soon as they're static, the lighting angle will show you some aspects of the 3D of the rock carving. But it will obscure other ones in which the light goes parallel, for example. And this is a problem with publication, because usually you only have a limited amount of figures you can put in your paper. And even if the journals allow to upload models, they get quite anxious if you tell them that your model has one and a half gigabytes. And then you want to put in five of those. This brings us to another problem. Sites like Sketchnap had until now a limit of five megabytes. They will change this. And they have an example up. We tried it with our processing computer in Gothenburg, which is quite potent. But models that reach the gigabyte size, it's really difficult to process them. Because the file sizes are too big and the computational power is just not there yet. At least not, I don't know, probably in some very well-funded large institutions there are. But for smaller institutes or private persons or private researchers or whatever, it's a real problem. Yes. So we applied a landscape approach to the 3D rock art data. To enhance the visualization of the 3D rock art data, we turned to the landscape approach because they struggled with similar problems. New high resolution data sets such as LIDAR have challenged landscape ecology to provide new means for visualization of ecological remains. On a landscape scale, ecological features typically represent a micro topography, which is much more subtle than the geographic background. And this is pretty much what we have with the rock art. It is, of course, reduced in scale, but the need to highlight faint topographic features and filter macro topographic structures remains the same. Local relief and slope modeling, short LRM, have significant potential for the visualization and analysis of petrographic imagery. What LRM does is it removes the macro topography by de-focusing a topographic ruster image using in RGIS the focus statistics tool. This is sort of the workflow I'm showing here, but I can also send this around if anyone's interested. These ruster images you use, digital elevation models you can create in photo scan or other 3D modeling softwares. And then this is subtracted from the original ruster image, the focus statistics output. And it takes away the large-scale topography and leaves you with the smaller-scale variances. You don't see them there, but you will see them in a second. So this contains the small variations, the output of the subtraction. This process is effective on both shallow, subtle pictographs as well as on deep incisions, which tend to be natural in Scandinavia at least. The visual image can be tweaked by adjusting the color range and its stretch, and this is what you see here. We use a color stretch usually from 1 to 0.0, and you can use color ramps. Below you see an example in red-yellow-green, but it might help in some cases, but we didn't find it that more helpful. So we just use the black and white usually, because that gives you a really clear image. And as you can see on the upper image, it's close to the old footage, so this is why we came up with the digital footage label. So it's not just visualizations, it's also research. But before I address some of the advantages we found in this, I have to say there's one big advantage. This is not a 3D model any longer. You can't twist and turn it, and you can't do all the fancy stuff with it. So the visualization we create using an ARC map for the full-size model is a 600 dPa, and the size of the output ranges between 12 and 32 megabytes. This is easily distributed. You can put this in apps and all that. Additionally, in the Resta created in IBGIS using digital footage, it's possible to zoom in from the large-scale to individual votives. So we have done this here. This is usually the same DEM. Are we going into this way and let's choose this example specifically for you, Marta? And we don't use much resolution, so we can go from this, I think, 14 by 6 meter, this panel, and then we go into this single motif and see all the details. It also applies color equally, because you don't depend on somebody applying the graphite doing it differently in different regions. You get an equal color distribution, even on complicated surfaces, like the upper one, which is a bowl which is decorated with a small bowl with a curvature. And it's still clear. And because the color is equally distributed, it really represents depth differences. So we can judge depth differences on the digital footage, even seeing multiple superimpositions on this boat below. So you have these two warriors sitting on the boat, which was cut across by this line, and then later on this was applied to make a round-shoot boat. So there's this whole story about biographies again. We used our approach to great effect discovering new rock art and features on a large scale and a small scale. So this recent work done at the Runohellen in Jero in Talon. This is a panel that's 9 meter by 6 meter, and it has been documented and re-documented for 150 years. And we were quite surprised by looking at this, that we discovered, at least when looking at the latest publications, that we discovered 13 new boats, 7 new anthropomorphic figures, 5 new animals, and a whole total of 68 new cup marks. So you can go back to very old sites and find your stuff. The other example is just published in a nice volume edited by this nice fellow there, which is this is the page where you see in Talon if you go to the famous Wittgenpegel. And you see these two warriors, this one Bernini has two bones, and this one are both atomic. But if you go and use the 3D documentation and put it into digital footage, I guess it's sort of more of a hairdo than holes, there's several things go out there. And this one, I know it's kind of hard to see, referring to the publication. This is not a phallus, but it is an animal that has been cut across by a human figure, and then sort of the animal is reused to implicate not only the phallus, but also the soul sheep that got here. So this is the head of the animal going here, this is the tail, one leg, the second leg, the third leg is kind of missing the fourth leg bone. So, to conclude, we are not proposing that our method can in any way replace any of the other methods. We don't want to replace old footage, we don't want to replace 3D modeling because this is obviously based on 3D modeling. And digital footage is just an easy to use and effective visualization tool for research and publication, combining most of the advantages of the 3D models with the striking visualization of traditional footage images. The small file size of the visualization also makes images useful for dissemination because they can easily and cost-effectively be integrated into, for example, mobile apps and similar outreach tools. And its main purpose is for research in combination with the 3D models and perhaps older documentations to provide figures, images for publications that can be easily read and the content of the panel can be understood with one glance. Thank you.


Hi everyone, this is Jason Zach from Nathaniel School of Music. Welcome to another one of our lessons. If you are a subscriber, if you are not, welcome to our channel and hopefully you do subscribe by the end or during the video or maybe now would be a nice time. Also, do consider hitting that bell for regular notifications because we release quite a few videos regularly, so I don't want you to miss anything. So in this lesson, it's a very, very simple statement which I'm making. I'm going to take a note G and we are going to figure out all the chords which go with G. And similarly, we'll have a chart ready for you on our Patreon where you can map this out in a proper sequential way and do it for pretty much all the chords or all the roots rather. So what we are trying to discuss today is there are 12 roots in music, C D E F G A B then the sharps of flat C sharp also known as D flat E flat also known as D sharp F sharp also known as G flat G sharp A flat A sharp B flat. So you have 12 roots. So the argument here is if there's a melody going on or if there's a landing note or an important note in a song which is G, we're going to take G for this video. What chords can be, what chords will go really well with it? And the truth is there are a lot of them and what I'm also going to show you in this lesson apart from the standard pop chords, we are going to go pop chords, then we are going to do all triads and then we are going to do all roots. So in other words, you could have a chord which starts on the note A flat which still has a G in it. You could start with an F which also has a G in it. It's just that the chord is going to now start being more and more sophisticated. So I will guide you on that front. Basically every single root on the piano will have a chord which has G in it. But let's go step by step in the lesson. I'd like to do it in three steps. First is diatonically from within a major scale, then we'll do all the triad options which go with the G and finally we'll go crazy. So do stay tuned till the very end and let's get cracking. So G, if you have to find a major chord or a minor chord, first of all, which works with it in a scale, you have to first ask yourself the question, what is the scale? What is the major scale I'm going to play on? So let's consider this note G to be part of which major scale? It can be part of so many. Now the truth is G could be the first note of something. It could be the second note of something. It could be the third note of something, the fourth note, the fifth note, the sixth note and the seventh note. It could be either of those. So in other words, there are seven scales, seven major scales which have this particular note G in them. So let's start with G major. So in the G major scale, you'll find that there are three chords. Actually in all the major scales, there will be three chords. First of all, a scale which has the note G in it. In all of them, there will be three triads, major, minor or diminished, which have the note G in them. So if you take the scale G major, play the note G, you have the G major chord as you can see. It has a G in there. What are the chord in the G major scale has a G? We have E minor, which also seems to have a G and then you have a C major, which also has a G in it. So like I said, there are always three chords which will be there in that scale, which have the target note, the note of your need of the R. That will be the G. So what's another scale which has G in it? Maybe E flat. E flat has G at the third degree, isn't it? E flat F G. So G has another role in the key of E flat major. So what are the chords which have G in them in the E flat major scale? Again, remember the clue is or the trick is there are three. So first off, you have E flat major, which has the G. Then you have the G minor, which has the G still. And then what else will have the G? You have the C minor, which also has a G. So E flat major, G minor, C minor. This itself is a nice piano practice right here. Keep your G at the very top and angle it so that all of the chords are inverted so that the G keeps getting represented. E flat with a G on top, C minor with a G on top, G minor with a G on top, E flat with a G, C minor with a G, G minor with a G. Trying to make it as obvious as possible. I hope you followed. So it becomes like a sidetracked in chord inversion exercise also on its own in this lesson. Fine. Let's do one more scale where G is there and I don't want to spend the time with all the seven scales. You'll find all of the answers in the notes. I've handwritten it as a PDF copy waiting for you. Check it out on Patreon and it'll be great if you can support us on the channel. So let's pick another scale. Our friend C major, not my friend, maybe your friend. But anyway. So G happens to be the fifth of the C major scale. So it's good to know all your available chords of the scale. C major, D minor, E minor, F major, G major, A minor, B diminished, C major. So again, which chords have G in them? C major, G major, and then E minor. There we have it. C, G, E minor. So G is there in, well, seven scales and there'll be three chords which have the G in them. So you may also find a few diminished chords in them which have the G in them, like C sharp diminished, E diminished, and G diminished, which are symmetric in nature, just inversions. So you may find some of the diminished triads major and minor. So that is the diatonic realm where you're in a major scale. There's someone whacking the note G or someone singing or howling the note G. And you need to find a chord and survive and play and also make them enjoy it and feel something. So you have the choices. You have three in every scale and some of them are major, some of them are minor. So depending on your requirement, you can use them. So moving forward, I'd like to expand this concept chromatically. So we are now trying to argue which are the major and the minor chords in life, which have the note G in them. So it's quite easy to figure this out. It will be G major, E minor, C major. A good way to understand this is there will be three major chords and three minor chords. So which are the major chords which have G in them, G major, C major, E flat major. Again to prove you, I'm playing G at the top end of each of these chords. G major, C major, E flat major, G major. These are the three major chords which have G in them. What about the minor chords? Again, there'll be three. G minor, C minor, E minor, E minor. Is there a way we can remember this? Yes, of course, there is intervals. First off, what are the namesake chords? Major and minor of the same name. So G major, G minor. So someone asks you which are the chords which have G in them. Obviously, G major, G minor. The other thing you can argue is which chord root has G as its fifth. C, C D E F G, C G, C major, C minor. So G exists as the one chord, G major, G minor. G exists as the fifth of the C, C major, C minor. And G exists inside a chord where whose root is a major third. So now you have to remember your intervals. G is the major third of E flat major. E flat F G. G is the major third of E flat major chord because a major chord has a major third. And then G is the minor third of which minor chord. E minor. There we go. So G is the minor third of E minor. G is the major third of E flat major. G is the namesake or the root of G major G minor. G is the fifth or the perfect fifth of C major C minor. There we have it. We have six triads which have G in them. And that's a great start. You can make music on G. And feel free to wander your melody as long as you give some emphasis to the note G. So you could play G a little longer. Then play some other notes linearly, I guess. And land back on the G with a new chord. Right. You can take songs like clearly Adele decided to use that concept in the song. So that's how you can use chromatic triads to embellish G. And one might think that we are done but we are not done. We have one more quick thing to finish off. So here's the argument. The third way of using G or harmonizing G if you want to call it that would be anything goes. So any chord goes. So we have covered a few things already. So if you take the namesake chords, the G major is there. The G minor is there. But then you can even expand it. You can be like G major seventh, G minor major seventh, G minor seventh, G dominant seventh. So you can do those extensions as well. But it's still like a G chord. The same story with a C. With a C minor and a C minor. C minor seventh which still has a G. C minor seventh flat five clearly has a G. C major seventh has a G. C dominant seventh has a G. So many chords have G and so on. Now G is the major third of the E flat chord. It could also be the major third of the E flat major seventh, E flat dominant seventh. So the position of G is still the major third. So it'll work for even the extended versions of those chords. Same thing E minor seventh, E minor extended, E minor seventh, E minor ninth still has a G and so on and so forth. You know, so let's now move a bit forward. So you can just argue, okay, I've covered the root. I've covered the fifth, G is the fifth. I've covered the major third. I've covered the minor third. There are more intervals, right? So we argue now, I'd like to argue from the way down. So what's the interval which is below the octave or below the root, the major seven. So we ask ourselves, G is the major seventh of who? The answer is A flat. So you could do an A flat root and hold it like this and build G as an upper extension creating a major seventh vibe. You could even do an A flat minor major seventh. Love that chord. So G is the major seventh of A flat major seventh and the A flat minor seventh, which is rather rare. Similarly, A flat major ninth and the extensions of the major seventh, which are nines and leavens and so on. Okay, so major seventh done and dusted, then we argue G is the minor seventh of what? G is the minor seventh of what again? G is the minor seventh of our A. So you immediately have an A dominant seventh. You have an A minor seventh. It still has that G as the minor seventh and you can even consider A A minor seventh flat five, which has our G on the top. So A dominant seventh, flat seven, A minor seventh, flat seven and then A minor seventh flat five, which has the G. There we go. So major seventh over, minor seventh over. Now we come to the sixth. G happens to be the sixth of who? Okay. So G, sometimes this is tricky. So it's good to see the keyboard or visualize in your mind that may also help. The answer would be B flat. So you could either thicken a major chord like B flat major with the thickening of the G. I really like the B flat minor with a G, which is also called as a minor sixth chord. Beautiful sound. B flat minor with a G. You could also look at this chord, which is a diminished seventh chord, but it's important to know or interesting to know that all diminished seventh chords are inversions of each other. So you have B flat diminished seventh, which has a G in it. What is the diminished seventh chord again? It's just stacks of minor thirds. So you can do B flat diminished seventh, you can do C sharp diminished seventh, you can do E diminished seventh, you could do G diminished seven, because they all have a G in them. Okay. So diminished seventh chords will be four in number, which have G in them. And the other stuff which I wanted to talk about just to revise was B flat major sixth, because B flat sixth is G major sixth interval. Major sixth is also called as diminished seventh for your information. That's how the diminished seventh got formed. And then the minor sixth, minor with a major sixth, we call it a minor sixth chord. Okay. So G is now the minor sixth. We finished major sixth. So G will be the minor sixth, which is also known as the augmented fifth, depending on the function. So G will be the minor sixth of who we need to see. I tend to first look at it as the augmented five or the sharp five of something. And that will be easier and more common. We find that the answer is B. B to the G. So if you take B augmented, works like a charm. So B augmented clearly has G, we call that an augmented fifth, not a flat sixth as some of us might get mistaken with. So B major will be B, D sharp, F sharp. When you add the go plus one from the five, you get the augmented chord. So B augmented has a G in it. Another nice chord I like from the B is you take a major seventh from B and then augmented. So it'll be like an augmented major seventh. Very interesting. You could even do like a flat seventh there, augmented seventh as we call it. Another nice way to do it is like this whole X files version or like any kind of alien movies, you take a minor chord and now add the G. You just do that and it just feels like aliens are about to invade us. So that's where you use it as a flat six or a minor six. So the G as a minor six or an augmented fifth of the B. So we've come down now, we've done octave, which is obvious, same as root, major seventh over, minor seventh over, major sixth, also known as diminished seventh over, then minor sixth also known as augmented fifth over. Now we come down to a perfect fifth, which is over. I told you that earlier. C's fifth is G, C minor, C major. Then we come down to the tritone. So G will be the tritone of what you may immediately argue some diminished chord out there. So you could take like a C sharp diminished, but remember all diminishes are inversions of each other. So you get C sharp diminished, diminished or even a diminished seventh E diminished chords and augmented chords are inversions of each other. So G is the tritone of C sharp, but another interesting thing I like to try is to play C sharp major seventh or the tritone major seventh and drop the five down by a step. You get this beautiful voicing, a beautiful chord. It's a major seventh flat five chord. That's what I call it by very beautiful chord, very thematic. So major seventh down one again G is represented as the flat five of something. So G is the flat five of the C sharp chord. Or you can even look at it, look at flat five as being a sharp four, which gives you a very Lydian vibe. You could even call this a sharp four. Anyway, so what happened after that? Now we come down. G is the perfect fourth of what? The argument is G is the four of something. So the answer will be D and a great chord which works is the sus four. You could even take a G sus two inverted. What I really also like to do is do a seven sus four. So you could do a D sus four with a seven flat. So G is very much the perfect fourth of our note D as a suspension sus four or seven sus four, depending whether you want to do three notes or four notes. So we finished sus, we finished perfect four major third is over, right? G is the major third of E flat. I talked about that earlier. G is the minor third of E minor. I've talked about that earlier. So that leaves us with two more intervals. G is the major second of what? It's really easy to see. You will find that G is the major second of F. So you could consider like an F sus two. You could consider an F add two, which is an F major with that G stacked in. You could also consider an F minor add two or an add nine, where G is just a passing note. Another thing you could do is when you do the jazz tensions, like nine, eleven and thirteen, you could say G is the nine of an F by playing an F dominant and then stacking up G at the top end. So G is the dominant, sorry, G is the ninth or the major ninth of F, F dominant seventh. There we go. So I like looking at G as the second or the ninth depending on the function. But F, F add two or F nine, then so on and so forth. You and I have minor ninths. That could work, dominant ninths and major ninths, so many kinds of ninths. Okay, last but not least, G is the flat two or sometimes we call it flat nine of what? Well, you can immediately look here, you'll have an F sharp. You may not want to play just F sharp and G, even though it's quite cool, very horror movie like psycho or something. Anyway, so one nice strategy is if G is used as the minor two of something, in this case F sharp. You could build some very interesting chords like this is a Phrygian chord which is one, two flat, four natural or perfect four and then the perfect five. It's a Phrygian chord because it brings out the Phrygian. It's a modal chord, you could say. Another nice way I like to use G as a flat two is add it beyond a dominant seventh and then we call it a flat nine there. There we have it. So this hopefully proves beyond reasonable doubt that G exists with every single root in music. It can be there with F sharp, it can be there with G, it can be there with D flat, all the 12 notes in music and then you have different variations as well. So wow, that was a lot. I hope you have digested it and thank you for watching it till the very end but to digest this even better it may be advisable to grab our Patreon notes where because this is a theory lesson, there's a lot which I've written down so do consider grabbing a copy of it and by being a Patreon member you also get the previous lessons and there's notation, there's backing tracks and so on. You could also consider joining us for our intermediate or advanced lessons. You could go to our website, fill up a form, drop us a WhatsApp or an email and one of us will reach out to you and so on and so forth. There's a lot of things you can learn from Nathaniel's School of Music, of course starting with this YouTube channel. Thanks again for watching the video and don't forget to give the video a like, a share if possible, leave us a comment and hit the sub button, subscribe button and the bell. It'll be awesome. Cheers, catch you in the next one.


Thanks, Alex. And with that, let's welcome Patricia with the talk, I Can't Work Like This. Welcome. Thank you, thank you so much. So, thank you for having me. And good morning. I'd like to welcome you to Bugs as a Service. This will be our company for this morning. Bugs as a Service makes a bug tracker plus plus. It's a fancy company. But it's a very small company. It's a small team. Let me also introduce our problem. A problem is here represented as a purple ball. We don't know much about this problem. We aren't really sure if it's a serious problem or not exactly sure if it is a problem at all. And if it is a problem, we're not exactly sure if we have to fix it right now or if it's easy to fix or even if it will take a long time to fix. So it's a very, very unclear problem that we have. Now let's say that we could place that problem in some sort of system. So let's say that we could say it was a red problem or yellow problem or blue problem or a green problem. Maybe if we could classify the problem somehow, that would tell us something. But maybe how we solve problems tells us more about the problem itself. Like maybe we could distinguish different problems from each other by thinking about how we solve problems. So down here, let's imagine that we have crisis. Now this could be like an everyday crisis like a house full of three year olds, for example. These are unfolding crises like stuff will happen. You can't just sit down and pretend it's not there, things will happen. Like if your house is burning down, you can pretend it's not, but it will burn to the ground. So these are things that if you now don't do anything about it, it will resolve itself and probably not in a way that you like. Now up here we have other types of problems. Now these are problems that you don't necessarily know what the problem is or how to solve it. So you kind of have to experiment, try out different things, debug, try to learn. There's a lot of unknowns in this scenario. So a lot of detective work to try to figure things out. Whereas up here you have really nice problems, delineated problems, you know what the problem is, you know how to solve the problem. You're not really worried about that. You know that the problem can be solved. Now you're thinking more what is the best way to solve these kinds of problems. There are several ways, but what is the best way for us? Maybe there's this, you know, you have a tradition of engineering of best practices that you want to apply to the problem. Down here we have great wonderful problems. These are problems that are solved with automation and routine. These are problems we know exactly how to do. We just have to do it. You know, sometimes we might realize that there's some bug in our automation or maybe some steps missing from our checklist. But this is stuff that we can fix so that next time we do it better. But we know how to solve these problems. Now you have certain people that tend to work in parts of this. And so this system, by the way, is often called the Kenevan framework. It's made by a guy named Dave Snowden. And he talks about it as a sense-making framework. And he has names for these different things. So down here he calls this the chaotic domain. And this is the complex domain. And here is the complicated domain. And down here is the clear domain. So they have names. But I want to talk more about the people who work there. So you have certain people who tend to work mostly in one domain. So here we have Ellis. He works for Bugs as a Service. Ellis started off his career as a graphical designer. And now his official title is probably UX designer. But he does all things design and creative at this very small team at Bugs as a Service. He's a very creative person. He probably wants to be an artist.  So he actually has a SoundCloud just in case, you know, a tweet goes viral at some point. And he likes to try to figure out what is the best thing for the users. And does a lot of like off the wall thinking and just throwing ideas out there. Now here is Alex. Alex does not throw ideas out there. That's not what he does. He will throw solutions out there. If you give him a problem, he will try to give you a solution. Alex is also a little bit tired of his job. He's more interested in the stuff that he does at home.  And that's really what keeps him going because he kind of thinks his job is a little bit boring. But down here we have Bailey. Bailey loves her job. Bailey loves her job because it basically means that she can make order out of chaos. So Bailey is an SRE or Site Reliability Engineer, but she used to be just called assistant. Her basic role she feels like is just to keep the world from descending into chaos. So everything has to have a system. There should be orders. She's not a big fan of Alice's off the wall ideas either. She thinks that we should have a plan and we should follow it and no one should be all too creative about the world. Down here we have Parker. Parker is an instant responder. And this means that Parker has a very strange kind of personality. So when the world is on fire, Parker is smiling. When everyone feels like, oh my gosh and everyone is super stressed out, Parker is like finally my moment is here. So Parker will smile at in the most inopportune moments when things really are not to be smiled about. But you have also people that don't really know where they belong. Like here we have Finley. Now Finley wasn't dead, but then Finley got a promotion. Finley's not exactly sure that being a tech lead was a promotion because now Finley feels like most of her time is being spent in meetings and she actually really liked to code. But being in this complex domain and this creative domain is necessary for Finley because she has to balance the role of trying to figure out what is the right system to build versus how to build the right system, which is her dev side. And so balancing what should we make with how should it be made is a part of her role. You also have Oakley. Oakley is a senior dev. And one of the things that Oakley's been working hard on lately is automation. So working on the CI CD pipeline, making sure that, you know, when we push things to production, they work properly. Also making sure that there's an infrastructure that can be easily put up and pulled down and all of those things. So that's more in the clear domain where Oakley has been working with the automation. In the clear domain, you also find Kean, who does QA. QA means that Kean is basically everywhere all the time. Kean is known binary and uses they, them pronouns. And Kean loves to figure things out and actually quite enjoys when there is a disaster in some way with together with Parker just because finally, I guess things really went as badly as Kean always worries about. It's a strange thing. Kean worries constantly when when things actually go bad, Kean kind of likes it. Also Kean likes to investigate things and maybe that's why Kean likes it when things are bad because that that means that Kean can run around and figure things out what actually went wrong. And in a little bit, you know, making order out of chaos there. So let's take a look at our team. So we have Parker, our Instagram responder, Kean, our QA. We are our cyber liability engineer. Oakley, our senior dev. I like our dev. We are Kikli and Ellis, our designer. Together, they are the parts of bugs as a service, our company. Oh yeah. Sorry. I almost forgot. This year, this is Jeff. Jeff is our sales guy. Jeff talks on the phone a lot and smiles a lot and speaks really loudly a lot. Oh yeah, and, and yeah, here, here's this is Brad. Jeff talks a lot with Brad on the phone because Brad is the customer. Okay, so it's Saturday. All of these people are going to have a really bad day. So welcome to my talk. I can't work like this. And also welcome to Katie Academy 2021. My name is Patricia also I'm a trainer and a consultant. I'm a C++ programmer and programming now in C++ for about 15 years. And I've been specializing like the application security. And I worked for a company that I co-founded called Terabasec. I, my first job was on the original opera browser where actually we were working in the, in the floor above troll tech at the time. Then I went over to, to do some Java consultant for a little while and then went to Cisco where I made embedded shell process systems also using QF there. And then I went back to making a browser again at Vivaldi. And when I have time, I work on a pet project of mine, which is making a browser as well. So I guess I have a thing about browsers. I have a master's degree in computer science and my pronouns are she her. But back to our heroes. Okay, so Kean is our QA. Kean is always worried. That is sort of Kean's default state of mind where Kean is always worried, mostly about worried about whether something is Kean's fault. But in this case, Kean's worry actually helped because Kean being worried, Kean had started making all sorts of little monitors for production to see if weird things were going on because Kean gets less worried if there's monitoring and production. But this morning, early on the Saturday morning, one of the monitors kicked in. And it says data exfil threshold exceeded. Hmm. Okay, so we have an alert in production. Kean starts looking into the logs trying to figure out what is it that had happened. And they do look weird. So, Kean pays the rest of the team on Slack. I think something's wrong. So what seems to be pulling a lot of data off the server. We might have a problem. I mean, seems like a problem. But in comes Oakley, who's been chilling on the couch reading book. She takes a look at the logs. And, you know, they do, they do look odd, right. So she logs into the server it has a look around to see what's running there and this does not look normal. Okay, so she thinks Bailey, we need an SRE I on this. Bailey is not happy because Bailey was building IKEA shelves and Bailey takes building IKEA shelves very seriously following instructions is Bailey's favorite. But she does have a notification on Slack on at all times with sound loud, and she responds to the call to catch us up what's been going on and that she says, but nothing's happened. It's Saturday, everything was fine yesterday, which is not something that makes feel Bailey good makes Bailey feel good because Bailey does not like weird things happening in production. But the truth is something is off right performances down and massive amounts of data is being pulled off the server. So something's going on. We have a problem. And it is unfolding as we speak. So this isn't really an unknown class of problem anymore. This is clearly a problem in the character domain. We still don't know anything, and it is unfold. So we have a problem in the chaotic domain. Hmm. Okay, so in comes Parker, right? It's no respond. She pops in takes one look at everything that's been going on, and then goes straight to Bailey and says take the site and the server offline immediately. Then she helps us like very lucky and Bailey and they need to figure this stuff out because something is seriously wrong. But our first set of heroes have done a very important thing and especially Parker. They moved the problem from the chaotic domain into the complex of the did this very simply by taking the server offline. By taking the server on the site offline, they got to put a pause button on the problem. It was no longer unfolding was giving them time to have a look at problem. So we're not leaving data anymore. We still don't know what was going on. We don't know what has happened, but at least we know that it has stopped happening, whatever was going on is not currently happening. So we have some time to try to figure it out. And so our heroes managed to move the problem from mechanic into the complex. In comes Ellis, our designer and Finley, our tech lead. Now they are here for a totally different reason. They also pop into Slack, but for something completely different, they have alerts on the Twitter account for for bugs as a service. And they've been added on Twitter. Some weird tweets. I'm cryptic tweets really. First one shows up at 8am says we got your data. And then like, are you still sleeping. And then that was as a service doesn't care about their customers. The catching up family starts to worry that this has something to do with what what is currently being debug what is currently being investigated right so she jumps in and tries to debug the system on a zoom call with Oakland. And they just they also think I like to join them because you know something is going on we need to figure it out. But Alex is busy. Alex is gaming. Alex is not one to work on Saturday. And he sees the pain. Okay, fine. I'll come debug with you. But come on. So they all sit down on the zoom call, all trying to to mob debug this problem trying to figure out what is what is going on. Meanwhile, Ellis is dying deep into the Swedish fear trying to figure out what is going on with these tweets like does this person or the people know anything do they actually have any data what is going on. In comes Brad, the customer. Brad is not happy. Brad is having a bad Saturday morning as well. Because Jeff, our sales guy, who is trying to be chipper. Brad is screaming, what is going on the server is offline we can't get any work done. What kind of terrible product are you people making. And Jeff was like, Oh, I'm not sure it's nothing. Let me check with the team. Don't worry. It's we'll get it back in a jiffy. Hopefully and I like they're still sitting around trying to debug this problem at when Jeff turns up in the zoom call. And Jeff is not happy on a Saturday morning either. Jeff starts screaming to everyone what is going on. I've got the client on the phone he says the server is offline. I need info ASAP. I'm not doing anything anymore. All we have is a zoom call where Jeff is just screaming at everyone to do something but nobody can do anything because Jeff is screaming. And choose the matter is Alec didn't want to be here anyway. I like wanted to be home gaming and it's not working out for Alec and now it's someone screaming at him for something that Alec believes strongly is not his fault. Alec gets angry. Listen we're trying to work here. Be quiet leave us alone. We're actually trying to get to fix your problem but we can't do anything as long as you're screaming. Jeff, Jeff is not having I have a paying customer on the line and he answers now. Jeff thinks that solving problems is something that you can do by yelling at people. So, so the idea here is that if you yell more at people they will do more things. Unfortunately, that doesn't really actually work the way that Jeff thinks it does. And the thing is Alec is not having it anymore. He is sick and tired. It's early Saturday morning he was having a good day and now everyone is screaming and he can't get his job done and he is sick and tired of this job anyway. And so he just screams right back. I can't work like this. It's clear somebody has to defuse the situation. So family steps in being tech lead that's sort of her role.  And meanwhile the customer is still screaming on Jeff's phone which is making Jeff like so kind of aggressive. But family now she can't participate in the debugging anymore because now she has to manage manage Jeff and Brad's feelings because they clearly can't handle the situation. And Jeff on screaming and yelling. Meanwhile though, Alice has been diving into these tweets and he has come to the conclusion that they are spake like even though we have an ongoing situation with something going on with data. These are these these people don't have any data and it was just an accident that came at the same time. So basically we're not too worried about the tweets anymore. He has made some discoveries. No one. We're not saying who but it was totally Alec. I committed the server credentials to the open GitHub report. And but but the thing is luckily there's no no no sensitive information there there's all everything that's there is just stuff that you could have pulled off to scrape off the website anyway. So whatever these people are pulling off the server, it's not sensitive and nobody really cares so the situation isn't as bad as it seems. It's still kind of embarrassing because you know, it is what it is. But through this, this, this process with Ellis investigating the tweets and key and looking at the get logs. They have discovered what the problem is and they have moved the problem from being in the complex domain into the complicated. And the complicated domain is the perfect domain for software developers because now we know what to do. We have leaked data, but the data was not sensitive so we don't really care about that. But the intruder had access to the server and that we don't want. So we move the problem into the complicated domain but it's not finished we still have stuff to do. But the heroes for moving, moving a problem this time is elixir designer and key in our queue. So they managed to figure out what was going on and move the problem into the complicated. Okay, so back to the zoom call. Then Lee is back together with Oakley and Alec now the problem is is at least clear we know what the problem is. So together they discuss what how it should be fixed. So they form a plan. The first one isn't really necessary but they really want to remove the credits from get history mostly because they find it embarrassing and also because it's a bit embarrassed about the whole thing. But they also need to bring new servants and online instance online with new credentials and everything and bring the site back up. So Lee, Alec and Finley have made a plan and by making that plan have basically decided that the problem should be solved through automation by bringing up the site again. So they have moved the problem into the clear domain. So our heroes this time and move the problem down here. Excellent. Okay, so down there we have a new set of heroes so we have Oakley our senior that was been working with Bailey or SRE for a long time before this on automation and and they have they have a system for for taking down and bringing up the site on new instances. And they have key into to do their initial testing. So they take that they use what they already had, and they get a new server instance online point all the traffic towards it bring up both the site and the server online again. And key industry initial testing on the live website and thumbs up bugs as the services back. And now Brad the customer should be happy which would make Jeff the sales guy happy again and and everyone can go back to having a happy Sunday or Saturday. And so we had a problem in the clear domain, but it could be solved in the clear domain. And we moved it all the way there by moving it from chaos to complex to complicated and finally to clear. And we managed to fix it. So it was in the clear domain, managed to to bring the site back up and bugs the services back. Now, the thing is that this model with these, these four domains don't really reflect what we did today, because most problems start as unknowns, and then they move. So we started off with a purple problem, which is basically saying we don't exactly know where this problem belongs. And after a little bit of an investigation, it turns out that this problem was in the chaotic domain, and then that's where we pulled in our crisis management. Right. So this is where Parker took the site offline and where we have some time to define the problem in the complex domain. Once we figured out what the problem was, we moved the problem into the complicated domain where we could use our our engineering experience and good practice everything that we know how to do to figure out a good plan to fix it, and ended up that the fix was actually in the clear domain with automation and routine. Now, if you look at the Connecticut framework how how Dave Snowden draws it he draws in more like this. And so what we have here is this little space in the middle where we can put things that are unknown. So this is our unknown problem. In our case we figured out that it was a chaotic domain we moved it into the complex domain that into the complicated and finally into the clear where we solved it. But any problem when it starts up we don't know where it belongs and it could end up in any domain. It's just in our case that ended up being in the chaotic domain because it was unfolding. So now sitting back afterwards let's do a little bit of a of a think about what happened in our process. So, I like it from the sit down have a cup of coffee. Let's do a little bit of a retrospective, you know, a postmortem on this problem. What is it really that we need to learn from this. So Alex, I like ask family is like what is, what is the underlying lesson here what should we learn from this like how can we, how can we use this to become better in the future.  And maybe be folks being different isn't isn't a bug. Maybe that is actually the future. Because what we saw here is that people thinking differently and acting differently in different situations, people being used to different kinds of problems were contributing to the problem being moved through the different domains to finally ending up in a situation that we could fix. It is to look at this, this chaotic domain, people operate in the chaotic domain who like to to operate in the chaotic domain. They are generally decisive people, people who walk in and kind of boss people around. And in most situations you don't like people, they're very annoying people. And when there is an unfolding crisis you want someone to take, take initiative to take some kind of leadership role. It feels really comforting when things are falling apart around you to look at a person who seems to know what they're doing. And oftentimes that that role is not so important that they actually know what they're doing as long as they can act confidently. And people who are used to working in the chaotic domain they have that that calmness in the crisis, where they can walk in and look around, see what is essential right here and now, and and and move on that information. So so for example, a first responder who walks up to to someone has been in an accident, looks them over and and and thinks what is going to kill this person first.  Looking at a house on fire going okay so first of all we need to stop the fire. We can worry about what caused the fire later but we have to stop the fire first or stop the fire from spreading this kind of of drilling down into the essentials are the kinds of of qualities that you need in people who operate in the chaotic domain. And the complex domain you have the people who who are creative who are out of the box thinkers but and and they there's a system to the madness but it might seem very off the wall to people looking at it it is a creative process it involves a lot of back and forth. Trying things out and finding things that don't work. It's not a structure process and it can frustrate people so much, especially people who are used to being in the conflict in complicated domain or in the clear domain. Because people in the conflict of complicated domain they like structure, they like systems, like you, if you would, if you look at developers move between the complex and the complicated domain. People in the complex domain that's where you make your prototypes that's where you try stuff out that's where you do your first bring up just to see if it works.  And, but even though it's like if you have a bug that you don't know much about you might start off in the complex domain by just by debug just investigating trying to figure out what is going on. But once you know what the bug is you move into the complicated domain we like how should I fix it. It becomes a well defined problem. And people who are used to operating the complicated domain can be very frustrated with people working the complex domain and vice versa people in the complex domain or creative. People might feel like they're not allowed their creativity when people want them to tell them exactly how things should have been done in advance and they're like I don't know I have to try. But probably the most frustrated person with people in the complex domain and maybe also with the complicated domain are people who are used to working in the clear domain. These are people who are used to solving their problems automation and routine and process. They do not like all of this like back and forth changing stuff. And they definitely are not fans of complex people who are too much imagination and too much creativity and too much throwing things at the wall and see what sticks. People in the clear domain don't like that they like like a plan a system and they want they want everything to be running perfectly smoothly all the time. The best thing would be if everyone would just like stop moving for like five minutes so that things could just work. Now when it comes down to what should we learn from this I think key in is actually have a different opinion. So key in things that the real lesson here is that you should never underestimate QA. They know where all the bodies were because it was key in that actually managed to dig up that someone I like I checked in the credentials to get help. And by doing that key in was managed to move the problem from the complex domain into the complicated domain. No, all of the deaths were sitting around trying to debug the problem but none of them actually found the key. And one of the special things about QA that you might have noticed here is key in is operating all over the place. Both both in the automation in the clear domain and also in the crisis it was actually key in that that discovered the problem in the first place.  But it was the investigation that Keen kept on doing because Keen kept on digging and some people are like that they are just super curious people and they just want to know. And that keep that digging was actually the one that saved the day to actually bring the real bug into into the light and making it possible to fix it. And also later for Keen to test it. So so Keen was the one that was kind of running around all over the place, but not really getting a lot of credit for getting stuff done. And some people are like that they are neighbors in their teams, but they don't necessarily get the recognition that they need. They are. They practice their work by making other people better. And some some of those those roles are not necessarily well recognized. Keen does not make a big deal out of themselves Keen Keen will will instead dig up little nuggets of information here and there, giving it to people to to then run with it. So we have our company bugs as a service with Keen down here who is all over the place kind of person. And Bailey, who is the one that will structure everything to make sure it works to get everything in line and to make sure it works every day, the way it should. We have Parker, who you know it's it's fun to have a system and it's fun to be creative but what is really fun is when everything's on fire. Which means that Parker will be the the inappropriate smiling person at any kind of disaster area. But that is what Parker loves to do. Oakley is super happy both with with being able to build things but also to be working together with Bailey to to find a good automation steps to make the whole development process smooth. Because Oakley believes pushing to production is the best thing. So making sure that that is safe is something that Oakley really appreciate. Ellis are designer. Now he is the creative spirit and all of this and totally underrated by most other people because people don't realize that that the creativeness that Ellis brings to the table is actually what makes bugs as a service so popular. It is what makes at Brad the customer be so angry because it actually matters that the site is online. And that has a lot to do with Ellis's empathy and how Ellis can relate to to the end user. And then we have Alex who sometimes kind of misses the ball at work but mostly because Alex might not be as challenged as he should be. He's not having enough fun at work. He's not really feeling inspired these days. That's something maybe his colleagues could help him. Maybe he needs to be challenged more given more responsibility given given a chance to to use those skills that he clearly has to to grow more at work. And then we have Finley Artekli who managed to juggle these roles of hers from being this this kind of a people person who has to manage a team but also manage and manage the sales guy Jeff and and the customer Brad and then manage them when they went off being very angry. And managed to pull them off the team so that the team actually managed to solve the problem. And sometimes that is a huge job of being the buffer between the anger of the people who are solving the problem. And Finley really pulled that off. Unfortunately that meant definitely couldn't really participate much in the solving of the problem. And that is the story for today. It's a story about a team, building something together and and solving problems as a group. And what I hope that you bring from this is that sometimes you might look around at your colleagues and be annoyed.  And so what I'm hoping that you will look at this and think, okay, actually, all of these people participated together to fix the problem on Saturday morning, working from home from their couches and managed to bring it all together and not despite their differences, but because of their differences. And that is something that I hope that we can all bring together and to see that even though we're different, we can all bring our whole selves to work. And by doing that, we can make our whole teams and our whole organizations better. So thank you so much for listening. And that is my talk. Thank you very much, Patricia, for this talk. It seems that we have a Q&A widget for the attendees to use. And also, maybe we can encourage them to ask in the chat. Yes. If that's not a problem. There's a small delay in the stream. So let's give them a moment or two to type the questions in either the widget or the chat and we'll see. So the chat, is that the KD Matrix channel? Yeah, the Academy Talks one. That's the one everyone is watching right now. Okay, the chat is full of applause so far, but also in the widget, I see the very first question from Kai. What was the name of the underlying model again? Oh, Kinevan framework. So it's written like similar thing with C and Y. It's apparently a Welsh word. So he's been working on it for, I think, like 10 years. Dave's known. It's a very interesting, and he has lots of interesting talks about it. So I really encourage you to look it up. Okay, thanks. I can also bring it back. Someone already linked it in the chat. Thank you. IP wizard. Yeah, exactly. I don't have the chat right here. So if there's questions, please read them to me. Yeah, yeah, I'm looking at the chat. So far, mostly applause and thank yous and no further questions yet. One of the things that I found really interesting about this model was mostly this realization that people are used to different kinds of problems. And that being used to different kinds of problems like here. Let's see if we have these here. Being used to different kinds of problems means that you approach problems in different ways. Like Parker is a very decisive kind of take charge kind of person. And that kind of personality works really well in a crisis, but it doesn't work very well if you're in the middle of a creative process. If you're trying to figure out what should we do? Should we do this or this? Then if somebody comes in and tries to decide, it breaks the entire process. And you might end up with a suboptimal solution because what you need here is more of a facilitator. Like trying to figure out, get people to talk and bring those ideas out and spin off other people's ideas to try to nail what is a good solution for us. And when you go into the complicated domain, it's more about what is the best way to solve the problem. We don't want to be too creative. We want to follow best practices. We want to be structured. And there you might have your test of development and you have a certain flow of things. And people there are not too fond of the whole creative process either. And then in the clear domain where Bailey is, it's mostly about uptime, keeping things together. It's like we don't want to have a complicated system for anything. We want to make sure it's the push of a button and everything just works. And people who are used to working in different domains have different kinds of personalities, but they're all needed to make a good feature or a good product. And I think we fight too much without actually realizing that we are. Being different is good. Okay. I don't see further questions, but in case people do want to ask you later something, do you have any contact information? Yeah, you can reach me on Twitter. My handle is here. So it's pati.discordayardo on Twitter. And my DMs are open as well. So just ping me whenever. Oh, one question came up while you were showing the Twitter handle. Where would the salesperson go with solving problems by yelling strategy? I think if you ask Jeff, I think Jeff would say that he is up here without like he's a reasonable man with like reasonable plan. But the truth is, and he's probably more over here in the creative domain where he's more, but it doesn't really have the tools, I think, to do the actual design. So it's more of an instinct that, you know, I want people to stop yelling so I will yell at other people, which is a really bad solution to a problem. So probably more of a personality like Parker would have been better in that role, like being able to just be calm and like somebody's yelling at you and you're like, yeah, yeah, I understand that you're angry. We're looking into it, you know, and not reacting by just turning around and yelling at somebody else, which is not really constructive. So, yeah, yeah, I definitely think he's a little bit off the charts. Okay, I think that's it for the questions. Again, thank you very much, Patricia, for the talk.