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Zan Tyler and the inspiring Christy-Faith discuss the remarkable success and impact of homeschooling. Christy-Faith shares compelling insights into the achievements of homeschoolers on standardized tests, the SAT, and the ACT--outscoring both public and private school students and defying the conventional norms of education. Primarily, Zan and Christy-Faith discuss why homeschool families grow well-socialized, well-rounded- and well-adjusted kids. Could it be that our society is confused regarding social exposure versus true socialization? If you want your child to have a true sense of self and belonging, discover how the family has been the answer all along.SHOW NOTEShttps://zantyler.com/podcast/089-christy-faithLISTEN AND SUBSCRIBEJoin Zan Tyler and a special guest each week for real encouragement, engaging stories, and practical wisdom for surviving and thriving on the homeschool journey.YouTube: https://bit.ly/3ZjfXnWApple Podcasts: https://apple.co/3QmTyC3Spotify: https://spoti.fi/3vLipG2CONNECT WITH ZAN & FOLLOW HER ON SOCIALWebsite: https://zantyler.com/podcastInstagram: https://instagram.com/zan_tyler_podcastFacebook: https://facebook.com/ZanTylerHomeschoolTikTok: https://tiktok.com/@thezantylerpodcastSPONSORED BY BJU PRESS HOMESCHOOLhttps://bjupresshomeschool.comTwo Reasons I Homeschool: Amazing Socialization and Academic Achievement | Ep. 089 | Christy-Faith

What you'll learn in this episode: How to use Antique Jewelry University to identify maker's marks and find out when your jewelry was made. Why access to more (and better) information has made interest in antique jewelry explode. What characteristics Suzanne looks for when evaluating antique jewelry. Why buyers should beware of lab-grown diamonds in vintage jewelry. Why modern diamonds and manufacturing techniques can't compare to the materials and skills used by jewelers in the past. About Suzanne Martinez Suzanne Martinez is the co-owner of Lang Antiques, a San Francisco-based shop that offers the largest collection of fine vintage engagement rings and antique jewels to be found under one roof. She is a highly credentialed senior gemologist, jewelry appraiser, jewelry historian and the curator for Lang's collection. She actively buys from sellers all over the world. Suzanne is also the founder of Lang's Antique Jewelry University. Suzanne started collecting rocks and minerals as a child, and by the time she was 13 knew that the jewelry world was her passion. For fun she makes enameled jewelry and studies natural history and Latin American cultural anthropology. Images courtesy of Lang Antique & Estate Jewelry available on TheJewelryJourney.com Additional resources: Website Suzanne's LinkedIn Instagram Facebook Antique Jewelry University Lang Antique and Estate Jewelry is the prime destination for vintage jewelry lovers, but you don't have to be in San Francisco to take advantage of the store's services. Lang ships jewelry globally and offers Antique Jewelry University, a completely free online guide to maker's marks and jewelry history. Jewelry historian and Lang co-owner Suzanne Martinez joined the Jewelry Journey Podcast to talk about how Lang curates its huge collection of antique engagement rings; the history of Antique Jewelry University; and what she looks for when evaluating an antique piece. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, we're talking with Suzanne Martinez of Lang Antiques in San Francisco. I should say that's where the brick and mortar is, but they sell all over the world. Lang Antiques is the country's, if not the world's, largest purveyor of vintage engagement rings. They have an unparalleled collection. Suzanne herself is a jewelry historian, among other things. Lang Antiques has developed an online Antique Jewelry University. Researchers from all over the world use this as a resource to research the history of a piece of jewelry. If you're interested in jewelry, then this makes a very good read. I was looking at it last night again, and I didn't have any piece of jewelry in mind, but it was very interesting to read. I've heard Suzanne give a talk at ASJRA, another major jewelry organization, and I've heard Suzanne give talks identifying a piece of jewelry, and she goes into tremendous detail. There's no way that you could not look at a piece of jewelry and know what you should be looking for. She'll tell us more about Antique Jewelry University. She'll also tell us how over the years, the store has become world renowned. They have done this by developing an unparalleled collection of jewelry, a reputation for professional expertise, and the longevity of this jewelry store. Suzanne, welcome to the program. Suzanne: I'm happy to be here. Good morning. Sharon: Can you tell us where the Lang in Lang Antiques and Estate Jewelry comes from? Suzanne: We bought the store from Jarmilla Lang in 1991. She was the original owner of the store and a jewelry historian herself way before her time. She had worked in Europe in museums, so she had this breadth of knowledge of decorative arts and jewelry that she brought to San Francisco with her when she opened this store. Sharon: Wow. There aren't any certificates as a jewelry historian. It's just knowledge, right? Knowledge and other people saying, “Well, you're a jewelry historian.” I presume you're a gemologist also. You look at so many rings. That's very interesting. What do you say to those who would never buy a piece of jewelry online because they have to feel it and see it and all of that? Suzanne: Like you said, I am a gemologist and I have been for 45 years. Part of the gemological training is learning how to be forensic with what you're looking at. Whether it's a gemstone or a piece of jewelry, if you are buying from someone who is knowledgeable enough to understand what they're looking at and share that information with you, that gives a huge degree of trust. I think that's one thing that stands out for Lang. We have a really good understanding of whether it's a real piece of antique jewelry. How is it made? Why is this design important? Who else made this design popular over time and why? We like to give tidbits of history with every piece we sell. I do call myself a jewelry historian, but by no means do I know everything. I have a library. I haven't read every single book in my library. However, if a piece comes in and I look at it, I know which book to look for to find a reference about it. And there are many jewelry historians that I look up to. It's a community. Sharon: If I see a piece of jewelry on your website and I want to know more about it, or I want to know if I can trust this outfit If I don't know it, do I call you or send you the piece? Can you explain the process? Suzanne: If you want to know more about your own piece of jewelry, that's why we have Antique Jewelry University. It's a place where you can do your own research. We have a huge database of hallmarks because one thing that we probably get the most inquiries about is, “Who made this piece of jewelry? Here's the mark I have.” We refer them to this database we have because it's pretty impressive. Auction houses and appraisers and people all over use that database. Every piece of jewelry we have with a maker's mark, we do our best to research it. It's not always easy. It's not always possible. Then we photograph it, and we include it on our website. We try and add a little snippet about who the jeweler was, where they were located, and what years they did their manufacturing. You have to match when a piece was made because some there are false marks, too. If a piece of jewelry is marked 585, which is the percentage for 14-karat gold, it was not made in the 19th century. They didn't mark jewelry like that. There is that forensic bit, too. Hopefully we can help people down that path. We call it the jewelry journey. We do. It's finding out when their jewelry was made. If they want to find out more about a piece of jewelry we have on our website that they might be interested in buying, we invite inquiries. We talk to them over the phone or by email, whatever they're comfortable with, and try and satisfy all their questions about it and add information as well. Sharon: Did you develop the online Antique Jewelry University yourself? Suzanne: When we started our website, that was back in 1998. We were kind of early adapters. There were no e-commerce platforms at that time, so we developed our own e-commerce platform. By the early 2000s, we were actually selling online. When we launched our website, Antique Jewelry University was a 1000-word glossary. I had been collecting terms. Christie Romero was an incredible jewelry historian. She was here in Southern California, and she taught jewelry history. I don't remember which college it was down there, but she would put on symposiums and bring speakers in. Anyway, incredible woman. She started a glossary of terms and a timeline that, when she passed—unfortunately, she's no longer with us—she gifted to Antique Jewelry University. So, between her information and my glossary of terms, we started Antique Jewelry University and just built upon it. Sharon: Do you continue to build upon it if you see a new term or something you haven't included before? Suzanne: Absolutely. We are always researching. We have a woman who does a lot of our writing. Her name is Mary Borchert, and that is her job, just doing research. We have quite a library of reference books, so everything that we put on Antique Jewelry University is fully referenced. We notate that at the bottom of all our articles as well. We're not just copying it from somewhere else on the internet, which a lot of people do, and a lot of people copy Antique Jewelry University. That can be a compliment, but at the same time, we do all of our own work. Sharon: That's impressive, considering how in-depth it is. Just look at it online. Why do you think that the interest in antique jewelry has grown so much in the past few years? Suzanne: I think there's a lot of transparency. A lot of people are able to access information because of the advent of social media. Just think of all the people that are sharing their own personal information. We are on all the different social media channels as well, and I've seen them grow. If you have an interest in a particular type, like Art Nouveau jewelry, you can find Art Nouveau jewelers that have Instagram or Pinterest and look at beautiful jewelry and learn about it. In the past, when I started as a jeweler, if you didn't have a library, there was no place to go. You went to a museum, and that's where you found your information. Now I think it's a rich time for people to access information. I think we also visually see antique and vintage jewelry worn on the red carpet, at the Met Gala, and we see jewelry that is inspired by antique jewelry. You have famous houses. Everybody knows who Cartier is. You have the most beautiful antique Cartier jewelry, and then you have people that have copied it. That's a big tribute, but you don't always know if it's a Cartier or it isn't. That's why it's important who you buy it from. But at the same time, it's permeated everything, antique and vintage styles. Whether it's somebody creating something new with a nod to something vintage or it's truly vintage, I think it's just what people see today. It's massive. Sharon: Your selection of engagement rings is massive. Have you seen that grow in the past few years, the interest and the couples coming in and wanting to see your vintage only? Suzanne: Because that's what we specialize in—we specialize in antique diamonds, so our vintage and antique jewelry is why people come to buy from us. They understand that it's socially responsible, it's recycled. That's one of the reasons they buy it. They also want a little bit of history. They want something that no one else has, something very unique. They want something that has a beautiful design and is executed in a way that jewelry isn't executed today. You get a beautiful Edwardian jewel, no one can make a piece of jewelry like that in today's world. They just don't. The jewelry today is made on CAD. Very few jewelers are hand fabricators or can fabricate something that delicate. If you want the real deal, you're going to shop at a store like Lang.  Sharon: What happens if you get a call from somebody outside of the U.S. or even on the other side of the U.S. that wants a piece? They want a vintage engagement ring, but they can't come to the store. What do you do? Suzanne: Actually, more of our customers are outside of our store and shop just online because we have jewelry that no one else has. Where are they going to find it if they don't find it from a store like Lang? We have a very large selection. It's not unusual for a customer to narrow their choice down to two or three. Sometimes we just send them all three and they can try them on in the comfort of their own home. They have a period of time which they can return them. We make it work. Sharon: I thought it was really interesting that you had that, the one, two, three. Maybe it's the person who writes about the antique jewelry. The one, two, three of what you look for to know more about a piece of jewelry. That was like first looking at the hallmarks. I looked at it last night but I don't remember what's next. Suzanne: For a private individual, when they're trying to identify their own jewelry, style is really important. But for an individual, if you have family history and you know that piece was your grandmother's, at least you have a date within which to start. If you're just out in the world and you identify a piece of jewelry that you love but you don't really know how old it is, that's a little more difficult. How do you know it doesn't match the type of manufacturing techniques that were done when, say, an Art Nouveau piece of jewelry was made, versus something that is made today in the Art Nouveau style? That is something that's a little harder. That's why you need to rely on an appraiser, someone to help you with that. But when I personally look at a piece of jewelry, how I select a piece of jewelry for our store, style is really important. Good design is always good design. Bad design is obvious, and it just doesn't make a great piece of jewelry. The techniques of manufacture have to be right. It has to be in excellent condition. There's a lot of things that I look at that go in the background, that not everybody sees when they look at a piece. They see a beautiful piece of jewelry when they're shopping, but the backstory is it has to be in excellent condition. It has to be correct. Lang is very careful about letting people know when, for example, cufflinks have been out of style for quite some time, and a lot of the cufflinks that were made circa 1900 to 1930 are small. They're very small. They're really too small for men to wear. Men don't wear them, and they're very delicate. What we do is convert them to earrings. We make the most beautiful earrings out of these cufflinks that otherwise would lose their livelihood, and we've been very successful with doing that. But we tell people these were converted from a pair of earrings, whether it's Art Nouveau or an Art Deco cuff link. Those are the kinds of things that if we make a change, we tell people about it. Sharon: If somebody wants to sell jewelry to you or to another place, let's say they take their family collection and show it to you, or they take it out of the safe deposit box and decide they want the jewelry to be out in the world, what do you say? Have you ever turned people away? Suzanne: Absolutely. What if something was made in the last 25 years and its value is gold? It's something that is mass produced and there's lots and lots of them made and it's not in style anymore. It deserves to be recycled into something more beautiful again. In all pieces, it's back to that design, quality, authenticity and condition. Those are the things that I look for. I wish I could say I could buy every single piece that comes through my door, but realistically we have a large collection. Let's say right now I have 30 hardstone cameos. If someone brought me a hardstone cameo today, I would have to make sure that it exceeded my current collection to add it to my collection, or it has to be something that I feel customers are buying right now. The market goes up and down. Retro is a little soft right now. I like it. It's beautiful. The designs are gorgeous, but I'm not adding to our retro collection because we have a pretty extensive retro collection right now. Those are the kinds of things where sometimes I will say no. But usually individual, one-of-a-kind pieces of jewelry, that's what we're looking for. Sharon: Can you recognize if something is one of a kind when it's presented to you? I know you think about things and what you have, but do you research the piece? Do you look at it under the microscope? Suzanne: Some pieces definitely need to be researched, but most pieces are jewelry where maybe more than one of them has been made. In our diamond ring collection, for example, during the 1920s and 1930s, a lot of those rings were die struck. They were made in a die and many of them were made, but very few survive. In all my years of buying and selling vintage engagement rings and antique engagement rings, maybe I've seen a handful that were the same as one I had already seen. That's because the piece may be struck on a die, but then its hand pierced, its hand finished. There may be a garland or small milgrain, or it may have small diamonds added to it and this one doesn't have diamonds added to it. Each one has a handprint of a person on it, the work master or the person that does the engraving or the setter. Each one has its own imprint, so they still tend to look one of a kind. But knowing the underlying structure of something is still one of the ways we determine when it was made. You know when you see a die struck ring, that's the period of time within which it was made. Sharon: Do people bring lab-grown diamonds in? I know they're not vintage, but do you ever see lab-grown diamonds? Suzanne: I think the secondary market for lab grown diamonds hasn't really hit yet because they've only been super popular in the marketplace for three years. That's about it. And their prices have already plummeted on the retail marketplace. It's not something we would ever buy because they're not old, but it is something that we have to be careful of, and I think people have to be careful of. I have heard of jewelers that are buying low quality synthetic diamonds. They're buying a round brilliant and they're recutting it to European standard because they have inclusions and might have some off color, then they're putting them in an old mounting. People that buy scrap end up with lots and lots of mountings, and sometimes they just resell them on the secondary market through dealers. So, here you have the possibility of someone setting a synthetic diamond recut as an antique diamond into an old mounting, so buyer beware. That's one of my dilemmas, too, that I have to be very careful about. I would never want to buy that. That's when the microscope comes in handy, and that's when we use outside laboratories like the Gemological Institute of America to check the stones before we buy them, just to make sure they are correct. In our laboratory, we don't have all the equipment necessary to confirm that it is 100% synthetic or not. We have separation techniques, but a larger laboratory is able to do a lot more than we can. Sharon: A lot of these lab-grown diamonds have inscriptions and numbers or something that identifies it. Do you look for anything like that? Suzanne: If the GIA has looked at that diamond, they always inscribe them. But a diamond cutter can polish that off in a matter of 10 minutes. If you do see it, great, but it's not something that we've even seen. We don't buy round brilliant-cut diamonds. We've never bought round brilliant-cut diamonds. That's not what we buy and sell. Because we specialize in the older ones, like I said, I'm very careful about what I buy and I'm on the lookout for these supposed recuts. We know they're out there for smaller diamonds because we see them in reproductions, the European cuts and single cuts. Primarily the European cuts are cut with what we call an open culet. Instead of coming to a point on the bottom, they have a facet there, and the facets in the contemporary cuts for small diamonds have a really big open facet. That's a generalization, but it's one of those things. If you see all the other characteristics that make you think it's not an old ring and you see those stones and they're perfectly calibrated, you can kind of say, “Yes, that's a reproduction, and this is why.” Sharon: Do you or people who work at the store go out to trade shows or antique jewelry shows and look for merchandise to resell? Suzanne: That's one of the things I do. Most of the jewelry that we buy and sell comes right in our door. People send me a picture of it and we strike up a conversation, and they mail it to us or send it FedEx or however we decide they're going to ship it for our consideration so we can see it in person. I do not buy anything unless I see it in person. Another really good reason to go to trade shows is to do price research. I go to Tucson Gem and Mineral Show every year because the prices and availability of different gems change. It changes from year to year, and if you're buying a beautiful old sapphire, you want to make sure you're paying the right price for it, especially today as prices have gone up significantly, especially in emeralds, rubies and sapphires. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

#dreamgirl #hemamalini #bollywood Hema Malini is an Indian actress, director, producer, and politician. Primarily known for her work in Hindi films, she has starred in both artistic and dramatic roles, and is one of the most popular and successful leading actresses of mainstream Hindi cinema during 1970s, and 80s. KiranPrabha narrates the life sketch of Hema Malini. This is  Part 1. Topics Covered in this episode: Highlights of Hema Malini Filmy Career Childhood , Family Background Dance Training Missed Opportunities First Chance in Bollywood. More details will be covered in Part 2.

Is this the greatest Taylor/Travis content we have ever received? As far as Emma & Julie are concerned, hard yes. They discuss those videos, as well as a bit of Coachella more generally, Kim & Odell's rumored breakup, Drake's feuds, and a tangent about dating in the age of social media.  Taylor and Travis: https://x.com/tayvishaze/status/1779589915363127522?s=46 https://www.tiktok.com/t/ZTLfXfjQw/ https://www.tiktok.com/t/ZTLfXJhDR/ https://www.tiktok.com/t/ZTLfXf3kU/ https://www.tiktok.com/t/ZTLfXBFay/ Vanessa Hudgens: https://www.instagram.com/p/C5tnm2svyaR/?igsh=aWtxZGhzaXJ3eWV5 Megan Fox/Kim/MGK: https://www.instagram.com/reel/C5wfNMEpxAv/?igsh=MWE1dHdiczd0dTB1ZQ== Mentioned tweets:  https://x.com/jezfrompeepshow/status/1779499665605464274?s=46 https://x.com/holy_schnitt/status/1643292950758055943?s=46 Drake post: https://www.instagram.com/p/C5woG5ErX06/?igsh=ZzZmZnY2czJiaHh3 To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In Romans chapter 15, Paul encourages the church to maintain her unity once again. It turns out, this was quite a challenge for early Christians. I'll give you some examples of what was happening in the local congregations…   The church in Galatia was known for its legalism. The church in Corinth was divided because some were tolerating the kind of sins that many unbelievers didn't tolerate. The church in Pergamum was splitting because Christians were marrying pagans and it appears their pagan gods were being introduced. Many of Paul's letters aim at preventing division due to doctrinal perversion.   Some scholars believe that the church in Rome was the most fragmented of all. Primarily, because it existed in the heart of the Roman Empire at a time when Christianity was out of favor. Nero was torturing Christians and some researchers say that early Christian martyrs were turned over to Nero by other Christians. The motivation behind this was envy, jealousy and rivalry.   Churches have been known to divide over the smallest and most insignificant matters. So it's little wonder that three times Jesus prayed for our unity. The request came at a remarkable time in his life. We don't wake up knowing when we are going to die. Jesus did. He knew exactly how much time he had. What does he do with his last 24 hours? He spends time instructing his disciples and he prays. More than once, he prays for our oneness.   Paul urges the strong not to become a stumbling block to the weak by exercising liberties that might cause the weak to stumble. If they are walking in love, the strong will gladly surrender the exercise of their liberties for the good of the weak. The benefits our liberties offer are so small, and the blessings for limiting our liberties are so great that this should not be an agonizing decision.   There's an aphorism you might be familiar with: “Might makes right.” What this refers to is society's view of what is right is determined by those in power. The Christian ethic upends this. Those who are strong have an obligation to the weak. They are not to victimize the weak but to come to their aid. All for the sake of unity.

J.R. Jayewardene served as prime minister and then president of Sri Lanka between 1977 and 1989. Sri Lankan history, politics and society is dominated by tensions between two ethnic groups. Ethnic divisions are intrinsic to countless countries, including many covered on this podcast before. The key question the Sri Lankan experience raises though is this: in stoking ethnic tensions, what is more important: how the government works, or who runs it?Today's subject demonstrates that in the case of Sri Lanka, the latter is true. During his presidency, J.R. presided over the so called Black July riots, which saw the deaths of 5000 Tamils in a single month. But even when he saw the results of leaning into ethnic division - and there was evidence of the results of doing so long before Black July- he wasn't compelled to stop. For this reason, J.R might hold greater responsibility for Sri Lanka's ethnic strife and ensuing civil war than any other Sri Lankan. My guest today is Dr. Asanga Welikala. Primarily focusing on constitutional theory and commonwealth constitutional history, Asanga is a lecturer in public law at the University of Edinburgh School of Law. He is also a Research Associate of the Institute of Commonwealth Studies, University of London. 

Alan Fredendall // #FitnessAthleteFriday // www.ptonice.com  In today's episode of the PT on ICE Daily Show, Fitness Athlete Division Leader Alan Fredendall discusses incidence of knee injury in functional fitness, common types of knee injuries seen in this space, and how to begin to treat knee pain for the fitness athlete. Take a listen to the episode or check out the show notes at www.ptonice.com/blog If you're looking to learn from our Clinical Management of the Fitness Athlete division, check out our live physical therapy courses or our online physical therapy courses. Check out our entire list of continuing education courses for physical therapy including our physical therapy certifications by checking out our website. Don't forget about all of our FREE eBooks, prebuilt workshops, free CEUs, and other physical therapy continuing education on our Resources tab. EPISODE TRANSCRIPTION INTRODUCTION Hey everybody, Alan here. Currently I have the pleasure of serving as their Chief Operating Officer here at ICE. Before we jump into today's episode of the PTI Nice Daily Show, let's give a shout out to our sponsor Jane, a clinic management software and EMR. Whether you're just starting to do your research or you've been contemplating switching your software for a while now, the Jane team understands that this process can feel intimidating. That's why their goal is to provide you with the onboarding resources you need to make your switch as smooth as possible. Jane offers personalized calls to set up your account, a free date import, and a variety of online resources to get you up and running quickly once you switch. And if you need a helping hand along the way, you'll have access to unlimited phone, email, and chat support included in your Jane subscription. If you're interested in learning more, you want to book a one-on-one demo, you can head on over to jane.app.switch. And if you decide to make the switch, don't forget to use the code ICEPT1MO at signup to receive a one-month free grace period on your new Jane account.   ALAN FREDENDALL All right. Good morning, everybody. Good morning, Instagram. Good morning, YouTube. Good morning to those of you on the podcast. Welcome to the PT on ICE Daily Show. I hope your Friday morning is off to a great start. My name is Alan. Happy to be your host today. Currently have the pleasure of serving as the Chief Operating Officer here at ICE and our division leader in the fitness athlete division and practice management divisions. It is Fitness Athlete Friday. We would say that means it's the best darn day of the week. And here on Fitness Athlete Friday, we talk all things for folks who are recreationally active. So those patients and athletes active in CrossFit, functional fitness, running, endurance sports, whatever, that person who is getting up every day and getting in their daily movement, we're here to help you help them. So today we're going to be talking about knee pain in the fitness athlete. And in the context of today, we're going to be talking about specifically those folks who are probably squatting on a regular basis. So CrossFit and functional fitness athletes, folks who are maybe squatting, squatting heavier, higher volume on a more frequent basis than maybe some of our endurance athletes. INCIDENCE & TYPES OF KNEE INJURIES IN FUNCTIONAL FITNESS So I want to talk about what types of injuries do we see in the knee in this space, describe a little bit about those injuries, and then discuss the beginning stage of how to begin to treat some of those conditions. So first things first, What do we see with knee pain in the fitness athlete population in general? The great news is over the past decade or so, we have got a lot of great high-quality research out of the CrossFit and functional fitness space about what regions of the body are injured most frequently, and then kind of what conditions follow those injury diagnoses. So we should know that in the fitness athlete, we primarily see shoulder as the most injured region. About 45% of injuries are from the shoulder. Really close behind that is the low back about 35% and then really musculoskeletal injury kind of falls off after shoulder and low back. Specifically today talking about the knee we see about 15% of injuries are related to the knee. Beyond that we have elbow, wrist and hand, ankle and foot, that sort of thing. So primarily shoulder and low back and then a real sprinkle of the knee. With those knee injuries, we're not seeing really major traumatic injuries. It's very rare, probably never in your gym, anecdotally, have you seen somebody fracture their leg, fracture their patella, tear their ACL, get hit by a vehicle, fall off a thing. That usually doesn't happen in the space of the gym. Primarily what we see in the fitness athlete population, folks who are doing a lot of impact, a lot of squatting, is that we see a lot of patellar tendinopathy and we see a lot of what we maybe would describe as a meniscus issue but really something that we could just generalize as medial knee pain. So now breaking down those two major conditions patellar tendinopathy and meniscus or medial knee pain first things first I would tell you if you haven't yet taken our extremity management course with Lindsay Huey, Mark Gallant or Cody Gingrich I would recommend you get to that course as soon as possible. That course is a really great complement to our fitness athlete courses as far as being able to recognize and diagnose and stage a tendinopathy, diagnose an extremity condition, but also treat it and learn a lot of progressions and regressions to treat those injuries. Specifically, they spend a lot of time the entire afternoon on Saturday addressing the knee in a lot of detail. So make sure you're really comfortable with these conditions. if you hear words like patellar tendinopathy or meniscal care and you think, quad sets? I don't know. PATELLAR TENDINOPATHY & MENISCAL CONDITIONS So talking about patellar tendinopathy, what do we know in overuse condition? who is that person in the gym that we maybe need to be aware of, or questions in our subjective exam with that person that would let us know this person may be in that bucket. Somebody brand new to squatting, think of somebody in their 40s or 50s, sedentary, maybe their entire life, that's not out of the realm of possibility these days, who is now jumping into CrossFit, jumping into Orange Theory, jumping into F45, being expected to squat at higher volume and higher loads than obviously they ever have in their life. Folks who maybe are not new to this space but are maybe incurring and encountering a higher level of squatting volume than normal may also fall into this bucket. There are also movement patterns that tend to show up in these folks. I like to stage these as two different movement patterns. The first is what I'll call the close enough squat depth pattern, right? That person who is getting to maybe just above or just at parallel. what do we know about that range of motion in the squat we actually know that's when force on the knee is at its highest that above that point at about 45 to 60 degrees or less of knee flexion and then below 90 degrees of knee flexion we know we have a deloading effect at the knee so those folks who are trying to squat to full depth but are in just that close enough bucket are putting a lot of mechanical force on their knee that they could get rid of if they either squatted more shallow, which is not ideal, or ideally squatted a little bit deeper. The second group of movement pattern folks who fall into overloading their knee is that back and down squat pattern person. So that person who does not break at the hips and knees at the same time. So as we instruct the squat, we like to tell people, imagine there's a rope around your hips and your knees and they're pulling in opposite directions at the same time. That means your hips should flex and your knees should flex. And ideally with a relatively vertical torso, you sit down, sit straight down into that squat pattern. The down and back folks tend to initiate their squat with a hinge, and then to get to depth at the last moment, bottom out that squat and drive all of that force into the anterior knee to hit depth. This is kind of how powerlifters tend to squat, especially with a low bar back squat. But folks who just have not grooved out the motor pattern of the squat yet, when they hinge back and then sit down to finish the depth, the knee again is taking up a lot of force that really we could clean up with some coaching and cueing, right? Maybe we could elevate that person's heels, give them a corrective to hold a plate in front of them, but otherwise encourage a more vertical torso and a more sit straight down squat pattern that distributes force equally between the hips, knees and ankles in their squat pattern instead of at the moment of truth, putting all the force in the knee as they try to hit depth. So that's the patellar tendinopathy bucket. What about the meniscus, the medial knee pain bucket? These are folks who are encountering a lot of impact in rotation. So we do see this a lot in the functional fitness space, right? We do running. We might not go run marathons, but we do a lot of workouts with 200, 400, 800 meter runs. We do a lot of box jumping to train triple extension. We do a lot of double unders for model structural cardio work. And we have begun to introduce shuttle runs, at least in the CrossFit space, to be able to run indoors during the winter in a competition environment where maybe we don't have access to run outside or we don't have the treadmills to be able to run inside on a machine. With shuttle runs comes not only the impact of running, but now a turning rotation moment. not too dissimilar from catching a box jump in the bottom of your squat with your double unders or with running in general. Also in this group are folks who might be new to squatting full depth or otherwise increasing their squat volume, right? No different than the patellar tendinopathy bucket that they are now encountering extra volume. So understanding who that person is is really important and that's where knowing that this person is a functional fitness athlete knowing if they are new to this or not, if they're returning after a break, if they've never done something like this in their life. Uncovering all of that in the subjective history is really important because it's going to give you a better idea of where your treatment might take you. TREATING KNEE PAIN IN THE FITNESS ATHLETE So let's talk about that treatment. What should be our priorities in treatment? With our functional fitness athletes, we're demanding full range of motion at every joint whenever possible. That means one of our primary goals should be if we find an asymmetry, a lack of range of motion, particularly in knee extension and knee flexion, we need to restore that as soon as possible. Again, I'll point you towards our extremity management course. I'll point you towards our fitness athlete live course to learn techniques to self-mobilize to load to restore that full range of motion. But as we're restoring that full range of motion, respecting the irritability of the patient, we need to begin to strengthen in whatever available range of motion we have. These folks do not need more volume, right? They're coming to you with an overuse, a repetitive use injury already. Giving them a 20-minute AMRAP or a 30-minute AMRAP and having them do hundreds of squats or lunges in the scope of their PT session is just adding insult to injury, especially if we are thinking that this is a patellar tendinopathy case, for example. These folks need strength, they need capacity and resilience in those structures, so that they can continue to not only stay in the gym, but perform in the gym, ideally, beyond the point at which they got injured, right? We don't wanna just return somebody to the exact moment at which they got injured. Ideally, once we clear them fully, hey, you don't need to do your PT exercises anymore, they are a stronger person than when they first began rehab with us. So we need to strengthen that full range of motion of the whole knee. Now PT school has closely associated in our brains that the knee means quadriceps and that's it, right? It's all over the research. It's all over knee extension machines and really, really focused on making sure that we have really, really strong quads, which is not a bad place to start, especially if that person is missing some knee extension, right? Some, some traction banded straight leg raises can do a lot to both begin to restrengthen quadriceps, but also restore knee extension. but we can't just stop at the quadriceps. We need to strengthen the whole knee, right? All four muscle groups of the leg that attach to the knee. So we also need to make sure we're targeting our hip abductors, our hip AD ductors. We need to target, yes, the quadriceps, but we also, especially if we're thinking this is a rotational-based injury, if we are thinking this is medial knee pain, call it meniscus, call it whatever, we really need to focus on the hamstrings because why hamstrings flexed and rotate the knee. They are pulling the knee into medial or lateral rotation in a movement like running. Ideally, hopefully, they're firing pretty much in sync so that we don't have a lot of rotation in our knee. We're primarily going through flexion extension, but our knee does have the capacity to rotate, obviously, and it's primarily driven by our hamstrings pulling the knee into flexion and in rotation. What is the problem with hamstring strengthening? The problem with hamstring strengthening is that in most functional fitness environments, we don't primarily isolate and train the hamstring. We certainly do a lot of deadlifts, we do a lot of kettlebell swings, that sort of thing, but if you think about the range of motion from the knee and the hip in motions like deadlift, kettlebell swing, it is not full range of motion of the hip and or knee, which means we're not strengthening the hamstring through its full range of motion. Yes, you'll feel a little maybe glute, high hamstring burn on high volume deadlifts or kettlebell swings, but you are not getting that deep behind the knee stimulus that you are with things like Nordic curls or even just isolated knee flexion on a knee flexion machine or banded knee flexion or anything like that. So understanding that the hamstrings flex and rotate the knee is really important to kind of finishing the drill on a really comprehensive knee strengthening program. Understanding that biceps femoris is responsible for knee flexion, but also yes, lateral knee rotation, and that semimembranosus and tendinosis are responsible for flexion and medial knee rotation. So particularly with those medial knee pain bucket folks, we wanna get into semimembranosus, semitendinosus, maybe with our hands, with needles, with cups, whatever, try to restore both that flexion and rotary component of the knee, and then get out in the gym and really strengthen those hamstrings on top of, yes, the quadriceps, the hip abductors, and the hip adductors. TIME UNDER TENSION IS KEY The key with strengthening the knee, again, is time under tension. The folks you're working with are already doing higher volume, higher repetition, relatively moderate to higher load training for the knee in a Metcon style workout. So adding in more air squats at high volume or light wall balls or thrusters or goblet squats is really just doing the same thing that they're already doing in the gym, which led them to be sitting on your table in the first place. So just giving them more of that isn't necessarily a prescription. When we have students at Health HQ, they're so excited to have people out in the gym moving, folks who are interested in taking care of their health and fitness, and they love to jump up to that whiteboard and write out, Remom 24, Amrap 30. We have to go, wait, stop, stop. That's not appropriate for this patient, right? This patient is already dealing with the consequences of too much volume. We need to back their volume down, especially in physical therapy, and focus on time and attention. So be careful that we're not actually exacerbating or at least prolonging the healing time of that patient's condition because our volume in PT, our volume for our home program is too high. Slow it down, less reps, less sets, more time under tension. Depending on the patient's irritability will let you determine how much tension you can apply both in the clinic, in the gym, and for homework. When someone's really irritable, I'm thinking maybe isometrics, and I'm thinking something like a reverse Tabata. 8 rounds, 10 seconds of work, 20 seconds of rest. There are apps out there. I personally like GymNext. It is a timer. It has a Tabata built in, EMOM, AMRAP for time built in. It can connect to a Bluetooth clock that the company sells, but you can also just use it as a standalone app and play it through a Bluetooth speaker or just through your phone speaker for your patient to hear. So reverse Tabata, eight rounds, 10 seconds of work, 20 seconds of rest, that gets us 80 seconds time under tension. That's a pretty good start, especially if we're doing it isometrically and the patient is really, really, really irritable. Now, as symptoms calm down, as function begins to improve, as tolerance to loading begins to improve, we want to increase that time under tension dose, especially if we're convinced that this is a tendinopathy based condition. So I like to move next to 10 sets of 10 seconds of work. I'll usually do 10 seconds on, 20 to 30 seconds off for 10 sets. That bumps the needle about 20%. That gets me 100 seconds time under tension. Then, when that patient appears ready, we'll probably progress to a Tabata. That's 160 seconds, right? It's the opposite of a reverse Tabata, a full Tabata. 8 rounds, 20 seconds of work. 10 seconds of rest. So the inverse of a reverse that gives us 160 seconds. So now we're close to pushing three minutes time under tension through that structure. At this point, you're probably away from isometric exercise, but if you're not great, keep rocking the isometric exercise for more attention. And then really for me, kind of the hallmark that someone is getting close to the end of their plan of care is when we can do isotonic movement, we can do five sets of five, and we can do some really gnarly tempo right think about a slant board goblet squat right so he was really elevated a lot of focus on tension through that anterior knee and that medial knee structure three seconds down hold the bottom and as deep of a squat as you can show me three seconds and then three seconds standing concentrically out of that squat. That's nine seconds per rep, five reps per set, five sets. That gives us 45 seconds time under tension per set. That gives us 225 seconds across the five sets. That is what the tendinopathy research tells us we need to be hitting as a benchmark for our time under tension. So understanding, depending on that patient's irritability, depending on how long this condition has been going on, that person may not be able to walk into the clinic and do a slant board, heels elevated, goblet squat, five sets of five at 3-3-3-1 tempo. That might be a lot, right? Certainly probably going to make them sore, but it might aggravate their condition. So understand how we can regress and progress, time and retention is needed. And then make sure as well that we're doing that for every structure of the knee. Again, that we're hitting the medial knee, the lateral knee, the anterior knee and the posterior knee, particularly doing things for the hamstrings like Nordic curls, curls on the rower, furniture slide curls, anything to really target the hamstrings as they insert at the knee as they flex and rotate the knee. and not just strengthening mid-range of the hamstrings and mid-range of the quadriceps. SUMMARY So knee pain in the fitness athlete. How frequent? About 15% of all injuries, so relatively low compared to all the other injuries that this population encounters. Primarily, folks, patellar tendinopathy, meniscus, medial knee. Why? Overuse, either a sudden spike in volume from a more competitive athlete or a new athlete, or someone who is maybe doing extra stuff outside of the gym, extra running, extra squatting, whatever. Folks to watch squat when they're with you, are they the close enough depth person? Do maybe they need some help in their ankles or hips to hit better depth and take load off the knee? Are they the back and down squat person? Do they primarily squat with a hinge and then bottom out through the knee to hit depth? That is a person that can benefit from sequencing their squat pattern a little bit better, especially if they do have a goal to be a functional fitness athlete. They need to be able to show a relatively vertical torso squat, a high bar back squat, a front squat, a thruster, a clean, that sort of thing. With our treatment, make sure that we're working as soon as possible to restore full range of motion of both extension and flexion. We need full knee flexion to squat. We want full knee extension for impact. We want to strengthen the whole knee, not just the quadriceps. Hit the hip abductors, hit the AD ductors, and particularly full range of motion hamstring work, not just things like deadlifts and kettlebell swings. They're already doing partial range of motion hamstring strengthening in the gym. And then remember, it's not about volume. It's not about coming into PT and doing 500 air squats. They can definitely do that. It's probably going to exacerbate their symptoms. What we're focused on with our strengthening with their home program is time under tension. Start with the reverse Tabata. 10 seconds on, 20 seconds off, eight rounds. 80 seconds time under tension. Move to 10 sets of 10 on, 20 to 30 off. That's 100 seconds. Move through a full Tabata. Now 160 seconds, 8 rounds, 20 on, 10 off. And then the gold standard is can we do 5 sets of 5 of a movement at 3 seconds eccentric, 3 seconds isometric, 3 seconds concentric. Can we get to that 225 second time under tension benchmark? So I hope this was helpful. I'd love to hear questions you all have, throw them here on Instagram, shoot us an email, shoot us a message over on the ice physio app. Some courses coming your way from the fitness athlete real quick before I let you go. Our next cohort of fitness athlete level one online starts April 29th. That course is already almost sold out and it does not start for three more weeks. So if you've been looking to get into that class, that class has sold out every cohort since 2017. This next class will not be the exception, I promise you. So if you've been on the fence, get off the fence. If you've already taken that course, your chance at level two online to work towards your certification in the clinical management fitness athlete begins September 2nd. And then some live courses coming your way. Mitch Babcock will be down in Oklahoma City this weekend, April 13th and 14th, if you want to join him. He'll be back on the road again, May 18th and 19th out in Bozeman, Montana. And in that same weekend, Joe Hanesko will be up in Proctor, Minnesota, which is in the Duluth, Minnesota area. That will also be the weekend of May 18th and 19th. So hope this was helpful. Hope you all have a wonderful Friday. Have a fantastic weekend. Bye everybody. OUTRO Hey, thanks for tuning in to the PT on Ice daily show. If you enjoyed this content, head on over to iTunes and leave us a review, and be sure to check us out on Facebook and Instagram at the Institute of Clinical Excellence. If you're interested in getting plugged into more ice content on a weekly basis while earning CEUs from home, check out our virtual ice online mentorship program at ptonice.com. While you're there, sign up for our Hump Day Hustling newsletter for a free email every Wednesday morning with our top five research articles and social media posts that we think are worth reading. Head over to ptonice.com and scroll to the bottom of the page to sign up.

In this week's episode of The Discourse, host Mike DeAngelo crosses into unfamiliar territory to discuss “The Absence of Eden” with star Zoe Saldana (“Avatar,” “Guardians of the Galaxy”) and her husband and first-time director Marco Perego-Saldana. The film follows multiple characters from both sides of the U.S./Mexico border and revolves around the dilemmas faced in dealing with the many hardships brought on by immigration laws and the enforcement of those laws. The Marco Perego-Saldana-directed film is produced by Martin Scorsese and stars Garrett Hedlund, Adria Arjona, Tom Waits, Chris Coy, and more. READ MORE: Zoe Saldana Says She's Still Done With Gamora But Would Love To See The ‘Guardians' Return To The MCU During the interview, actress Zoe Saldana talked about the unusual path her husband and director, Marco Perego-Saldana, took toward creating their immigration-centered drama. Primarily known as a painter and sculptor, Marco Perego-Saldana first tackled the topic in another medium. The actress also spoke about many of her franchises, the possibility of more "Star Trek," "Guardians of The Galaxy," and "Special Ops: Lioness," her Taylor Sheridan-run CIA/espionage series she says is in conversations about returning for a second season. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theplaylist/message Support this podcast: https://podcasters.spotify.com/pod/show/theplaylist/support

Our next 2 big events are AI UX and the World's Fair. Join and apply to speak/sponsor!Due to timing issues we didn't have an interview episode to share with you this week, but not to worry, we have more than enough “weekend special” content in the backlog for you to get your Latent Space fix, whether you like thinking about the big picture, or learning more about the pod behind the scenes, or talking Groq and GPUs, or AI Leadership, or Personal AI. Enjoy!AI BreakdownThe indefatigable NLW had us back on his show for an update on the Four Wars, covering Sora, Suno, and the reshaped GPT-4 Class Landscape:and a longer segment on AI Engineering trends covering the future LLM landscape (Llama 3, GPT-5, Gemini 2, Claude 4), Open Source Models (Mistral, Grok), Apple and Meta's AI strategy, new chips (Groq, MatX) and the general movement from baby AGIs to vertical Agents:Thursday Nights in AIWe're also including swyx's interview with Josh Albrecht and Ali Rohde to reintroduce swyx and Latent Space to a general audience, and engage in some spicy Q&A:Dylan Patel on GroqWe hosted a private event with Dylan Patel of SemiAnalysis (our last pod here):Not all of it could be released so we just talked about our Groq estimates:Milind Naphade - Capital OneIn relation to conversations at NeurIPS and Nvidia GTC and upcoming at World's Fair, we also enjoyed chatting with Milind Naphade about his AI Leadership work at IBM, Cisco, Nvidia, and now leading the AI Foundations org at Capital One. We covered:* Milind's learnings from ~25 years in machine learning * His first paper citation was 24 years ago* Lessons from working with Jensen Huang for 6 years and being CTO of Metropolis * Thoughts on relevant AI research* GTC takeaways and what makes NVIDIA specialIf you'd like to work on building solutions rather than platform (as Milind put it), his Applied AI Research team at Capital One is hiring, which falls under the Capital One Tech team.Personal AI MeetupIt all started with a meme:Within days of each other, BEE, FRIEND, EmilyAI, Compass, Nox and LangFriend were all launching personal AI wearables and assistants. So we decided to put together a the world's first Personal AI meetup featuring creators and enthusiasts of wearables. The full video is live now, with full show notes within.Timestamps* [00:01:13] AI Breakdown Part 1* [00:02:20] Four Wars* [00:13:45] Sora* [00:15:12] Suno* [00:16:34] The GPT-4 Class Landscape* [00:17:03] Data War: Reddit x Google* [00:21:53] Gemini 1.5 vs Claude 3* [00:26:58] AI Breakdown Part 2* [00:27:33] Next Frontiers: Llama 3, GPT-5, Gemini 2, Claude 4* [00:31:11] Open Source Models - Mistral, Grok* [00:34:13] Apple MM1* [00:37:33] Meta's $800b AI rebrand* [00:39:20] AI Engineer landscape - from baby AGIs to vertical Agents* [00:47:28] Adept episode - Screen Multimodality* [00:48:54] Top Model Research from January Recap* [00:53:08] AI Wearables* [00:57:26] Groq vs Nvidia month - GPU Chip War* [01:00:31] Disagreements* [01:02:08] Summer 2024 Predictions* [01:04:18] Thursday Nights in AI - swyx* [01:33:34] Dylan Patel - Semianalysis + Latent Space Live Show* [01:34:58] GroqTranscript[00:00:00] swyx: Welcome to the Latent Space Podcast Weekend Edition. This is Charlie, your AI co host. Swyx and Alessio are off for the week, making more great content. We have exciting interviews coming up with Elicit, Chroma, Instructor, and our upcoming series on NSFW, Not Safe for Work AI. In today's episode, we're collating some of Swyx and Alessio's recent appearances, all in one place for you to find.[00:00:32] swyx: In part one, we have our first crossover pod of the year. In our listener survey, several folks asked for more thoughts from our two hosts. In 2023, Swyx and Alessio did crossover interviews with other great podcasts like the AI Breakdown, Practical AI, Cognitive Revolution, Thursday Eye, and Chinatalk, all of which you can find in the Latentspace About page.[00:00:56] swyx: NLW of the AI Breakdown asked us back to do a special on the 4Wars framework and the AI engineer scene. We love AI Breakdown as one of the best examples Daily podcasts to keep up on AI news, so we were especially excited to be back on Watch out and take[00:01:12] NLW: care[00:01:13] AI Breakdown Part 1[00:01:13] NLW: today on the AI breakdown. Part one of my conversation with Alessio and Swix from Latent Space.[00:01:19] NLW: All right, fellas, welcome back to the AI Breakdown. How are you doing? I'm good. Very good. With the last, the last time we did this show, we were like, oh yeah, let's do check ins like monthly about all the things that are going on and then. Of course, six months later, and, you know, the, the, the world has changed in a thousand ways.[00:01:36] NLW: It's just, it's too busy to even, to even think about podcasting sometimes. But I, I'm super excited to, to be chatting with you again. I think there's, there's a lot to, to catch up on, just to tap in, I think in the, you know, in the beginning of 2024. And, and so, you know, we're gonna talk today about just kind of a, a, a broad sense of where things are in some of the key battles in the AI space.[00:01:55] NLW: And then the, you know, one of the big things that I, that I'm really excited to have you guys on here for us to talk about where, sort of what patterns you're seeing and what people are actually trying to build, you know, where, where developers are spending their, their time and energy and, and, and any sort of, you know, trend trends there, but maybe let's start I guess by checking in on a framework that you guys actually introduced, which I've loved and I've cribbed a couple of times now, which is this sort of four wars of the, of the AI stack.[00:02:20] Four Wars[00:02:20] NLW: Because first, since I have you here, I'd love, I'd love to hear sort of like where that started gelling. And then and then maybe we can get into, I think a couple of them that are you know, particularly interesting, you know, in the, in light of[00:02:30] swyx: some recent news. Yeah, so maybe I'll take this one. So the four wars is a framework that I came up around trying to recap all of 2023.[00:02:38] swyx: I tried to write sort of monthly recap pieces. And I was trying to figure out like what makes one piece of news last longer than another or more significant than another. And I think it's basically always around battlegrounds. Wars are fought around limited resources. And I think probably the, you know, the most limited resource is talent, but the talent expresses itself in a number of areas.[00:03:01] swyx: And so I kind of focus on those, those areas at first. So the four wars that we cover are the data wars, the GPU rich, poor war, the multi modal war, And the RAG and Ops War. And I think you actually did a dedicated episode to that, so thanks for covering that. Yeah, yeah.[00:03:18] NLW: Not only did I do a dedicated episode, I actually used that.[00:03:22] NLW: I can't remember if I told you guys. I did give you big shoutouts. But I used it as a framework for a presentation at Intel's big AI event that they hold each year, where they have all their folks who are working on AI internally. And it totally resonated. That's amazing. Yeah, so, so, what got me thinking about it again is specifically this inflection news that we recently had, this sort of, you know, basically, I can't imagine that anyone who's listening wouldn't have thought about it, but, you know, inflection is a one of the big contenders, right?[00:03:53] NLW: I think probably most folks would have put them, you know, just a half step behind the anthropics and open AIs of the world in terms of labs, but it's a company that raised 1. 3 billion last year, less than a year ago. Reed Hoffman's a co founder Mustafa Suleyman, who's a co founder of DeepMind, you know, so it's like, this is not a a small startup, let's say, at least in terms of perception.[00:04:13] NLW: And then we get the news that basically most of the team, it appears, is heading over to Microsoft and they're bringing in a new CEO. And you know, I'm interested in, in, in kind of your take on how much that reflects, like hold aside, I guess, you know, all the other things that it might be about, how much it reflects this sort of the, the stark.[00:04:32] NLW: Brutal reality of competing in the frontier model space right now. And, you know, just the access to compute.[00:04:38] Alessio: There are a lot of things to say. So first of all, there's always somebody who's more GPU rich than you. So inflection is GPU rich by startup standard. I think about 22, 000 H100s, but obviously that pales compared to the, to Microsoft.[00:04:55] Alessio: The other thing is that this is probably good news, maybe for the startups. It's like being GPU rich, it's not enough. You know, like I think they were building something pretty interesting in, in pi of their own model of their own kind of experience. But at the end of the day, you're the interface that people consume as end users.[00:05:13] Alessio: It's really similar to a lot of the others. So and we'll tell, talk about GPT four and cloud tree and all this stuff. GPU poor, doing something. That the GPU rich are not interested in, you know we just had our AI center of excellence at Decibel and one of the AI leads at one of the big companies was like, Oh, we just saved 10 million and we use these models to do a translation, you know, and that's it.[00:05:39] Alessio: It's not, it's not a GI, it's just translation. So I think like the inflection part is maybe. A calling and a waking to a lot of startups then say, Hey, you know, trying to get as much capital as possible, try and get as many GPUs as possible. Good. But at the end of the day, it doesn't build a business, you know, and maybe what inflection I don't, I don't, again, I don't know the reasons behind the inflection choice, but if you say, I don't want to build my own company that has 1.[00:06:05] Alessio: 3 billion and I want to go do it at Microsoft, it's probably not a resources problem. It's more of strategic decisions that you're making as a company. So yeah, that was kind of my. I take on it.[00:06:15] swyx: Yeah, and I guess on my end, two things actually happened yesterday. It was a little bit quieter news, but Stability AI had some pretty major departures as well.[00:06:25] swyx: And you may not be considering it, but Stability is actually also a GPU rich company in the sense that they were the first new startup in this AI wave to brag about how many GPUs that they have. And you should join them. And you know, Imadis is definitely a GPU trader in some sense from his hedge fund days.[00:06:43] swyx: So Robin Rhombach and like the most of the Stable Diffusion 3 people left Stability yesterday as well. So yesterday was kind of like a big news day for the GPU rich companies, both Inflection and Stability having sort of wind taken out of their sails. I think, yes, it's a data point in the favor of Like, just because you have the GPUs doesn't mean you can, you automatically win.[00:07:03] swyx: And I think, you know, kind of I'll echo what Alessio says there. But in general also, like, I wonder if this is like the start of a major consolidation wave, just in terms of, you know, I think that there was a lot of funding last year and, you know, the business models have not been, you know, All of these things worked out very well.[00:07:19] swyx: Even inflection couldn't do it. And so I think maybe that's the start of a small consolidation wave. I don't think that's like a sign of AI winter. I keep looking for AI winter coming. I think this is kind of like a brief cold front. Yeah,[00:07:34] NLW: it's super interesting. So I think a bunch of A bunch of stuff here.[00:07:38] NLW: One is, I think, to both of your points, there, in some ways, there, there had already been this very clear demarcation between these two sides where, like, the GPU pores, to use the terminology, like, just weren't trying to compete on the same level, right? You know, the vast majority of people who have started something over the last year, year and a half, call it, were racing in a different direction.[00:07:59] NLW: They're trying to find some edge somewhere else. They're trying to build something different. If they're, if they're really trying to innovate, it's in different areas. And so it's really just this very small handful of companies that are in this like very, you know, it's like the coheres and jaspers of the world that like this sort of, you know, that are that are just sort of a little bit less resourced than, you know, than the other set that I think that this potentially even applies to, you know, everyone else that could clearly demarcate it into these two, two sides.[00:08:26] NLW: And there's only a small handful kind of sitting uncomfortably in the middle, perhaps. Let's, let's come back to the idea of, of the sort of AI winter or, you know, a cold front or anything like that. So this is something that I, I spent a lot of time kind of thinking about and noticing. And my perception is that The vast majority of the folks who are trying to call for sort of, you know, a trough of disillusionment or, you know, a shifting of the phase to that are people who either, A, just don't like AI for some other reason there's plenty of that, you know, people who are saying, You Look, they're doing way worse than they ever thought.[00:09:03] NLW: You know, there's a lot of sort of confirmation bias kind of thing going on. Or two, media that just needs a different narrative, right? Because they're sort of sick of, you know, telling the same story. Same thing happened last summer, when every every outlet jumped on the chat GPT at its first down month story to try to really like kind of hammer this idea that that the hype was too much.[00:09:24] NLW: Meanwhile, you have, you know, just ridiculous levels of investment from enterprises, you know, coming in. You have, you know, huge, huge volumes of, you know, individual behavior change happening. But I do think that there's nothing incoherent sort of to your point, Swyx, about that and the consolidation period.[00:09:42] NLW: Like, you know, if you look right now, for example, there are, I don't know, probably 25 or 30 credible, like, build your own chatbot. platforms that, you know, a lot of which have, you know, raised funding. There's no universe in which all of those are successful across, you know, even with a, even, even with a total addressable market of every enterprise in the world, you know, you're just inevitably going to see some amount of consolidation.[00:10:08] NLW: Same with, you know, image generators. There are, if you look at A16Z's top 50 consumer AI apps, just based on, you know, web traffic or whatever, they're still like I don't know, a half. Dozen or 10 or something, like, some ridiculous number of like, basically things like Midjourney or Dolly three. And it just seems impossible that we're gonna have that many, you know, ultimately as, as, as sort of, you know, going, going concerned.[00:10:33] NLW: So, I don't know. I, I, I think that the, there will be inevitable consolidation 'cause you know. It's, it's also what kind of like venture rounds are supposed to do. You're not, not everyone who gets a seed round is supposed to get to series A and not everyone who gets a series A is supposed to get to series B.[00:10:46] NLW: That's sort of the natural process. I think it will be tempting for a lot of people to try to infer from that something about AI not being as sort of big or as as sort of relevant as, as it was hyped up to be. But I, I kind of think that's the wrong conclusion to come to.[00:11:02] Alessio: I I would say the experimentation.[00:11:04] Alessio: Surface is a little smaller for image generation. So if you go back maybe six, nine months, most people will tell you, why would you build a coding assistant when like Copilot and GitHub are just going to win everything because they have the data and they have all the stuff. If you fast forward today, A lot of people use Cursor everybody was excited about the Devin release on Twitter.[00:11:26] Alessio: There are a lot of different ways of attacking the market that are not completion of code in the IDE. And even Cursors, like they evolved beyond single line to like chat, to do multi line edits and, and all that stuff. Image generation, I would say, yeah, as a, just as from what I've seen, like maybe the product innovation has slowed down at the UX level and people are improving the models.[00:11:50] Alessio: So the race is like, how do I make better images? It's not like, how do I make the user interact with the generation process better? And that gets tough, you know? It's hard to like really differentiate yourselves. So yeah, that's kind of how I look at it. And when we think about multimodality, maybe the reason why people got so excited about Sora is like, oh, this is like a completely It's not a better image model.[00:12:13] Alessio: This is like a completely different thing, you know? And I think the creative mind It's always looking for something that impacts the viewer in a different way, you know, like they really want something different versus the developer mind. It's like, Oh, I, I just, I have this like very annoying thing I want better.[00:12:32] Alessio: I have this like very specific use cases that I want to go after. So it's just different. And that's why you see a lot more companies in image generation. But I agree with you that. If you fast forward there, there's not going to be 10 of them, you know, it's probably going to be one or[00:12:46] swyx: two. Yeah, I mean, to me, that's why I call it a war.[00:12:49] swyx: Like, individually, all these companies can make a story that kind of makes sense, but collectively, they cannot all be true. Therefore, they all, there is some kind of fight over limited resources here. Yeah, so[00:12:59] NLW: it's interesting. We wandered very naturally into sort of another one of these wars, which is the multimodality kind of idea, which is, you know, basically a question of whether it's going to be these sort of big everything models that end up winning or whether, you know, you're going to have really specific things, you know, like something, you know, Dolly 3 inside of sort of OpenAI's larger models versus, you know, a mid journey or something like that.[00:13:24] NLW: And at first, you know, I was kind of thinking like, For most of the last, call it six months or whatever, it feels pretty definitively both and in some ways, you know, and that you're, you're seeing just like great innovation on sort of the everything models, but you're also seeing lots and lots happen at sort of the level of kind of individual use cases.[00:13:45] Sora[00:13:45] NLW: But then Sora comes along and just like obliterates what I think anyone thought you know, where we were when it comes to video generation. So how are you guys thinking about this particular battle or war at the moment?[00:13:59] swyx: Yeah, this was definitely a both and story, and Sora tipped things one way for me, in terms of scale being all you need.[00:14:08] swyx: And the benefit, I think, of having multiple models being developed under one roof. I think a lot of people aren't aware that Sora was developed in a similar fashion to Dolly 3. And Dolly3 had a very interesting paper out where they talked about how they sort of bootstrapped their synthetic data based on GPT 4 vision and GPT 4.[00:14:31] swyx: And, and it was just all, like, really interesting, like, if you work on one modality, it enables you to work on other modalities, and all that is more, is, is more interesting. I think it's beneficial if it's all in the same house, whereas the individual startups who don't, who sort of carve out a single modality and work on that, definitely won't have the state of the art stuff on helping them out on synthetic data.[00:14:52] swyx: So I do think like, The balance is tilted a little bit towards the God model companies, which is challenging for the, for the, for the the sort of dedicated modality companies. But everyone's carving out different niches. You know, like we just interviewed Suno ai, the sort of music model company, and, you know, I don't see opening AI pursuing music anytime soon.[00:15:12] Suno[00:15:12] swyx: Yeah,[00:15:13] NLW: Suno's been phenomenal to play with. Suno has done that rare thing where, which I think a number of different AI product categories have done, where people who don't consider themselves particularly interested in doing the thing that the AI enables find themselves doing a lot more of that thing, right?[00:15:29] NLW: Like, it'd be one thing if Just musicians were excited about Suno and using it but what you're seeing is tons of people who just like music all of a sudden like playing around with it and finding themselves kind of down that rabbit hole, which I think is kind of like the highest compliment that you can give one of these startups at the[00:15:45] swyx: early days of it.[00:15:46] swyx: Yeah, I, you know, I, I asked them directly, you know, in the interview about whether they consider themselves mid journey for music. And he had a more sort of nuanced response there, but I think that probably the business model is going to be very similar because he's focused on the B2C element of that. So yeah, I mean, you know, just to, just to tie back to the question about, you know, You know, large multi modality companies versus small dedicated modality companies.[00:16:10] swyx: Yeah, highly recommend people to read the Sora blog posts and then read through to the Dali blog posts because they, they strongly correlated themselves with the same synthetic data bootstrapping methods as Dali. And I think once you make those connections, you're like, oh, like it, it, it is beneficial to have multiple state of the art models in house that all help each other.[00:16:28] swyx: And these, this, that's the one thing that a dedicated modality company cannot do.[00:16:34] The GPT-4 Class Landscape[00:16:34] NLW: So I, I wanna jump, I wanna kind of build off that and, and move into the sort of like updated GPT-4 class landscape. 'cause that's obviously been another big change over the last couple months. But for the sake of completeness, is there anything that's worth touching on with with sort of the quality?[00:16:46] NLW: Quality data or sort of a rag ops wars just in terms of, you know, anything that's changed, I guess, for you fundamentally in the last couple of months about where those things stand.[00:16:55] swyx: So I think we're going to talk about rag for the Gemini and Clouds discussion later. And so maybe briefly discuss the data piece.[00:17:03] Data War: Reddit x Google[00:17:03] swyx: I think maybe the only new thing was this Reddit deal with Google for like a 60 million dollar deal just ahead of their IPO, very conveniently turning Reddit into a AI data company. Also, very, very interestingly, a non exclusive deal, meaning that Reddit can resell that data to someone else. And it probably does become table stakes.[00:17:23] swyx: A lot of people don't know, but a lot of the web text dataset that originally started for GPT 1, 2, and 3 was actually scraped from GitHub. from Reddit at least the sort of vote scores. And I think, I think that's a, that's a very valuable piece of information. So like, yeah, I think people are figuring out how to pay for data.[00:17:40] swyx: People are suing each other over data. This, this, this war is, you know, definitely very, very much heating up. And I don't think, I don't see it getting any less intense. I, you know, next to GPUs, data is going to be the most expensive thing in, in a model stack company. And. You know, a lot of people are resorting to synthetic versions of it, which may or may not be kosher based on how far along or how commercially blessed the, the forms of creating that synthetic data are.[00:18:11] swyx: I don't know if Alessio, you have any other interactions with like Data source companies, but that's my two cents.[00:18:17] Alessio: Yeah yeah, I actually saw Quentin Anthony from Luther. ai at GTC this week. He's also been working on this. I saw Technium. He's also been working on the data side. I think especially in open source, people are like, okay, if everybody is putting the gates up, so to speak, to the data we need to make it easier for people that don't have 50 million a year to get access to good data sets.[00:18:38] Alessio: And Jensen, at his keynote, he did talk about synthetic data a little bit. So I think that's something that we'll definitely hear more and more of in the enterprise, which never bodes well, because then all the, all the people with the data are like, Oh, the enterprises want to pay now? Let me, let me put a pay here stripe link so that they can give me 50 million.[00:18:57] Alessio: But it worked for Reddit. I think the stock is up. 40 percent today after opening. So yeah, I don't know if it's all about the Google deal, but it's obviously Reddit has been one of those companies where, hey, you got all this like great community, but like, how are you going to make money? And like, they try to sell the avatars.[00:19:15] Alessio: I don't know if that it's a great business for them. The, the data part sounds as an investor, you know, the data part sounds a lot more interesting than, than consumer[00:19:25] swyx: cosmetics. Yeah, so I think, you know there's more questions around data you know, I think a lot of people are talking about the interview that Mira Murady did with the Wall Street Journal, where she, like, just basically had no, had no good answer for where they got the data for Sora.[00:19:39] swyx: I, I think this is where, you know, there's, it's in nobody's interest to be transparent about data, and it's, it's kind of sad for the state of ML and the state of AI research but it is what it is. We, we have to figure this out as a society, just like we did for music and music sharing. You know, in, in sort of the Napster to Spotify transition, and that might take us a decade.[00:19:59] swyx: Yeah, I[00:20:00] NLW: do. I, I agree. I think, I think that you're right to identify it, not just as that sort of technical problem, but as one where society has to have a debate with itself. Because I think that there's, if you rationally within it, there's Great kind of points on all side, not to be the sort of, you know, person who sits in the middle constantly, but it's why I think a lot of these legal decisions are going to be really important because, you know, the job of judges is to listen to all this stuff and try to come to things and then have other judges disagree.[00:20:24] NLW: And, you know, and have the rest of us all debate at the same time. By the way, as a total aside, I feel like the synthetic data right now is like eggs in the 80s and 90s. Like, whether they're good for you or bad for you, like, you know, we, we get one study that's like synthetic data, you know, there's model collapse.[00:20:42] NLW: And then we have like a hint that llama, you know, to the most high performance version of it, which was one they didn't release was trained on synthetic data. So maybe it's good. It's like, I just feel like every, every other week I'm seeing something sort of different about whether it's a good or bad for, for these models.[00:20:56] swyx: Yeah. The branding of this is pretty poor. I would kind of tell people to think about it like cholesterol. There's good cholesterol, bad cholesterol. And you can have, you know, good amounts of both. But at this point, it is absolutely without a doubt that most large models from here on out will all be trained as some kind of synthetic data and that is not a bad thing.[00:21:16] swyx: There are ways in which you can do it poorly. Whether it's commercial, you know, in terms of commercial sourcing or in terms of the model performance. But it's without a doubt that good synthetic data is going to help your model. And this is just a question of like where to obtain it and what kinds of synthetic data are valuable.[00:21:36] swyx: You know, if even like alpha geometry, you know, was, was a really good example from like earlier this year.[00:21:42] NLW: If you're using the cholesterol analogy, then my, then my egg thing can't be that far off. Let's talk about the sort of the state of the art and the, and the GPT 4 class landscape and how that's changed.[00:21:53] Gemini 1.5 vs Claude 3[00:21:53] NLW: Cause obviously, you know, sort of the, the two big things or a couple of the big things that have happened. Since we last talked, we're one, you know, Gemini first announcing that a model was coming and then finally it arriving, and then very soon after a sort of a different model arriving from Gemini and and Cloud three.[00:22:11] NLW: So I guess, you know, I'm not sure exactly where the right place to start with this conversation is, but, you know, maybe very broadly speaking which of these do you think have made a bigger impact? Thank you.[00:22:20] Alessio: Probably the one you can use, right? So, Cloud. Well, I'm sure Gemini is going to be great once they let me in, but so far I haven't been able to.[00:22:29] Alessio: I use, so I have this small podcaster thing that I built for our podcast, which does chapters creation, like named entity recognition, summarization, and all of that. Cloud Tree is, Better than GPT 4. Cloud2 was unusable. So I use GPT 4 for everything. And then when Opus came out, I tried them again side by side and I posted it on, on Twitter as well.[00:22:53] Alessio: Cloud is better. It's very good, you know, it's much better, it seems to me, it's much better than GPT 4 at doing writing that is more, you know, I don't know, it just got good vibes, you know, like the GPT 4 text, you can tell it's like GPT 4, you know, it's like, it always uses certain types of words and phrases and, you know, maybe it's just me because I've now done it for, you know, So, I've read like 75, 80 generations of these things next to each other.[00:23:21] Alessio: Clutter is really good. I know everybody is freaking out on twitter about it, my only experience of this is much better has been on the podcast use case. But I know that, you know, Quran from from News Research is a very big opus pro, pro opus person. So, I think that's also It's great to have people that actually care about other models.[00:23:40] Alessio: You know, I think so far to a lot of people, maybe Entropic has been the sibling in the corner, you know, it's like Cloud releases a new model and then OpenAI releases Sora and like, you know, there are like all these different things, but yeah, the new models are good. It's interesting.[00:23:55] NLW: My my perception is definitely that just, just observationally, Cloud 3 is certainly the first thing that I've seen where lots of people.[00:24:06] NLW: They're, no one's debating evals or anything like that. They're talking about the specific use cases that they have, that they used to use chat GPT for every day, you know, day in, day out, that they've now just switched over. And that has, I think, shifted a lot of the sort of like vibe and sentiment in the space too.[00:24:26] NLW: And I don't necessarily think that it's sort of a A like full you know, sort of full knock. Let's put it this way. I think it's less bad for open AI than it is good for anthropic. I think that because GPT 5 isn't there, people are not quite willing to sort of like, you know get overly critical of, of open AI, except in so far as they're wondering where GPT 5 is.[00:24:46] NLW: But I do think that it makes, Anthropic look way more credible as a, as a, as a player, as a, you know, as a credible sort of player, you know, as opposed to to, to where they were.[00:24:57] Alessio: Yeah. And I would say the benchmarks veil is probably getting lifted this year. I think last year. People were like, okay, this is better than this on this benchmark, blah, blah, blah, because maybe they did not have a lot of use cases that they did frequently.[00:25:11] Alessio: So it's hard to like compare yourself. So you, you defer to the benchmarks. I think now as we go into 2024, a lot of people have started to use these models from, you know, from very sophisticated things that they run in production to some utility that they have on their own. Now they can just run them side by side.[00:25:29] Alessio: And it's like, Hey, I don't care that like. The MMLU score of Opus is like slightly lower than GPT 4. It just works for me, you know, and I think that's the same way that traditional software has been used by people, right? Like you just strive for yourself and like, which one does it work, works best for you?[00:25:48] Alessio: Like nobody looks at benchmarks outside of like sales white papers, you know? And I think it's great that we're going more in that direction. We have a episode with Adapt coming out this weekend. I'll and some of their model releases, they specifically say, We do not care about benchmarks, so we didn't put them in, you know, because we, we don't want to look good on them.[00:26:06] Alessio: We just want the product to work. And I think more and more people will, will[00:26:09] swyx: go that way. Yeah. I I would say like, it does take the wind out of the sails for GPT 5, which I know where, you know, Curious about later on. I think anytime you put out a new state of the art model, you have to break through in some way.[00:26:21] swyx: And what Claude and Gemini have done is effectively take away any advantage to saying that you have a million token context window. Now everyone's just going to be like, Oh, okay. Now you just match the other two guys. And so that puts An insane amount of pressure on what gpt5 is going to be because it's just going to have like the only option it has now because all the other models are multimodal all the other models are long context all the other models have perfect recall gpt5 has to match everything and do more to to not be a flop[00:26:58] AI Breakdown Part 2[00:26:58] NLW: hello friends back again with part two if you haven't heard part one of this conversation i suggest you go check it out but to be honest they are kind of actually separable In this conversation, we get into a topic that I think Alessio and Swyx are very well positioned to discuss, which is what developers care about right now, what people are trying to build around.[00:27:16] NLW: I honestly think that one of the best ways to see the future in an industry like AI is to try to dig deep on what developers and entrepreneurs are attracted to build, even if it hasn't made it to the news pages yet. So consider this your preview of six months from now, and let's dive in. Let's bring it to the GPT 5 conversation.[00:27:33] Next Frontiers: Llama 3, GPT-5, Gemini 2, Claude 4[00:27:33] NLW: I mean, so, so I think that that's a great sort of assessment of just how the stakes have been raised, you know is your, I mean, so I guess maybe, maybe I'll, I'll frame this less as a question, just sort of something that, that I, that I've been watching right now, the only thing that makes sense to me with how.[00:27:50] NLW: Fundamentally unbothered and unstressed OpenAI seems about everything is that they're sitting on something that does meet all that criteria, right? Because, I mean, even in the Lex Friedman interview that, that Altman recently did, you know, he's talking about other things coming out first. He's talking about, he's just like, he, listen, he, he's good and he could play nonchalant, you know, if he wanted to.[00:28:13] NLW: So I don't want to read too much into it, but. You know, they've had so long to work on this, like unless that we are like really meaningfully running up against some constraint, it just feels like, you know, there's going to be some massive increase, but I don't know. What do you guys think?[00:28:28] swyx: Hard to speculate.[00:28:29] swyx: You know, at this point, they're, they're pretty good at PR and they're not going to tell you anything that they don't want to. And he can tell you one thing and change their minds the next day. So it's, it's, it's really, you know, I've always said that model version numbers are just marketing exercises, like they have something and it's always improving and at some point you just cut it and decide to call it GPT 5.[00:28:50] swyx: And it's more just about defining an arbitrary level at which they're ready and it's up to them on what ready means. We definitely did see some leaks on GPT 4. 5, as I think a lot of people reported and I'm not sure if you covered it. So it seems like there might be an intermediate release. But I did feel, coming out of the Lex Friedman interview, that GPT 5 was nowhere near.[00:29:11] swyx: And you know, it was kind of a sharp contrast to Sam talking at Davos in February, saying that, you know, it was his top priority. So I find it hard to square. And honestly, like, there's also no point Reading too much tea leaves into what any one person says about something that hasn't happened yet or has a decision that hasn't been taken yet.[00:29:31] swyx: Yeah, that's, that's my 2 cents about it. Like, calm down, let's just build .[00:29:35] Alessio: Yeah. The, the February rumor was that they were gonna work on AI agents, so I don't know, maybe they're like, yeah,[00:29:41] swyx: they had two agent two, I think two agent projects, right? One desktop agent and one sort of more general yeah, sort of GPTs like agent and then Andre left, so he was supposed to be the guy on that.[00:29:52] swyx: What did Andre see? What did he see? I don't know. What did he see?[00:29:56] Alessio: I don't know. But again, it's just like the rumors are always floating around, you know but I think like, this is, you know, we're not going to get to the end of the year without Jupyter you know, that's definitely happening. I think the biggest question is like, are Anthropic and Google.[00:30:13] Alessio: Increasing the pace, you know, like it's the, it's the cloud four coming out like in 12 months, like nine months. What's the, what's the deal? Same with Gemini. They went from like one to 1. 5 in like five days or something. So when's Gemini 2 coming out, you know, is that going to be soon? I don't know.[00:30:31] Alessio: There, there are a lot of, speculations, but the good thing is that now you can see a world in which OpenAI doesn't rule everything. You know, so that, that's the best, that's the best news that everybody got, I would say.[00:30:43] swyx: Yeah, and Mistral Large also dropped in the last month. And, you know, not as, not quite GPT 4 class, but very good from a new startup.[00:30:52] swyx: So yeah, we, we have now slowly changed in landscape, you know. In my January recap, I was complaining that nothing's changed in the landscape for a long time. But now we do exist in a world, sort of a multipolar world where Cloud and Gemini are legitimate challengers to GPT 4 and hopefully more will emerge as well hopefully from meta.[00:31:11] Open Source Models - Mistral, Grok[00:31:11] NLW: So speak, let's actually talk about sort of the open source side of this for a minute. So Mistral Large, notable because it's, it's not available open source in the same way that other things are, although I think my perception is that the community has largely given them Like the community largely recognizes that they want them to keep building open source stuff and they have to find some way to fund themselves that they're going to do that.[00:31:27] NLW: And so they kind of understand that there's like, they got to figure out how to eat, but we've got, so, you know, there there's Mistral, there's, I guess, Grok now, which is, you know, Grok one is from, from October is, is open[00:31:38] swyx: sourced at, yeah. Yeah, sorry, I thought you thought you meant Grok the chip company.[00:31:41] swyx: No, no, no, yeah, you mean Twitter Grok.[00:31:43] NLW: Although Grok the chip company, I think is even more interesting in some ways, but and then there's the, you know, obviously Llama3 is the one that sort of everyone's wondering about too. And, you know, my, my sense of that, the little bit that, you know, Zuckerberg was talking about Llama 3 earlier this year, suggested that, at least from an ambition standpoint, he was not thinking about how do I make sure that, you know, meta content, you know, keeps, keeps the open source thrown, you know, vis a vis Mistral.[00:32:09] NLW: He was thinking about how you go after, you know, how, how he, you know, releases a thing that's, you know, every bit as good as whatever OpenAI is on at that point.[00:32:16] Alessio: Yeah. From what I heard in the hallways at, at GDC, Llama 3, the, the biggest model will be, you 260 to 300 billion parameters, so that that's quite large.[00:32:26] Alessio: That's not an open source model. You know, you cannot give people a 300 billion parameters model and ask them to run it. You know, it's very compute intensive. So I think it is, it[00:32:35] swyx: can be open source. It's just, it's going to be difficult to run, but that's a separate question.[00:32:39] Alessio: It's more like, as you think about what they're doing it for, you know, it's not like empowering the person running.[00:32:45] Alessio: llama. On, on their laptop, it's like, oh, you can actually now use this to go after open AI, to go after Anthropic, to go after some of these companies at like the middle complexity level, so to speak. Yeah. So obviously, you know, we estimate Gentala on the podcast, they're doing a lot here, they're making PyTorch better.[00:33:03] Alessio: You know, they want to, that's kind of like maybe a little bit of a shorted. Adam Bedia, in a way, trying to get some of the CUDA dominance out of it. Yeah, no, it's great. The, I love the duck destroying a lot of monopolies arc. You know, it's, it's been very entertaining. Let's bridge[00:33:18] NLW: into the sort of big tech side of this, because this is obviously like, so I think actually when I did my episode, this was one of the I added this as one of as an additional war that, that's something that I'm paying attention to.[00:33:29] NLW: So we've got Microsoft's moves with inflection, which I think pretend, potentially are being read as A shift vis a vis the relationship with OpenAI, which also the sort of Mistral large relationship seems to reinforce as well. We have Apple potentially entering the race, finally, you know, giving up Project Titan and and, and kind of trying to spend more effort on this.[00:33:50] NLW: Although, Counterpoint, we also have them talking about it, or there being reports of a deal with Google, which, you know, is interesting to sort of see what their strategy there is. And then, you know, Meta's been largely quiet. We kind of just talked about the main piece, but, you know, there's, and then there's spoilers like Elon.[00:34:07] NLW: I mean, you know, what, what of those things has sort of been most interesting to you guys as you think about what's going to shake out for the rest of this[00:34:13] Apple MM1[00:34:13] swyx: year? I'll take a crack. So the reason we don't have a fifth war for the Big Tech Wars is that's one of those things where I just feel like we don't cover differently from other media channels, I guess.[00:34:26] swyx: Sure, yeah. In our anti interestness, we actually say, like, we try not to cover the Big Tech Game of Thrones, or it's proxied through Twitter. You know, all the other four wars anyway, so there's just a lot of overlap. Yeah, I think absolutely, personally, the most interesting one is Apple entering the race.[00:34:41] swyx: They actually released, they announced their first large language model that they trained themselves. It's like a 30 billion multimodal model. People weren't that impressed, but it was like the first time that Apple has kind of showcased that, yeah, we're training large models in house as well. Of course, like, they might be doing this deal with Google.[00:34:57] swyx: I don't know. It sounds very sort of rumor y to me. And it's probably, if it's on device, it's going to be a smaller model. So something like a Jemma. It's going to be smarter autocomplete. I don't know what to say. I'm still here dealing with, like, Siri, which hasn't, probably hasn't been updated since God knows when it was introduced.[00:35:16] swyx: It's horrible. I, you know, it, it, it makes me so angry. So I, I, one, as an Apple customer and user, I, I'm just hoping for better AI on Apple itself. But two, they are the gold standard when it comes to local devices, personal compute and, and trust, like you, you trust them with your data. And. I think that's what a lot of people are looking for in AI, that they have, they love the benefits of AI, they don't love the downsides, which is that you have to send all your data to some cloud somewhere.[00:35:45] swyx: And some of this data that we're going to feed AI is just the most personal data there is. So Apple being like one of the most trusted personal data companies, I think it's very important that they enter the AI race, and I hope to see more out of them.[00:35:58] Alessio: To me, the, the biggest question with the Google deal is like, who's paying who?[00:36:03] Alessio: Because for the browsers, Google pays Apple like 18, 20 billion every year to be the default browser. Is Google going to pay you to have Gemini or is Apple paying Google to have Gemini? I think that's, that's like what I'm most interested to figure out because with the browsers, it's like, it's the entry point to the thing.[00:36:21] Alessio: So it's really valuable to be the default. That's why Google pays. But I wonder if like the perception in AI is going to be like, Hey. You just have to have a good local model on my phone to be worth me purchasing your device. And that was, that's kind of drive Apple to be the one buying the model. But then, like Shawn said, they're doing the MM1 themselves.[00:36:40] Alessio: So are they saying we do models, but they're not as good as the Google ones? I don't know. The whole thing is, it's really confusing, but. It makes for great meme material on on Twitter.[00:36:51] swyx: Yeah, I mean, I think, like, they are possibly more than OpenAI and Microsoft and Amazon. They are the most full stack company there is in computing, and so, like, they own the chips, man.[00:37:05] swyx: Like, they manufacture everything so if, if, if there was a company that could do that. You know, seriously challenge the other AI players. It would be Apple. And it's, I don't think it's as hard as self driving. So like maybe they've, they've just been investing in the wrong thing this whole time. We'll see.[00:37:21] swyx: Wall Street certainly thinks[00:37:22] NLW: so. Wall Street loved that move, man. There's a big, a big sigh of relief. Well, let's, let's move away from, from sort of the big stuff. I mean, the, I think to both of your points, it's going to.[00:37:33] Meta's $800b AI rebrand[00:37:33] NLW: Can I, can[00:37:34] swyx: I, can I, can I jump on factoid about this, this Wall Street thing? I went and looked at when Meta went from being a VR company to an AI company.[00:37:44] swyx: And I think the stock I'm trying to look up the details now. The stock has gone up 187% since Lamo one. Yeah. Which is $830 billion in market value created in the past year. . Yeah. Yeah.[00:37:57] NLW: It's, it's, it's like, remember if you guys haven't Yeah. If you haven't seen the chart, it's actually like remarkable.[00:38:02] NLW: If you draw a little[00:38:03] swyx: arrow on it, it's like, no, we're an AI company now and forget the VR thing.[00:38:10] NLW: It's it, it is an interesting, no, it's, I, I think, alessio, you called it sort of like Zuck's Disruptor Arc or whatever. He, he really does. He is in the midst of a, of a total, you know, I don't know if it's a redemption arc or it's just, it's something different where, you know, he, he's sort of the spoiler.[00:38:25] NLW: Like people loved him just freestyle talking about why he thought they had a better headset than Apple. But even if they didn't agree, they just loved it. He was going direct to camera and talking about it for, you know, five minutes or whatever. So that, that's a fascinating shift that I don't think anyone had on their bingo card, you know, whatever, two years ago.[00:38:41] NLW: Yeah. Yeah,[00:38:42] swyx: we still[00:38:43] Alessio: didn't see and fight Elon though, so[00:38:45] swyx: that's what I'm really looking forward to. I mean, hey, don't, don't, don't write it off, you know, maybe just these things take a while to happen. But we need to see and fight in the Coliseum. No, I think you know, in terms of like self management, life leadership, I think he has, there's a lot of lessons to learn from him.[00:38:59] swyx: You know he might, you know, you might kind of quibble with, like, the social impact of Facebook, but just himself as a in terms of personal growth and, and, you know, Per perseverance through like a lot of change and you know, everyone throwing stuff his way. I think there's a lot to say about like, to learn from, from Zuck, which is crazy 'cause he's my age.[00:39:18] swyx: Yeah. Right.[00:39:20] AI Engineer landscape - from baby AGIs to vertical Agents[00:39:20] NLW: Awesome. Well, so, so one of the big things that I think you guys have, you know, distinct and, and unique insight into being where you are and what you work on is. You know, what developers are getting really excited about right now. And by that, I mean, on the one hand, certainly, you know, like startups who are actually kind of formalized and formed to startups, but also, you know, just in terms of like what people are spending their nights and weekends on what they're, you know, coming to hackathons to do.[00:39:45] NLW: And, you know, I think it's a, it's a, it's, it's such a fascinating indicator for, for where things are headed. Like if you zoom back a year, right now was right when everyone was getting so, so excited about. AI agent stuff, right? Auto, GPT and baby a GI. And these things were like, if you dropped anything on YouTube about those, like instantly tens of thousands of views.[00:40:07] NLW: I know because I had like a 50,000 view video, like the second day that I was doing the show on YouTube, you know, because I was talking about auto GPT. And so anyways, you know, obviously that's sort of not totally come to fruition yet, but what are some of the trends in what you guys are seeing in terms of people's, people's interest and, and, and what people are building?[00:40:24] Alessio: I can start maybe with the agents part and then I know Shawn is doing a diffusion meetup tonight. There's a lot of, a lot of different things. The, the agent wave has been the most interesting kind of like dream to reality arc. So out of GPT, I think they went, From zero to like 125, 000 GitHub stars in six weeks, and then one year later, they have 150, 000 stars.[00:40:49] Alessio: So there's kind of been a big plateau. I mean, you might say there are just not that many people that can start it. You know, everybody already started it. But the promise of, hey, I'll just give you a goal, and you do it. I think it's like, amazing to get people's imagination going. You know, they're like, oh, wow, this This is awesome.[00:41:08] Alessio: Everybody, everybody can try this to do anything. But then as technologists, you're like, well, that's, that's just like not possible, you know, we would have like solved everything. And I think it takes a little bit to go from the promise and the hope that people show you to then try it yourself and going back to say, okay, this is not really working for me.[00:41:28] Alessio: And David Wong from Adept, you know, they in our episode, he specifically said. We don't want to do a bottom up product. You know, we don't want something that everybody can just use and try because it's really hard to get it to be reliable. So we're seeing a lot of companies doing vertical agents that are narrow for a specific domain, and they're very good at something.[00:41:49] Alessio: Mike Conover, who was at Databricks before, is also a friend of Latentspace. He's doing this new company called BrightWave doing AI agents for financial research, and that's it, you know, and they're doing very well. There are other companies doing it in security, doing it in compliance, doing it in legal.[00:42:08] Alessio: All of these things that like, people, nobody just wakes up and say, Oh, I cannot wait to go on AutoGPD and ask it to do a compliance review of my thing. You know, just not what inspires people. So I think the gap on the developer side has been the more bottom sub hacker mentality is trying to build this like very Generic agents that can do a lot of open ended tasks.[00:42:30] Alessio: And then the more business side of things is like, Hey, If I want to raise my next round, I can not just like sit around the mess, mess around with like super generic stuff. I need to find a use case that really works. And I think that that is worth for, for a lot of folks in parallel, you have a lot of companies doing evals.[00:42:47] Alessio: There are dozens of them that just want to help you measure how good your models are doing. Again, if you build evals, you need to also have a restrained surface area to actually figure out whether or not it's good, right? Because you cannot eval anything on everything under the sun. So that's another category where I've seen from the startup pitches that I've seen, there's a lot of interest in, in the enterprise.[00:43:11] Alessio: It's just like really. Fragmented because the production use cases are just coming like now, you know, there are not a lot of long established ones to, to test against. And so does it, that's kind of on the virtual agents and then the robotic side it's probably been the thing that surprised me the most at NVIDIA GTC, the amount of robots that were there that were just like robots everywhere.[00:43:33] Alessio: Like, both in the keynote and then on the show floor, you would have Boston Dynamics dogs running around. There was, like, this, like fox robot that had, like, a virtual face that, like, talked to you and, like, moved in real time. There were industrial robots. NVIDIA did a big push on their own Omniverse thing, which is, like, this Digital twin of whatever environments you're in that you can use to train the robots agents.[00:43:57] Alessio: So that kind of takes people back to the reinforcement learning days, but yeah, agents, people want them, you know, people want them. I give a talk about the, the rise of the full stack employees and kind of this future, the same way full stack engineers kind of work across the stack. In the future, every employee is going to interact with every part of the organization through agents and AI enabled tooling.[00:44:17] Alessio: This is happening. It just needs to be a lot more narrow than maybe the first approach that we took, which is just put a string in AutoGPT and pray. But yeah, there's a lot of super interesting stuff going on.[00:44:27] swyx: Yeah. Well, he Let's recover a lot of stuff there. I'll separate the robotics piece because I feel like that's so different from the software world.[00:44:34] swyx: But yeah, we do talk to a lot of engineers and you know, that this is our sort of bread and butter. And I do agree that vertical agents have worked out a lot better than the horizontal ones. I think all You know, the point I'll make here is just the reason AutoGPT and maybe AGI, you know, it's in the name, like they were promising AGI.[00:44:53] swyx: But I think people are discovering that you cannot engineer your way to AGI. It has to be done at the model level and all these engineering, prompt engineering hacks on top of it weren't really going to get us there in a meaningful way without much further, you know, improvements in the models. I would say, I'll go so far as to say, even Devin, which is, I would, I think the most advanced agent that we've ever seen, still requires a lot of engineering and still probably falls apart a lot in terms of, like, practical usage.[00:45:22] swyx: Or it's just, Way too slow and expensive for, you know, what it's, what it's promised compared to the video. So yeah, that's, that's what, that's what happened with agents from, from last year. But I, I do, I do see, like, vertical agents being very popular and, and sometimes you, like, I think the word agent might even be overused sometimes.[00:45:38] swyx: Like, people don't really care whether or not you call it an AI agent, right? Like, does it replace boring menial tasks that I do That I might hire a human to do, or that the human who is hired to do it, like, actually doesn't really want to do. And I think there's absolutely ways in sort of a vertical context that you can actually go after very routine tasks that can be scaled out to a lot of, you know, AI assistants.[00:46:01] swyx: So, so yeah, I mean, and I would, I would sort of basically plus one what let's just sit there. I think it's, it's very, very promising and I think more people should work on it, not less. Like there's not enough people. Like, we, like, this should be the, the, the main thrust of the AI engineer is to look out, look for use cases and, and go to a production with them instead of just always working on some AGI promising thing that never arrives.[00:46:21] swyx: I,[00:46:22] NLW: I, I can only add that so I've been fiercely making tutorials behind the scenes around basically everything you can imagine with AI. We've probably done, we've done about 300 tutorials over the last couple of months. And the verticalized anything, right, like this is a solution for your particular job or role, even if it's way less interesting or kind of sexy, it's like so radically more useful to people in terms of intersecting with how, like those are the ways that people are actually.[00:46:50] NLW: Adopting AI in a lot of cases is just a, a, a thing that I do over and over again. By the way, I think that's the same way that even the generalized models are getting adopted. You know, it's like, I use midjourney for lots of stuff, but the main thing I use it for is YouTube thumbnails every day. Like day in, day out, I will always do a YouTube thumbnail, you know, or two with, with Midjourney, right?[00:47:09] NLW: And it's like you can, you can start to extrapolate that across a lot of things and all of a sudden, you know, a AI doesn't. It looks revolutionary because of a million small changes rather than one sort of big dramatic change. And I think that the verticalization of agents is sort of a great example of how that's[00:47:26] swyx: going to play out too.[00:47:28] Adept episode - Screen Multimodality[00:47:28] swyx: So I'll have one caveat here, which is I think that Because multi modal models are now commonplace, like Cloud, Gemini, OpenAI, all very very easily multi modal, Apple's easily multi modal, all this stuff. There is a switch for agents for sort of general desktop browsing that I think people so much for joining us today, and we'll see you in the next video.[00:48:04] swyx: Version of the the agent where they're not specifically taking in text or anything They're just watching your screen just like someone else would and and I'm piloting it by vision And you know in the the episode with David that we'll have dropped by the time that this this airs I think I think that is the promise of adept and that is a promise of what a lot of these sort of desktop agents Are and that is the more general purpose system That could be as big as the browser, the operating system, like, people really want to build that foundational piece of software in AI.[00:48:38] swyx: And I would see, like, the potential there for desktop agents being that, that you can have sort of self driving computers. You know, don't write the horizontal piece out. I just think we took a while to get there.[00:48:48] NLW: What else are you guys seeing that's interesting to you? I'm looking at your notes and I see a ton of categories.[00:48:54] Top Model Research from January Recap[00:48:54] swyx: Yeah so I'll take the next two as like as one category, which is basically alternative architectures, right? The two main things that everyone following AI kind of knows now is, one, the diffusion architecture, and two, the let's just say the, Decoder only transformer architecture that is popularized by GPT.[00:49:12] swyx: You can read, you can look on YouTube for thousands and thousands of tutorials on each of those things. What we are talking about here is what's next, what people are researching, and what could be on the horizon that takes the place of those other two things. So first of all, we'll talk about transformer architectures and then diffusion.[00:49:25] swyx: So transformers the, the two leading candidates are effectively RWKV and the state space models the most recent one of which is Mamba, but there's others like the Stripe, ENA, and the S four H three stuff coming out of hazy research at Stanford. And all of those are non quadratic language models that scale the promise to scale a lot better than the, the traditional transformer.[00:49:47] swyx: That this might be too theoretical for most people right now, but it's, it's gonna be. It's gonna come out in weird ways, where, imagine if like, Right now the talk of the town is that Claude and Gemini have a million tokens of context and like whoa You can put in like, you know, two hours of video now, okay But like what if you put what if we could like throw in, you know, two hundred thousand hours of video?[00:50:09] swyx: Like how does that change your usage of AI? What if you could throw in the entire genetic sequence of a human and like synthesize new drugs. Like, well, how does that change things? Like, we don't know because we haven't had access to this capability being so cheap before. And that's the ultimate promise of these two models.[00:50:28] swyx: They're not there yet but we're seeing very, very good progress. RWKV and Mamba are probably the, like, the two leading examples, both of which are open source that you can try them today and and have a lot of progress there. And the, the, the main thing I'll highlight for audio e KV is that at, at the seven B level, they seem to have beat LAMA two in all benchmarks that matter at the same size for the same amount of training as an open source model.[00:50:51] swyx: So that's exciting. You know, they're there, they're seven B now. They're not at seven tb. We don't know if it'll. And then the other thing is diffusion. Diffusions and transformers are are kind of on the collision course. The original stable diffusion already used transformers in in parts of its architecture.[00:51:06] swyx: It seems that transformers are eating more and more of those layers particularly the sort of VAE layer. So that's, the Diffusion Transformer is what Sora is built on. The guy who wrote the Diffusion Transformer paper, Bill Pebbles, is, Bill Pebbles is the lead tech guy on Sora. So you'll just see a lot more Diffusion Transformer stuff going on.[00:51:25] swyx: But there's, there's more sort of experimentation with diffusion. I'm holding a meetup actually here in San Francisco that's gonna be like the state of diffusion, which I'm pretty excited about. Stability's doing a lot of good work. And if you look at the, the architecture of how they're creating Stable Diffusion 3, Hourglass Diffusion, and the inconsistency models, or SDXL Turbo.[00:51:45] swyx: All of these are, like, very, very interesting innovations on, like, the original idea of what Stable Diffusion was. So if you think that it is expensive to create or slow to create Stable Diffusion or an AI generated art, you are not up to date with the latest models. If you think it is hard to create text and images, you are not up to date with the latest models.[00:52:02] swyx: And people still are kind of far behind. The last piece of which is the wildcard I always kind of hold out, which is text diffusion. So Instead of using autogenerative or autoregressive transformers, can you use text to diffuse? So you can use diffusion models to diffuse and create entire chunks of text all at once instead of token by token.[00:52:22] swyx: And that is something that Midjourney confirmed today, because it was only rumored the past few months. But they confirmed today that they were looking into. So all those things are like very exciting new model architectures that are, Maybe something that we'll, you'll see in production two to three years from now.[00:52:37] swyx: So the couple of the trends[00:52:38] NLW: that I want to just get your takes on, because they're sort of something that, that seems like they're coming up are one sort of these, these wearable, you know, kind of passive AI experiences where they're absorbing a lot of what's going on around you and then, and then kind of bringing things back.[00:52:53] NLW: And then the, the other one that I, that I wanted to see if you guys had thoughts on were sort of this next generation of chip companies. Obviously there's a huge amount of emphasis. On on hardware and silicon and, and, and different ways of doing things, but, y

He had battled cancer three times, each instance a formidable challenge. Initially struck with hip bone cancer, the ordeal left him disabled. Subsequently, he faced lung cancer, and then pancreatic cancer, the latter giving him a mere 5% chance of survival. Against daunting odds and the grim prognostications of five specialists, he embarked on a journey of mental fortitude, reshaping his outlook to believe in the possibility of overcoming cancer.Now, two years free from the grip of the disease, he finds himself undergoing a groundbreaking three-part surgical intervention at the Mayo Clinic. This pioneering procedure involves the implantation of a custom titanium hip followed by a bone lengthening operation on the femur to regain the four inches lost to hip cancer.In addition to his triumph over cancer, he has contributed to a recently published bestseller titled "Breaking the Silence: Voices of Survivors," a testament to resilience and perseverance. Originally hailing from the United States, he has traversed the globe, eventually finding a home in New Zealand seventeen years ago.Primarily an IT professional by trade, fate led him to an unexpected partnership in the realm of entrepreneurship. A chance encounter at a boxing gym sparked the inception of a kettle corn business in a land where the snack was unheard of. What began modestly at weekend markets burgeoned into a thriving enterprise boasting two factories, a workforce of fifteen, and a diverse array of popcorn products.Their market presence extended beyond New Zealand, reaching international shores in Singapore, Malaysia, and various South Pacific islands. Their brand stood proudly as the second most popular popcorn in New Zealand, a testament to their journey of trials, triumphs, and the lessons gleaned along the way.While he may not yet have a podcast of his own, he embodies the qualities of an ideal guest. With a wealth of knowledge and an engaging, charismatic demeanor, he readily adapts to the host's cues, ensuring a seamless and enriching conversation. Eager to share his experiences and insights, he stands poised to inspire and uplift others within the community.https://a.co/d/j8rjh5Zhttps://www.linkedin.com/in/trent-brock-22313b1https://www.facebook.com/trent.brock.73https://www.instagram.com/trentbbrockBecome a supporter of this podcast: https://www.spreaker.com/podcast/i-am-refocused-radio--2671113/support.

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We begin the episode with how a person can resolve concerns they may have with Church history. Gerrit begins by sharing several statements from Martin Harris as he witnesses of the Gold Plates. He also shares a testimony of Oliver Cowdery For details about our live studio audience recording on Saturday, March 16th please sign up for our free newsletter: ⁠https://standardoftruthpodcast.substack.com/⁠ If you would like to join us on a Standard of Truth Tour in Palmyra and Kirtland on June 7 spots are still available: https://standardoftruth.com/tours/ If you have any questions or possible topics of discussion for upcoming podcasts, please email us at: ⁠questions@standardoftruthpodcast.com Please visit our website at ⁠www.standardoftruth.com⁠

Doug Auld was born in Queens, NY and moved to New Jersey as a child. He had a love and fascination with nature and wildlife as well as mechanics. The second born in a family of four and son of a car dealer, he went to a trade high school and studied mechanics with the intention of taking over his Father's Chrysler dealership, but in his last year of high school he began studying piano and classical music, eventually writing  his own original music.  After a brief time in the music industry, he took up an interest in painting after visiting the "Salvador Dali Museum" in Cleveland, Ohio. Primarily self taught, Doug pursued Art and painting, eventually taking continuing education courses at the Art Students League, School of Visual Arts and The NY Academy in NYC. He presently lives, works and teaches in Hoboken, NJ. PAST HIGHLIGHTS  ~ Series of Dymorphioc realism artworks /  www.dougauld.com  ~ Series of 100 Whistleblower portraits titled  “Those who blew the Whistle”  website ~ Completed a three-year Art project called "State of Grace." This consisted of ten large scale portraits of adolescent burn survivors. The New York Times featured the project in a front page story of their "Metro Section" in June of 2006 titled  Facing thier scars and finding Beauty. ~As one of only fifty finalists in the 2007 Outwin Boochever Portrait Competition, painting "Shayla" was displayed at the National Portrait Gallery at the Smithsonian in Washington, DC. “Shayla” was the first burn survivor portrait to be featured at the National Portrait gallery. ~Guest at "The Art of Recovery," the 33rd annual event for the Regional Burn Centers where he featured several works at the Philadelphia Museum. ~~Doug and burn survivor volunteer Jelani Jeffry, were guest speakers at theJohn Jay College of Criminal Justice, NYC ~In the fall of 2007, Doug was given a one-man show at the Berrie Center Art Galleries at Ramapo College, Mahwah NJ. This was followed by an oral presentation to the student body by Doug and burn survivor Jelani Jeffry ~ Invited to Cologne, Germany to paint Maha Schaff, a 28-year old female burn survivor from Cologne who was tragically set on fire by her father. The painting and project was documented and featured on national television throughout Germany, Austria and Switzerland. The painting was unveiled to Maha at an opening reception held at the Fifty Fifty Galerie in Dusseldorf, Germany ~Doug and burn survivor Jelani Jeffry were the invited guest speakers for the Grand Rounds at the Spaulding Medical Center in Boston, MA in Feb 08 ~Painted" Back from Iraq " (portrait of Corporal J. R. Martinez) oil 50”x 60” 2008. The painting will be part of an upcoming show called "Remnants of War" that will open on Jan 7th at the New York Arts Club in NYC. J. R. Martinez is a US soldier and veteran of the Iraq war who was badly burned when his vehicle hit an IED. Other highlights include 1993 Absolut Vodka “Artist of the Year '' original painting created for Absolut shown in publications throughout the year. - Featured on CBS ,Entertainment Tonight ,NYC,USA - Commissioned portrait of Jim Morrison for MTV " Museum of Unnatural History" - Featured on Sun up San Diego, morning TV program. - One Man Show at The Bergen Museum of Art and Science , NJ, USA - One Man Show at Drew University with Governor Tom Kean NJ,USA - One Man Show at The Limelight ,NYC,USA - Group show at The Time is Always Now Gallery, SoHo ,NYC,USA - Featured in the Salvador Dali newsletter. Featured on Inside New Jersey WNET TV-Channel 13, NJ,USA Two pages spread in the NYTimes on Burn Survivor series.  Presently, Doug has left painting to dedicate full creative time to creating a stage musical, Hypnotta. about disclosure of the UFO ET reality. www.hypnotta.com

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: ACE's New Application Process for Our 2024 Charity Evaluations, published by Animal Charity Evaluators on April 3, 2024 on The Effective Altruism Forum. Note: To prevent this important update from being overlooked due to April Fools' posts, the Forum team, with the authors' agreement, has changed the publication date to April 3rd." We are excited to announce that we are launching an application for our Charity Evaluations program. The new application form will help us simplify our evaluation process and obtain valuable information about organizations and their work at an early stage. Every year, we invite approximately 15 promising charities to participate in our evaluation process. To select this group of charities, we consider organizations around the world and assess whether they seem likely to do exceptional, cost-effective work to assist animals and, thus, become one of our Recommended Charities. To increase the chances of selecting and inviting the most effective organizations to our evaluation process, we have decided to introduce an application. Benefits of the new application process We expect that receiving essential information about organizations through the application form will help us make more informed decisions. Gathering relevant data from all organizations can help reduce potential biases such as misclassification bias, observer bias, and recall bias that may arise due to the high variance in the quantity and quality of publicly available information across organizations during the charity selection process. Ultimately, we aim to increase the likelihood of finding and recommending the most effective charities. The application form is intended to ensure charities meet the basic eligibility criteria and are willing and able to be evaluated. This will help to minimize the number of charities that decline our evaluation invitation, which can cause delays at the beginning of the evaluation season. Finally, we expect that this step will increase the transparency of our charity selection process. While we will not share the exact responses to the application questions for confidentiality reasons, we will be able to share anonymized, aggregate results to help clarify our decision-making at this stage. Limitations and how we will address them Having an application form requires more capacity on both sides. Charities need the capacity to respond to the application form, and our team needs the capacity to review applications before inviting charities. We aim to be mindful of everyone's capacity by asking only the most decision-relevant questions. With this in mind, we designed the application form in two dependent phases so that applicants who do not meet basic eligibility criteria (Phase 1) avoid spending unnecessary time responding to more in-depth questions (Phase 2). Because this is a new step we are implementing this year, we ran a pilot survey with potentially impactful charities to test the clarity and relevance of the application questions and gather more general feedback. We are very grateful to the pilot participants. Thanks to them, we have made important improvements to the application form and likely reduced the chance of unforeseen issues. Application content The application form is divided into two phases. Phase 1 consists of questions about the organization's basic details and eligibility. To meet the eligibility requirements to participate in our 2024 charity evaluations, charities must: Primarily work to help farmed animals and/or wild animals Not be in an exploratory or testing phase where there is significant uncertainty about which of the charity's programs will be scaled up Have been an organization for at least three years Have at least three paid full-time equivalents (including full-time, part-time, and contractors) Have an annual exp...

In this episode of Tent Talk podcast, Nancy McCready continues the study of Watchman Nee's classic, The Normal Christian Life, by looking at Chapter 1, The Blood is Primarily for God. Christ's blood was poured out for our sins because God required it. There is no sin that is larger than the blood of Christ, but will we accept God's value of the blood? Will we accept that God has fully accepted what His Son has done on our behalf? Are you ready to go deep? Here we go! Thanks for Listening! I hope that after listening to The Tent Talk Podcast, you'll want to start discussions with your team or small group. These resources can help guide your discipleship journey to maturity and destiny with the Father: Episode Notes & Conversation Guide DOWNLOAD HERE https://nancymccready.com/wp-content/uploads/2024/04/Tent-Talk-Podcast-12.pdf The Producer's Way School theproducersway.com Nancy's book, From Trauma to Trust https://www.amazon.com/dp/B096ZML6R3/ LINKS The Vault Private Online Event - April 8 @ 8 AM CST - Get Tickets Here - https://theproducerswaycom.dropfunnels.com/the-vault-april-8/get-tickets The Normal Christian Life by Watchman Nee - https://www.amazon.com/Normal-Christian-Life-Watchman-Nee/dp/0842347100 JOIN THE CONVERSATION Every journey begins with a conversation, join us on social media to get started! Facebook: https://www.facebook.com/nbmccready Instagram: https://www.instagram.com/nbmccready/ YouTube: https://www.youtube.com/@nancymccreadyministries SUBSCRIBE Like what you hear? Subscribe to Tent Talk with Nancy McCready so you don't miss an episode! https://nancymccready.com/podcast/ ABOUT TENT TALK Tent Talk with Nancy McCready is a listener-funded podcast dedicated to helping Christians along their journey of a deeper walk with Christ. With the support of donors like you, we are able to help our listeners gain a deeper spiritual understanding and connection with the Father. Thank you for your support of the Tent Talk Podcast! https://nancymccready.com/giving/ Brought to you by Nancy McCready Ministries https://nancymccready.com/

We are generally driven to do the right thing in our lives. We practice personal hygiene, we get the kids off to school, we work and pay the bills, we pay our taxes and we attend social functions and are generally nice and serving to people. But why is it so hard to do the right things for our health and wellness? I just had a long conversation with Dr Tom O'Bryan in the previous episode where he basically showcased that today's chronic illness and disease is primarily of our own doing. Primarily, not all. I'd rather hear this news than hear it's all being done to me. If my ill health is mostly my own doing, then I have control over getting healthier, which is great! But the question I pose today is, why is it so hard? Why does our drive seem so hard when it comes to being well? Let me get the cards on the table for you to try and make it more understandable and easier to grasp, and therefore, change. Head to airdoctorpro.com and use promo code KEVIN and depending on the model receive UP TO 39% off or UP TO $300 off! Sign up for a one-dollar-per-month trial period at shopify.com/kevin Use promo code KEVIN today at shipstation.com to sign up for your FREE 60-day trial. Visit Audible.com/whatdrivesyou or text whatdrivesyou to 500-500. Go to HelloFresh.com/drivefree and use code drivefree for FREE breakfast for life! Go to Seed.com/DRIVE and use code DRIVE to get 25% off your first month  Visit BetterHelp.com/WHATDRIVESYOU today to get 10% off your first month. Available Nationally, look for a bottle of Heaven Hill Bottled-in-Bond at your local store. Find out more at heavenhilldistillery.com/hh-bottled-in-bond.php Go to https://prolonlife.com/kevin and get TEN PERCENT off Prolon Life's 5-day nutrition program Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode hones in on all things assessment with Michele guiding us on what the FMS program has to offer. Primarily in the clinical setting we use SFMA, so we wanted to help followers understand the tactics of filtering the information during an assessment. How do we know what is most important? How do we then input treatment protocols to those findings? Michele does a tremendous job at walking us through world of incorporating SFMA into practice and developing a sniper rifle versus a shotgun. You won't want to miss this one!

Primarily working on aerobic maintenance backstroke and kick today.  We have time for sprint backstroke turns and some sprint fly with fins.#aerobicmaintenance #backstroke #butterfly #swimming Visit www.nlscak.coach for additional practice videos. #swimming #swimcoach #nlscak #nlscakpracticevideo #usaswimming #worldaquatics #alaskaswimming #swimfaster #thelegsfeedthebear @usaswimming

Today, I talk about what a study published in 2023 found when looking at user's self-reported experiences with different kratom strains, and the alkaloid makeup of those different kratom strains. Sources mentioned in this episode can be found here: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10379209/ DISCLAIMER: The information and topics discussed in this show is not intended as medical advice or endorsement of Kratom use. Kratom has not been approved by the FDA. The opinions expressed herein are solely those of the host or the guest(s) and should not be construed as personal or medical recommendations. Always consult a healthcare professional before making any decisions about substance use, and ensure compliance with local laws. The producers and host of this show assume no liability for any actions taken in reliance on the content provided. *** HAPPY HIPPO Discount ***: Coupon code EVERYTHINGKRATOM at checkout, or click on this link - ⁠⁠https://happyhippoherbals.com/r?id=ul2k1j⁠⁠ & ETHA Natural Botanicals Discount - Coupon code EVERYTHINGKRATOM at checkout, or click on this link - ⁠https://ethalivefully.com/discount/EVERYTHINGKRATOM?aff=243⁠⁠ Please support this podcast with a small monthly donation here! ⁠⁠https://anchor.fm/everything-kratom/support ⁠⁠ Thank you all so much for listening! Available wherever you get your podcasts: YouTube Channel: ⁠⁠https://www.youtube.com/channel/UCUsCC1nBchi_xMX9wRyQ_nA⁠⁠ Spotify -⁠⁠ https://open.spotify.com/show/2fO3Xsx1BbNUs2rpXiQs3s⁠⁠ Google Podcasts - ⁠⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy82OWUxMzZjNC9wb2RjYXN0L3Jzcw==⁠⁠ Apple Podcasts - ⁠⁠https://podcasts.apple.com/us/podcast/everything-kratom/id1584592399⁠⁠ Pocket Casts -⁠⁠ https://pca.st/mql8q14u⁠⁠ RadioPublic - ⁠⁠https://radiopublic.com/everything-kratom-WzkkBK⁠⁠ Overcast - ⁠⁠https://overcast.fm/itunes1584592399/everything-kratom⁠⁠ Reason - ⁠⁠https://reason.fm/podcast/everything-kratom?user=16e32b81-d623-4dcd-a000-623566fdc41a⁠⁠ Website: ⁠⁠https://everythingkratom279311648.wordpress.com⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/everything-kratom/message Support this podcast: https://podcasters.spotify.com/pod/show/everything-kratom/support

Welcome to the Learn Polish Podcast where we delve into the intricacies of the Polish language. In this episode, we dissect the meaning of the word 'O'. The word 'O' is versatile and dynamic in the Polish language, posing an interesting challenge to learners. Let's unravel its mysteries together. Primarily, 'O' translates to 'about' in English. We utilize it while talking about who or what we are thinking about, bringing to the forefront expressions like o kim myślisz or o czym myślisz, that translate to who are you thinking about or what are you thinking about respectively. Contrarily, it could also mean 'at' in English during certain contexts, particularly while inquiring about the time. Consequently, we come up with phrases such as, 'O której godzinie budzisz się?' This translates to, 'At what time do you wake up?'. Interestingly, 'O' is also used quite frequently when asking for something - 'I ask for your help' would be 'Proszę o pomoc' in Polish. Join us on this linguistic journey as we continue to explore the depths of this lovely language. Give us your thoughts and share your experiences in the comments, and don't forget to subscribe for more enlightening episodes. Enjoy learning with us on Learn Polish Podcast!   Words used in this Episode:   O kim, o czym myślisz?-Who, what are you thinking about?   Myślę o synu- I'm thinking about my son   Myślę o nowych butach- I'm thinking about new shoes   Marzę o nowym domu- I dream of a new house   Budzę się o piątej- I wake up at five   Zaczynam pracę o ósmej- I start work at eight   Obiad mam o osiemnastej- I have a dinner at eighteen   O której godzinie chodzisz spać?-What time do you go to sleep?   Proszę o informację- I ask for information   Proszę o pomoc- Please help

Congressman Mike Gallagher, representative from Wisconsin, is poised to take an early curtain call from the House of Representatives. Serving as the chair of the Select Committee on Chinese Communist Party affairs, Gallagher announced that he will forego running for another term. In a surprising turn of events, he won't complete his existing term and plans to retire before his tenure runs out. This unexpected exit will trim down GOP's control to a narrow one-vote advantage in the House. In compliance with Wisconsin administrative procedures, Gallagher's vacated position, rooted in a strongly conservative region, will remain unoccupied for the rest of the term. The designation of early retirement prior to April 9 could have brought about a special election, according to the rules. Following the revelation of the initial piece, Gallagher announced that his intended exit date is April 19. His reasons encompass a wider vision for his contributions beyond the walls of Congress, as he brought forward in last month's discourse with the Milwaukee Journal Sentinel. Motivated by a profound sense of accomplishment, Gallagher confided to the Milwaukee Journal Sentinel in his desire to pursue goals outside of the House of Representatives. 'I have realized more than what I had initially aimed for, and I am convinced that maintaining my seat in Congress for another decade isn't the best decision for my career's progression,' explained the Wisconsin representative. While acknowledging that his responsibilities and title might undergo a transformation, Gallagher underlined that his core mission continues to remain intact. 'Although my role could change, the mission that fuels me will forever remain constant. Primarily, I aim to prevent the outbreak of World War III,' articulated Gallagher. He further mentioned his commitment to strengthening conventional deterrence as a tactical move to avoid a potential military conflict with China. Gallagher assured that his subsequent endeavors will be meticulously aligned with this mission. Putting forth his insights on the obscure dynamics of the political space, Gallagher highlighted the vitality of a healthy rotation in public service. 'I believe that the political environment tends to be more robust when individuals fulfill their responsibilities for a certain period and then return to their private lives,' he elucidated. Gallagher, who voted against the impeachment of DHS Chief Alejandro Mayorkas, has set a precedent for personal convictions trumping party lines. His move strongly underscores adherence to individual conscience over party biddings. This series of retirements made headlines when Ken Buck, another representative who bucked the status quo, announced his forthcoming retirement this month. His firm decision to call it quits in mid-March was another jolt to Congress. As the House of Representatives readjusts after the resignation of Kevin McCarthy, Bill Johnson, Ken Buck, Mike Gallagher, and the dismissal of George Santos, the Republican Party's majority is pared down to a mere single vote. This has elicited far-reaching implications for the balance of legislative power and numerical strength of GOP in the House. Real News Now Website Connect with Real News Now on Social Media Facebook: https://www.facebook.com/RealNewsNowApp/ X Twitter: https://twitter.com/realnewsapp Instagram: https://www.instagram.com/realnews/ TikTok: https://www.tiktok.com/@realnewsnowapp Threads: https://www.threads.net/@realnews/ Tumblr: https://www.tumblr.com/realnewsnow Truth Social: https://truthsocial.com/@RealNews YouTube:https://www.youtube.com/@realnewsnowapp End Wokeness: https://endthewokeness.comSee omnystudio.com/listener for privacy information.

Episode 120 Crosscurrents in Early Electronic Music of Canada, Part 1 Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 10:36 00:00 1.    Hugh LeCaine, “Dripsody: An Etude For Variable Speed Recorder” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). One of the earliest pieces of tape music by the inventor and composer Hugh Le Caine. Also, one of the most available works from the early years when it was used to demonstrate simple techniques of tape composition. It is probably the most-played work of electronic music other than “Poeme Electronique” by Varese. Every sound in this work is based on a recording of of a single drop of water falling into a bucket, which then underwent various speed adjustments and edits to create this composition. I chose a recording from a CD compilation spanning the first 45 years of electroacoustic music in Canada. The original version of Dripsody was monophonic. Le Caine produced this stereophonic version in 1967 for Folkways records. 2:12 10:36 2.    Maurice Blackburn / Norman McLaren, “Blinkity Blank” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Another early work of tape music from Canada, produced around the same time as “Dripsody.” As a member of the National Film Board of Canada, Blackburn created this soundtrack with Norman McLaren by hand drawing on the optical soundtrack of a short film. 5:07 12:36 3.    Hugh LeCaine, “Ninety-Nine Generators” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). The title refers to the 99 tones of the touch sensitive organ. Each note had a separate generator and they could all sounds at the same time. 1:42 17:34 4.    Hugh LeCaine, “Arcane Presents Lulu” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:50 19:14 5.    Hugh LeCaine, “This Thing Called Key” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:53 21:04 6.    Hugh LeCaine, “Invocation” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 2:21 22:56 7.    Anhalt, “Electronic Composition No. 2” (1959) from Electronic Composition No. 2 ("Sine Nomine II") (1985 Radio Canada International). 8:47 25:18 8.    Hugh LeCaine, “Nocturne” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). This piece was played on a conductive keyboard using printed circuit keys (designed by Rene Farley) and tape delay. Notes are sounded by the pressing of a finger on the conductive surface of the keys. 3:08 34:04 9.    Norma Beecroft, “From Dreams of Brass” (1964) from Music And Musicians Of Canada Centennial Edition Vol. II / Musique Et Musiciens Du Canada Edition Du Centenaire Vol. II (1967 CBC Radio Canada). Norma Beecroft is a Canadian composer, producer, broadcaster, and arts administrator. Among the pioneering academic electronic music composers, she worked independently in the Electronic Music Studio of the University of Toronto. As a professional composer, she was one of the first non-students to be able to experiment in the new facility. There she focused on multitrack recording and looping as an extension of existing instrumental or vocal sounds. This particular work contrasts tape sounds with sung and spoken word sounds. 15:59 37:12 10.Paul Pedersen, “Themes From The Old Testament” (1966) consisting of 1) Saul And David; 2) David And Bathsheba; 3) Lot's Wife; 4) Parable Of Trees” (1966) from Paul Pedersen – Portrait Musical – Portrait No.1 (1976 CAPAC). Excerpts of a larger work. Produced in the Electronic Music Studios of McGill University and the University of Toronto. Paul Pedersen is a Canadian composer, arts administrator, and music educator. He was head of the McGill University Electronic Music Studios from 1971-1974. Concordia University in Montreal created 'The Paul Award in Electroacoustics' to celebrate Paul Pedersen's contribution to the development of electroacoustics in Canada. 5:47 53:10 11.Anhalt, “Cento” (1967) from Istvan Anhalt (1972 Radio Canada International).  “CENTO was composed in 1966 under a grant from the Centennial Commission, and its premiere performance took place in 1967, Canada's Centennial Year. The composer describes his work thus: ‘It is a work for a twelve-part mixed choir and two channels of tape-recorded sounds. Most of the sounds on the tape are also vocal, and it was my intention to blend, as much as possible, the live and the recorded voices. The effect I was seeking is that of a single choir performing in an acoustical space the character of which is partly real, partly unreal. "Much of the electronic equipment in both works was invented and built by Dr. Hugh Le Caine at the National Research Council of Canada.” 11:23 59:02 12.Norma Beecroft, “Two Went to Sleep” from Norma Beecroft – CAPAC Musical Portraits (circa 1976 CAPAC). Excerpt from a larger work, released on the Musical Portraits series of extended play 7-inch discs. This piece was written for soprano, flute, percussion, and tape with words by poet Leonard Cohen. It is a great example of the kind of work that combined instruments with tape. 2:49 1:10:24 13.Hugh LeCaine, “Music for Expo” (1967) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Produced using Le Caine's Serial Sound Structure Generator, a device intended to provide controls for making twelve tone serial music. Tones and other parameters were created using rotary dials on the control panel. Created for Expo '67 World Exposition in Montreal. 2:34 1:13:12 14.Peter Huse, “Space Play” (1969) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Fraser was a west coast person and composed this work while at Simon Fraser University. He was assistant director of the World Soundscape Project. 3:46 1:15:46 15.Hugh LeCaine, “Mobile” (1970) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). One of the first pieces of music to be composed on the NRC Computer Music System.   1:19:28 16.Micheline Coulombe Saint-Marcoux, “Trakadie (3 Excerpts), For Percussion And Tape” (1970) from Micheline Coulombe Saint-Marcoux: Musical Portrait (1976 CAPAC). This series of composer's Musical Portraits was initiated and sponsored by the Composers, Authors and Publishers Association of Canada. Micheline Coulombe Saint-Marcoux was a Canadian composer and music educator who played an important role in the contemporary classical music scene of Canada and France from the late 1960s through the mid-1980s. Primarily a composer of contemporary classical music, she experimented with electroacoustic music from time to time with some amazingly original and fresh results. From 1968 to 1971 she studied musique concrete with Pierre Schafer in Paris, and from this period comes this work. 4:17 1:21:20 17.Michel Longtin, “La Mort Du Pierrot” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced in the electronic music studio of McGill University. 5:21 1:25:34 18.David Paul, “Eruption” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced at the University of Toronto, using Le Caine's equipment, this work explores sound densities and glissandi. 6:07 1:30:56 19.Paul Pedersen, “For Margaret, Motherhood And Mendelssohn” (1971) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Composed at McGill University where Pedersen was director of the electronic music studio. The electroacoustic work uses fragments of speeches such as prime minister Pierre Trudeau's and the electronic sounds were composed using Le Caine's Polyphonic Synthesizer. 4:21 1:37:02 20.Hugh LeCaine, “Paulution” (1972) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Uses Le Caine's Polyphonic Synthesizer, a new device created by the scientist around this time. Much of this was created in real-time with little tape manipulation. 4:09 1:41:18 21.Micheline Coulombe Saint-Marcoux, “Zones” (1972) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Musique électroacoustique réalisée au Sonic Research Studio, Université Simon Fraser, Vancouver. An exploration of different instrumental timbres using electroacoustic music. 9:02 1:45:22   Opening background music: Hugh Le Caine, Rhapsody in Blue, performed on the Electronic Sackbut (1953) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation)00:58; Hugh Le Caine, Safari: Eine Kleine Klangfarbenmelodie (1964) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation). Played on the Sonde, a Le Caine instrument that could generate 200 sine tones separated by intervals of 5 Hertz, as a demonstration of textures and densities. 3:10 (then repeated). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.

Recently relocating back to Las Vegas, Josh Selander most recently spent the last eight years teaching Lighting Technology, Design and Programing at University of North Carolina School of the Arts. Prior to arriving at UNCSA, Selander was based in Las Vegas working for ETC. Primarily supporting entertainment venues in Las Vegas, Selander also traveled the world supporting the Eos Product Line. He shifted to programming for various shows, including multiple Broadway National Tours and Cirque du Soleil productions. Selander also spends much of his time working in the themed entertainment market, designing and programming brand experiences including The Henry Ford, Kennedy Space Center, Museum of the Bible and The Great Wolf Lodge. Selander is the Lighting Designer and programmer for multiple shows under Criss Angel's brand, including Mindfreak, RAW and a joint venture with Dragone, Amystika. Selander most recently designed Dragone's show in Riyadh, Terhal, a cultural experience in Saudi Arabia. Currently Selander is designing and programming various immersive brand experiences throughout the US.   “ATTENTION SPOTIFY LISTENERS: IF you want to WATCH this with VIDEO, you can also subscribe to our video version: https://open.spotify.com/show/5e9KnBRZdjUTXTvCe6Nrqm?si=6639537c61044396” @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com

Recently relocating back to Las Vegas, Josh Selander most recently spent the last eight years teaching Lighting Technology, Design and Programing at University of North Carolina School of the Arts. Prior to arriving at UNCSA, Selander was based in Las Vegas working for ETC. Primarily supporting entertainment venues in Las Vegas, Selander also traveled the world supporting the Eos Product Line. He shifted to programming for various shows, including multiple Broadway National Tours and Cirque du Soleil productions. Selander also spends much of his time working in the themed entertainment market, designing and programming brand experiences including The Henry Ford, Kennedy Space Center, Museum of the Bible and The Great Wolf Lodge. Selander is the Lighting Designer and programmer for multiple shows under Criss Angel's brand, including Mindfreak, RAW and a joint venture with Dragone, Amystika. Selander most recently designed Dragone's show in Riyadh, Terhal, a cultural experience in Saudi Arabia. Currently Selander is designing and programming various immersive brand experiences throughout the US.   @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com

Ikar and Tafel (primarily and secondary foods)

The meaning of the phrase: the world 's existence depends on the korbanos.

Brette Harrington is an American professional rock climber and alpinist based in Lake Tahoe, California and British Columbia, Canada. She was featured in the 2021 film The Alpinist alongside her late partner, Marc-André Leclerc., who died while climbing from an unexpected avalanche.  She is best known for the first free solo of the 760 meter (2,500-foot) Chiaro di Luna (5.11a) in Patagonia, for her development of new alpine climbing routes, and as the star of Brette, a Reel Rock Film Tourshort film. Harrington's long-time partner, fellow alpinist Marc-André Leclerc, was confirmed dead after going missing during a climbing expedition near Juneau, Alaska in March 2018. Following Leclerc's death, Harrington devoted two years to working on alpine routes. She spent the first year processing Leclerc's death while she "was deep in the mountains". Harrington dedicated her May 2018 Mount Blane route to Leclerc, writing: "We have named it Life Compass for a number of reasons. Primarily because my life has taken such a sudden 180-degree turn since the loss of Marc in March and alpine climbing has been my guide. I dedicate this climb to my climbing mentor, partner, and love Marc-Andre who would probably solo it the following day if he was here." Sara and Brette talk about mountain and rock climbing and it's paradigm for life and it's highs and lows, going forward boldly, doing what you love, learning to live with peace and zen along with the tragedies and sacrifices. Brette continues, even after losing her great love, Marc-Andre to the mountains, and shares her passion that stays alive within her. The Alpinist documentary can be seen on Netflix, Prime Video, Redbox., Vudu or Apple TV on your Roku device. Website: www.saraschultingkranz.com Social Media: IG: https://www.instagram.com/saraschultingkranz/ YouTube: https://www.youtube.com/@saraschultingkranz./about Sponsor: Go to www.saraschultingkranz.com and use the code Live Boldly at checkout to get the special price of $39 for programs offered. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The Healthy Sensitive, Leah Burkhart delves deep into the intriguing relationship between high sensitivity and workaholism. Primarily focusing on highly sensitive people, she sheds light on their profound depth of processing, which often leads to extended work hours, perfectionism, and excessive preparation for tasks. This life-altering conversation illuminates the positive and negative effects of this overwhelming drive on their lives. Highlighting the innate empathy and responsiveness of highly sensitive individuals, Leah elucidates how these traits can spiral into workaholism. Such individuals tend to absorb the emotional needs of others around them, inevitably adding to their workload. This episode candidly addresses the challenges highly sensitive individuals encounter when setting boundaries at the workplace, largely due to their intense passion and enthusiasm for their work. This discussion further underscores how highly sensitive people often link their self-esteem to professional achievements. Such validation from work accomplishments, although gratifying, can make them vulnerable to conflating their career success with personal worth. The talk concludes by deftly tackling the fine balance between the pursuit of career satisfaction and the reality of overstimulation commonly encountered by highly sensitive individuals. We dig into personal examples, delving onto the real impact of this phenomenon on personal lives. The value of understanding this dynamic is stressed as a stepping stone towards positive changes. Leah shares insightful tips about time management, boundary setting, task delegation and cultivating empathy while preserving one's personal space and identity. We also delve into the benefits of seeking internal validation, diversifying interests, effective feedback acquisition and embracing imperfections. The topics extend to include methods to prevent overstimulation like creating serene workspaces, incorporating physical activity in routines and stress management. Furthermore, addressing fear of failure paves the way to setting attainable goals, nurturing a growth mindset and fostering self-compassion. Ultimately, this episode champions self-awareness to improve work habits and achieve a healthier work-life balance while prioritizing wellbeing. Be sure to check out the show notes for links to an online community and free meetup events for continued learning and support. Dive into this enlightening discussion on high sensitivity and strategies for combating workaholism today.   To join our community and share your experiences with these subjects, you can find our online community here: https://the-healthy-sensitive.mn.co/    To Join our Meetup Group, click Here: https://www.meetup.com/The-Healthy-Sensitives/ 

On this special throwback episode of Tent Show Radio, Different Drums of Ireland take the stage for a celebratory performance showcasing Irelands unique indigenous sounds and rich cultural diversity. Different Drums of Ireland was created in Derry, Northern Ireland in 1991 as an exercise to use art and music as a vehicle to do something positive in the community. Different Drums of Ireland celebrates the musical traditions, customs, and sounds of that wee part of the world, crossing boundaries in an effort to promote peace and unity. Primarily a joint celebration of the Bodhrán and the Lambeg, drums seen as representative of the Nationalist and Unionist cultures respectively in Ireland, Different Drums of Ireland play a unique form of Irish music which also borrows from other cultures. Influenced by the Kodo drummers from Japan, they explore a wide variety of percussive sounds as the employ the African Djembe drum for the rhythmic engine of the band and you'll also hear the high-tension snare and various other percussion from around the world. As Different Drums of Ireland, Roy Arbuckle, Stevie Matier, Dolores O'Hare, Paul Marshall, & Richard Campbell have played across the world, for everyone from US & Irish presidents to school children. Their performances are a unique celebration of cultural diversity and linkages - the sound and passion of Different Drums of Ireland is something truly unique and unforgettable.     EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW HOST MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2024 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/    Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/  Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism  The Bayfield Inn - https://bayfieldinn.com/  Cable Area Chamber of Commerce - https://www.cable4fun.com/  Kylmala Truss - https://www.kylmalatruss.com/ SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/ 

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT Set top boxes have long been looked at, theoretically at least, as single-purpose devices that would do nicely as digital signage media players, but it's fair to say a lot of software company developer and support teams have painful memories of trying to use consumer devices from China as Android-based players. They weren't reliable in terms of performance, or even in terms of what showed up from shipment to shipment. So what if a company that was expressly in the business of commercial-grade set top boxes for the pay TV and cable markets got into digital signage? That's the deal with a UK company called Amino, which now has two lines of business - pay TV and pro AV applications like digital signage. These are devices that are engineered to last for five or six years, and in a lot of cases, they are happily ticking away for a decade and longer. High reliability and remote management are inherent in the product design, so meeting that common pro AV demand was largely automatic. I had a good chat with Rowan Brunger, Amino's UK-based Sales Director, about the hardware, how the company goes to market, and what's involved if software companies and solutions providers want to add Amino devices as a hardware option. Subscribe from wherever you pick up new podcasts. TRANSCRIPT David: Rowan, thank you for joining me. I bumped into you last year and basically said, what do you guys do? Cause I'd never heard of you and we'd intended to do a podcast and finally got around to it. So for those people who don't know the company, what are you all about?  Rowan Brunger: Thanks, David. Thanks for having me on. So yeah, great to be here. We are a company called Amino and we've been around for about 25 years. So we have two sides to our business. Primarily, we've been a set top box manufacturer within the pay TV world and in the last few years, we've made a move to expand our enterprise TV and digital signage side of the business which is rapidly growing some momentum in terms of those 25 years we've been around, we've probably got 25 million devices in circulation and we've got quite a compelling device management system that we've tweaked from our experience in the pay TV world brought over to the pro AV arena for managing the states of media devices.  David: So when you say pay TV, you basically in the context of what North Americans would understand that basically means cable TV.   Rowan Brunger: Yeah, cable TV. So tier one, tier two, satellite providers where we would typically either have an Amino box or we'd OEM a box for the actual operator. So we're used to selling in big numbers to operators and what really differentiated us in that market which we're using in this one is the remote device management. So as you can imagine, if we're sending hundreds of thousands of boxes out, we want it to be relatively zero touch from the consumer's environment. We want them to plug the cables in and we do the rest remotely. So that's really what spawn orchestrate products, which is our device management platform that we've tweaked and made more applicable to the pro IV market to manage our media players. David: When you opened up the digital signage/enterprise TV market, was that based on inbound requests, Hey, we would really like to use a set top box. Do you support this market or there may be multiple answers but I'm curious if you kind of looked at where linear TV or cable TV was going, given streaming and the way that was bubbling up and realized, okay, we needed to, we need to open up a new market.  Rowan Brunger: I guess a combination of the various different scenarios you've given there. I mean, it's key to say we've always had a foot within the digital signage and enterprise video world. There's amino products that have been out there for sort of 10 years plus. I guess one of the main alliances partners we had in the past was Triple Play. So we manufactured a lot of the endpoints for Triple Play, Vitech and some of the IPTV streaming guys. So we've got loads of boxes out there in circulation and they're coming up for renewal or people wanting to upgrade to 4k, et cetera.  So that gives us a natural pull off. Okay, let's look at this market in isolation rather than just bolting onto our existing business. And then there's actually looking at the experience that we've gained in the pay TV world which has become a very competitive environment to be in. We can take a lot of that experience and truly add some value within the pro AV space with the gravitas of products and devices that we've managed previously and importantly, bringing over our video expertise onto the media player, rather than just looking at signage. We've done well where we integrate the two and we're finding a lot of customers are wanting both of them to run side by side on one device. So we can pull the huge expertise we have in enterprise video and actually put it on the same device next to, for instance, the CMS platform,  David: The markets and the use cases are, in some respects, very similar in terms of both needing very high quality of service. Like the stuff can't go down, right? Rowan Brunger: Sure. Yeah. We look at that from a number of different angles in terms of the physical player itself is truly enterprise grade, steel case designed to work in all environments 24 seven and some would argue we've even over engineered it. I mean, we've literally got boxes that have been running 24 seven in the field for 10 or 12 years solid and they're still displaying every single hour of the day.  But then there's the actual total robustness of the system and that's the inevitably when something does go wrong and things obviously do go wrong, the ability to fix that very quickly and also the ability to make sure the ongoing security and updates of that device are easy to get onto it, is as important as it running really. David: Yeah, I would say any number of CMS software companies in the industry have only in the last few years sort of realized the importance of remote device management, whereas it would have been inherent in what you do right from the start, right?  Rowan Brunger: Yeah, it's absolutely an upfront thought in where we've come from. And inevitably like a lot of things, you only realize how much you need something when you don't have it and when there's a problem. So certainly a lot of the signage projects that were involved with it, it's not their first signage project at all. They're learning from the deployments they've already made and what the pinch points were and what the really painful bits about it. And I think we're in a world now where people are taking their signage a lot more seriously with a big emphasis and cost push to get people back to the high street. For instance, when we're looking at retail, it's not just a tick box, we have a signage system in place. It's got to be absolutely robust. You've got to be able to rely on it and certainly, in times where people are paying to have their content advertised within the stores or the settings, they want to know it's actually been on the screen.  David: So you're competing in a few ways with different kinds of companies. You've got the consumer/prosumer android set top boxes that have come over from Shenzhen or whatever. You've got special purpose media play out boxes like a bright sign box and then you've got companies like SPINX who have their own box and other companies that have their own boxes and then you have PCs. So how do you kind of position yourself?  Rowan Brunger: It's a really good question. So, if I cover the first section early on, I'll probably include system on chip in that as well. So we've got a system on chip users, people have realized that there's value in having a player but maybe not as necessarily selected. One that hits all their objectives, I'm sure we say and then we've got the likes of the guys that do really high end boxes with multiple outputs. We've liked to keep this really simple, we have two products in our portfolio, for instance, we have a POE model and we have a Wifi model. So we keep it really simple. It's at a price point where we're stretching the people from the cheap consumer devices and the system on chip operators but add enough value to make that extra investment to move towards an enterprise grade player but we're underneath a lot of our true competitors that you know do fit for purpose signage players because we don't try and do everything. So I'll give you an example of that. We like to partner with specialists in areas that aren't familiar to us. So if somebody needs a four output player, we've got a partnership with the likes of Matrox to give you that. So those guys specialize in multiple output play, cards and players, we feed into it. But what that gives the customer is one platform for pretty much whatever they want to do. So our device management and the reliability is right up there with the top end competitors. But we've got a really simplistic view and what our customers like is no matter what they're displaying or what they're using the player for, it's the same player that does it all. So we've got one customer that has probably six use cases for our player within their stores. So a large rollout of about 650-700 stores in the UK and they're doing multiple things with it but they know it's a H 200 player,  that is just programmed in different ways for those different use cases and they really liked that from a maintenance point of view. So we've kept things really simple. We are definitely a step up and a professional grade player to challenge the lower end operators in the market and in terms of the higher end guys, I think we're hitting a price point. They can't, so we can get mass adoption from our product and we've got the right partnerships in place to cover all use cases with the guys that lead the industry in those areas. David: So for the age 200 player. If I'm buying, like 10 of them, what roughly in U. S. dollars would be the cost?  Rowan Brunger: So well, I'm doing a conversion in my head.  David: Well, give me, EU or sterling.  Rowan Brunger: Yeah, so we've got a package to trade within Europe that's about 240 pounds. Okay. What are we at? Just over 300 and that's a full two year package of enhanced support, premium device management software on the player itself. The player itself is around 200 on its own with various different options. So it hits a price point if you want to power four screens; for instance, in a video wall, it actually becomes price. It prices itself well enough that you could actually put a player on each of those screens, run it as a video wall, or run them individually and have that flexibility. So you're not just doing one or the other, yet you're still coming in at probably less than a quad head player that would powerful screens,  David: Yeah, and it's interesting. By standardizing on just one box for a whole bunch of different use cases, you could keep a spares pool without having to think, okay, I need two spares of these and two spares of those, and so on. You just have five on the shelf that you can pull off if you need to. Rowan Brunger: Exactly that. I mean the scenario I just gave you before, they're even looking at running just some simple audio or some simple HTML pages, just because they like the simplicity that everything is powered by exactly the same thing.  David: You mentioned that you've had stuff in the field for 10 years. Do you have a rated operating life?  Rowan Brunger: Well, the chipset has changed, which has sort of adapted that slightly, and then you've obviously got the provisions of using flash memory but the products that we have in the field have normally been programmed to do one thing, from the offset. So, quite often, decoding video streams, so they haven't really been updated, and that's why they've been running for 10 or 12 years plus. They're designed and warranted to run for, you know, the standard sort of five or six years, but they've become so robust that people have just left them in cause they're working.  We've got an airport with 2000 of the units in, and it's only because they want to change to full grade that they even thought about upgrading them. They've been running in excess of 10 years in that airport. David: So with the build for these units, if I have 500 of them and I decide, okay, I'm expanding, I'm an airport, I'm expanding a new terminal. I need 500 more. Is it going to be a different box at this point, or would that even matter? Rowan Brunger: The H200 has been around for about two years now, it really depends on when those proxies were deployed but the older boxes that we have in the sort of thousands out there, aren't supported anymore because they're well over 10 years old, but we've got a very easy upgrade path to swap those boxes out for the new range of products. And in doing that, they're all on the same platform for managing them then as well. David: I asked this because one of the complaints, among probably quite a few complaints with buying little Android boxes from Shenzhen or elsewhere is that if you order a hundred of them and then you order another hundred that second batch of one hundred might have different operating systems or different versions of the operating system, different electronics inside and everything else. So every time they show up, you're starting from scratch. Rowan Brunger: Absolutely. Welcome to buying consumer products. But we manage our chipsets and our components very strictly, and you can imagine the volumes we make them in because there's a lot of crossover from the set-top box side of the business but more importantly, we operate Android AOSP. So, we actually control and write the firmware for the product ourselves. So, in terms of updating the products, we're putting our own firmware on there. We're not relying on Google or Android updates for anything; in fact, much the opposite, because we want to be in control of it. So for instance, when you boot one of our boxes up, there's no app store. There's no standard Google browser on there, it's exactly what we choose to put on there, which makes it very fit for purpose because it's not running a million things in the background. We give it some very clear parameters and control exactly what middleware or APK that we put on there that's monitored centrally and all the versions and updates are controlled centrally as well. So you know exactly what's on there and you're the master of your own destiny.  David: Are you having to worry about security, well, I guess everybody worries about security, but because, as you just described, does that kind of greatly reduce the risks? Rowan Brunger: Yeah, it does, and again, this is something we've pulled over from our knowledge of the Pay TV market. So working with Android, we adhere to some pretty strict guidelines from Google in terms of security patches and timely updates, et cetera, and we actually think that's really very relevant in the pro AV market as well. So we've actually pulled over the standards that we adhere to on the Pay TV market, within the digital signage space. So as a result of that, we do at least four firmware updates a year that contain all the relevant security patches because there's nothing else on there in terms of an app store, et cetera, we're cleared in very highly secure environments. So we do a lot of work with the government. We've got a really interesting project going on, within a prison. So somebody's made their own middleware that they're using on the box and actually running entertainment within prison cells using the H200, which you can imagine is a super secure environment. So because we're in complete control of it, we can make it as secure as we like. And we're seeing that more and more prevalent with even retail rollouts now, with things like 802.1X authentication on networks, which I've never heard asked for but have been asked quite a lot for recently. So we quite got an agile development team. We're able to add functions like that and drop them in the latest firmware, and get them out of the boxes very quickly.  David: So because you're shipping a lot of units, do you get some sense of what the marketplace demand is?  For the longest time, people were saying, yes, it would be nice if we went to 4k, but nobody actually needs it yet, and for signage applications, it's probably never needed. Certainly, 8k, which is being marketed, is something that is probably years away if it ever comes. What is the marketplace actually using? Rowan Brunger: We are being asked for 4k a lot more. You're right in the signage space; it's less applicable, although a lot of the CMS providers don't even output in 4k, which, obviously, is a stumbling block. But for those that do, we're just testing a build for 4k content at the moment, and we've got out with some beta testers, and that's going very well. Obviously, 4k video is pretty much a must when people are looking at video, and that's very much our expertise, how we can stream that and what protocols we use to stream it and transport streams and encryption, is all around 4k and in particular, low latency is something that we specialize in quite a lot. So that takes us down certain vertical markets such as sporting and gaming where latency is an absolute deal breaker.  So we're seeing for our players and going back to your question about market trends, I'd say 50% of our opportunities are video-led, and the other 50% are signage-led, but with an element of video, a lot of them are with an element of video as well. So I think our expertise in video is really setting us apart here, and that, down the 4k route. POE has been requested more and more so that's why it's standard on our H200s. David: For retail more than anything I would imagine? Rowan Brunger: Actually, no, and I thought it would be, but what we're seeing is the requests for Wi-Fi is actually coming through retail more than anywhere else because when people are doing a retrofit of a store or they want to have quite an agile space within the store and be creative with where they're putting the screens, there's not normally a network point there. So we're actually finding some of our big retail rollouts are actually going down the Wi-Fi route, which I didn't expect, to be honest, but we've done a separate Wi-Fi unit for that marketplace because leading back to the security, a lot of our government and military deployments require us not to even have the ability to have Wi-Fi in the box altogether, which is why we didn't just add Wi-Fi to the existing H200. We've actually done it as two separate products. But yeah, interestingly, we've just launched our, or we're just in the process of launching our Wi-Fi unit, and the inquiries that are coming in are predominantly retail, and also the leisure industry as well as people want to put more screens and things in bars and pubs that typically have terrible infrastructure. Wi-Fi seems to be the easiest route to go with that as well.  David: You mentioned streaming, I'm a little curious about that because most of the set-top boxes that are on the market have onboard storage and digital signage most typically is forward and stored and played off of a hard drive locally.  Are your boxes doing that, or is it all streaming? Rowan Brunger: No, it's all streaming. We can digest the number of transport streams such as multicast, unicast, low latency dash, and low latency HLS because that's what our bread and butter are on the set-top box side of the world. So we're finding a lot of people for instance, within the betting industry where low latency is an absolute must, we're working with specific middleware vendors that provide the streams on an OTT basis, and we decode them locally on the box with various different levels of encryption and it's enabling people to reduce the amount of head end hardware that they've got. Even down to sort of office builds, government buildings where there's an element of wanting just some basic news channels alongside the signage, the ability to switch between the two. So typically, you'd have a big head end, consumer set-top box with aerial on the roof, bringing those streams down, we're able to bring them in completely OTT. So we remove the need for all of that hardware, and just, bring it on an OTT basis straight to the box, which is game-changing for somebody that's, maybe, got a larger state and they have to rent aerial space on the roof of all their stores, have a big server unit within there, consuming a lot of power, needing managing, and obviously bringing those streams down locally, we literally just pop the addresses into the box, into a JSON file and we pull them down through our player that's on board within the software stack. David: Are there worries at all about the quality of service and reliability of service for connectivity? Because God knows that used to be an issue, but maybe it's gone away.  Rowan Brunger: It's becoming less of an issue because with different encryptions and transport streams, they require a lot less bandwidth. It still needs assessing, obviously, when you're looking at a sign. But you can tweak the bitrate frames between the different encryption levels to get to a happy medium of a quality that you want alongside a bandwidth that you're willing to play with. So, it's becoming less of an issue. We can still obviously decode on-prem feeds as well when it's absolutely paramount that the feeds have got to be on-premises but the bandwidth is becoming less and less of an issue now.  David: You mentioned enterprise TV at the front end of our chat. How do you define that?  Rowan Brunger: So it's really whether it's TV-led, and what I mean by enterprise TV is, anything that's not residential, and not, hospitality so retail, office environments, sports stadium, things like that. That's where we'd class as enterprise TV. So it's the enterprise-grade of the box, but it's primarily streaming IPTV rather than just signage.  David: Do you sell direct or do you kind of go through a channel or, through software partners? Rowan Brunger: So we sell purely through a channel. We sell through distributors around the globe, trade only, through the channel directly to our system integrators, and onto the end users. So yeah, we're a channel-focused business, and that's something that we've recently sort of redesigned because that model is very different from what Amino is used to in the Pay TV market where they may deal directly with operators. We've decided that within this marketplace, a channel-only focus is the best way to go. It ensures our partner's protection on pricing and margin, et cetera, and also gives us scalability that we've got partners out there promoting the product for us. David: When you started Looking at the digital signage market, was it a little baffling when you realized how many software companies there are? Rowan Brunger: Yes, there does seem to be an ever ending amount of CMS partners to play with. We've worked with a couple that we've got a history with and onboarded those guys. We've now got an accreditation process. So when we do onboard a partner, we truly onboard them as a partnership rather than just saying, okay, we've tested that version of the APK, and that works fine. Let's call it accredited.  We actually onboard them and make a commitment that CMS will work ongoing with Amino and we go into a partnership with the CMS so we get beta releases of each other's software so we can truly test it in advance, which is why it takes a little bit of time to onboard, although we have quite an impressive list of CMS vendors on the list to go through accreditation, so it is definitely a nice route to market. We want to play with as many people as we can. At the same time, not overloading ourselves.  I think what's helping us there is the fact that a lot of CMSs seem to develop their APK before the platforms, so we do tend to be able to onboard people fairly quickly. And if there is any integration work that needs doing, it's fairly straightforward, and we've seen it before on somebody else's application. So yeah, onboarding and partnering are absolutely key for us over the next 12 months. We don't want what CMS somebody uses to be a barrier to sell, and it's not just a CMS, we work very closely with a number of streaming middleware companies as well that are specific in certain vertical markets as well.  David: So you're at a stand at some trade show and a CMS, digital signage CMS software company walks up and says, “Hi, I'm aware of you guys, and would like to be involved.” What's that thing you tell them when they say, “What do we need or how do we need to be set up in order for this to work?”  Rowan Brunger: Initially, we would ask for a version of their application and log in to their system, and we deliberately ask for no more than that because we want to test it as a virgin user if you like. So we put it through a first round of testing, which is: Does this go onto the box? Does it behave as if I would expect it to behave as a user? And that's our first round of testing. Normally, if that goes okay, we put it forward towards a full Q.A. test with our Hong Kong development team, which is a 400-point Q.A. test, which literally tests every element of the software and the integration, and at that point, we give a report back to the CMS provider to say, “Yes, it's all gone smoothly” or “It works, but can we suggest we do this and this integration together to make it a better experience?” And then, we go into the commercials of the partnership and make sure that we're sharing best practices with each other in terms of updates and things. We also have a lot of APIs that are available through our remote management software that we're finding a lot more of the CMS partners want to integrate into their CMS platform to give the end users, that one pane of glass, whether they're managing content or the device that they can do it in one place. So we have completely open APIs for the CMS partners to be able to do that and put a lot of the functionality that we have in our device management, actually in their front-end system that the customer is using every day for the content.  David: Does your platform support IP streaming or multicast or that sort of thing? Is there a foundational thing they have to have?  Rowan Brunger: No, not at all. We are dealing with some partners to put our video play technology within their CMS but it's not these guys' expertise. So, actually, the value to them of working with Amino is you can run their CMS software and switch seamlessly into an IPTV solution alongside their CMS. So, all of a sudden, they can speak to their customers about IPTV streaming solutions alongside pretty much any CMS rather than having to have a specialized solution incorporated into their roadmap.  How many times have we provided screens to somebody and you get the call, maybe two, two weeks later, two years later, “Can we put some TV streams through this for us?” For us, that's just a service we can turn on without having to ship any hardware. So it gives a lot of flexibility to these existing CMS deployments.  David: You mentioned the Hong Kong software team, is that where the company is based?  Rowan Brunger: No, we're based in Cambridge in the UK. So we are a UK-based company and have been for our existence. We have a couple of support teams. One is in Portugal, level one support is in Portugal, and we have a level two support team in Hong Kong. So we've got to follow the sun kind of coverage on support.  David: And manufacturing is done in China like everybody else? Rowan Brunger: Some manufacturing is done in China. There's a whole host of countries that we're manufacturing in. We've got stuff coming out of Thailand, Taiwan, Hong Kong. It depends on the product or the chipset, but yeah, a fairly well-diverse manufacturing plant. We're not stationed all in one place. David: What's the next AV trade show that you guys will have a stand at or a presence at?  Rowan Brunger: So Infocomm is coming up. We've got a presence there, and we've just done ISE, as you know, and then we've got some presence at NAB as well because we do see some crossover from some of the broadcasting shows that are looking at enterprise video or signage. So our trade show calendar is still split between Pay TV, but with a much larger emphasis than we have done on the AV world.  David: If people want to know more about Amino, where do they find you online? Rowan Brunger: Sure, just go to Amino.tv.  David: Clever! All right, Rowan, thank you very much for your time. Rowan Brunger: Thank you, David. Pleasure as always.

Based on the most recent earnings call held on Monday, March 11th, 2024, Vail Resorts released its financial standings, emphasizing certain indicators of growth and potential challenges. The CEO, Kirsten Lynch, noted in the call made to investors that the company's EBITDA for the quarter increased by approximately 8% compared to the prior year. She attributed this growth primarily to the stability brought about by their season pass results and disciplined cost management, which resulted in the Resort EBITDA margin improving by 3.3 points compared to the same quarter in the prior year. An in-depth analysis of the call indicates several important considerations. Primarily, even against the backdrop of challenging snow conditions at North American resorts which led to a decrease in visitation, Vail Resorts was able to report an increase in Resort EBITDA for the second quarter. The company's ability to maintain stability from their season pass results, along with their effective cost management strategies, were presented during the call as having minimized negative impacts. In response to the decline in visitation, the company highlighted the importance of their ancillary businesses, such as ski and ride schools, dining, and rental services. During the earnings call, it was acknowledged that despite decreasing visitation numbers, these sectors have seen growth in spending per visit compared to the previous year. However, CEO Kirsten Lynch also expressed that the resort experienced impacts despite the strong EBITDA delivery, stating that having numerous guests pre-committed to passes played a role in this achievement. The company relayed during the earnings call that the decrease in visitation was primarily due to less favorable snow conditions and reduced snowfall. Furthermore, the company has recognized changes in consumer behavior, with more guests delaying the use of their passes, suggesting new patterns of visitation might emerge later in the season. Regarding future planning, Vail Resorts shared during the earnings call their strategic priorities. Focus was placed on improving both guest and employee experiences, executing high-yielding capital projects, making strategic acquisitions, and returning capital to shareholders through dividends and share repurchases. Also mentioned were specific investment areas that the company plans to concentrate on: lift upgrades, enhancements in snowmaking systems, dining experiences improvement, and the testing of new technologies at selected locations. In conclusion, while the earnings call has highlighted how Vail Resorts continues to adopt a proactive approach in meeting challenges, the future remains realistic. Although strategic investments, key business leverage, and a shift towards pre-committing guests into passes are steps being taken, their effectiveness ultimately hinges on several external factors, notably the weather conditions which have proven to be a variable that significantly impacts visitation patterns. MTN Company info: https://finance.yahoo.com/quote/MTN/profile For more PSFK research : www.psfk.com  This email has been published and shared for the purpose of business research and is not intended as investment advice.

JDM Music + Sound is a well respected company located in the heart of LA. Primarily they create music for trailers, you've heard their work on  Monkey Man, Wonka, Marvel Studios ‘Secret Invasion', The Equalizer, The Brothers Son, Good Mother, Fast and Furious, Scream as well as a long list of other high profile film properties.Forging the path for JDM Music + Sound is composer and founder Joel Dean. I've had the pleasure of watching his career for several years as it's blossomed into one of the leading music houses in Los Angeles. He's a down to earth guy, family, man,  an extraordinary composer, and businessman. I'm really delighted to have him on GIG With Mike Redman today, every time I talk to Joel, I walk away, feeling smarter somehow.https://jdmmusic.net/Visit GIG with Mike Redman @https://www.gigwithmikeredman.com/podcastsEmail me questions, guests you would like to see @ : gigwithmikeredman@gmail.comThanks for listening !Mike Redman

This week's question is all about how I use the technology I have to be more productive and better manage my time.  You can subscribe to this podcast on: Podbean | Apple Podcasts | Stitcher | Spotify | TUNEIN Links: Email Me | Twitter | Facebook | Website | Linkedin The Working With… Weekly Newsletter The FREE Beginners Guide To Building Your Own COD System Carl Pullein Learning Centre Carl's YouTube Channel Carl Pullein Coaching Programmes The Working With… Podcast Previous episodes page   Script | 315 Hello, and welcome to episode 315 of the Working With Podcast. A podcast to answer all your questions about productivity, time management, self-development and goal planning. My name is Carl Pullein, and I am your host of this show. There's a lot of technology today that helps us be more productive. Our computers make producing work easy compared to twenty-five years ago. It's also made producing some kinds of work a lot cheaper. Imagine the cost of studio time if you wanted to record an album in 1999. Today, all you need is a laptop and a microphone, and you are good to go.  However, with all that wonderful technology, it's likely we have a lot of devices lying around gathering dust. I have a camera with four or five lenses sitting in a gorgeous canvas camera bag I haven't used in over five years. Now, all I take with me when we go on a trip is my phone. I'm not a professional photographer; I don't need all that equipment.  And don't get me started on all the apps I find I need to purge every once in a while because I don't use them anymore. Then, there are all the subscriptions you may be paying for that you are not using.  As an example, I recently discovered I had a Fantastical subscription. I used to use Fantastical. It was a cool calendar app that allowed me to have all my Todoist tasks and events in one place. Shortly after seeing what that did to my calendar, I stopped that integration (it was horrible. It made it look like I had no time at all for anything but work and meetings). Why was I paying for a service I was not using? I don't know, but it did cause me to go through all my app subscriptions to see if there were any more. (I found four more services I was paying for I was no longer using). This week's question addresses the heart of this technology overwhelm, so let me hand you over to the Mystery Podcast Voice. This week's question comes from Mark. Mark asks, hi Carl, I was wondering what digital tools you use to get your work done. You seem to be using a lot of tools, and I thought it must be very confusing to decide what to use.  Hi Mark, thank you for your question. I remember hearing an interview with Craig Federighi in which he explained Apple's thinking on its products. He talked about how sometimes you work on your laptop, and other times, you may find the environment more suitable for an iPad. A good example of this would be when working at your desk, you may prefer the laptop, and if you attended a meeting, the form factor and mobility of an iPad might work better. It certainly did for me when I was teaching. I would create all my teaching materials from my computer, but when I went to the classroom I took only my iPad. That was all I needed to teach with.  Today, I no longer teach in classrooms; I work from home. However, I do like to step away from my desk and work somewhere else occasionally, and when I do that, I will only take my iPad with me. It's great for writing and fits nicely into a small shoulder bag I carry when I go out.  But let's look at how I use each individual device, and I will explain why. My phone is always with me, which means it's the perfect UCT (Universal Collection Tool). I have my phone set up so I can quickly collect tasks, ideas and articles I would like to read later.  I use Drafts, an amazing little app that connects with Todoist and Evernote. With Evernote, I have it set up so that if I have a blog post or YouTube video idea, I can send it directly to my content ideas note without having to open Evernote. Drafts also allow me to dictate my ideas, which is essential as I have most of my ideas when I am walking my dog, Louis. I can then collect my ideas and keep an eye on Louis at the same time.  When I am out and about, I process emails from my phone, but I rarely respond from there. There are better tools for responding to actionable emails. I have a process for email management which involves clearing my inbox between sessions of work and then setting aside an hour later in the day for responding. I will respond usually from my computer, but if I am away from my office, I will use my iPad.  And, of course, I use my phone for instant messages and occasionally scrolling social media when waiting for my wife (A daily activity haha). I also have an old iPad Mini. I love that iPad. It's my content consumption device, and on there, I will read blogs and articles I have collected through Readwise (an app for collecting articles you want to read later) and books through the Kindle app.  This iPad mini is not connected to any messaging service (Except Apple Messages) or email. It's purely for consumption.  I should say I am not into gaming—never have been, so I have no gaming devices or apps. My guilty pleasure is reading and watching historical documentaries—which YouTube provides me in abundance. I will watch these on the big TV at home late at night when I am winding down for the day.  My iPad Pro (I think the 3rd edition) has the Magic Keyboard and Apple Pencil connected, and as I mentioned, I use that as my main mobile device. The keyboard is wonderful to type on, and the Pencil is great for highlighting sections in documents. Strangely, I don't ever use it for writing. I'm a fountain pen user, and the Apple Pencil (or any stylus, for that matter) doesn't feel right for me. Plastic on glass doesn't work (in my humble opinion). The feel of a 14 carat gold nib on some fountain pen-friendly Japanese paper has got to be experienced to be believed. I also use my iPad Pro to listen to music when I am working. The battery on that thing lasts forever. I have a Bluetooth speaker in my office that has incredible bass (I love deep house music when I am working; the bass really helps)  My computer is for the heavy lifting: recording this podcast, editing my YouTube videos, and creating workbooks and documents. I also do a fair amount of my writing on my computer too. I also prefer to clear my actionable emails on my computer. All my design work is done on my computer from creating thumbnails for YouTube videos to workshop banners and online course materials.  And that's it for devices. Now apps.  My primary productivity apps are Apple Calendar, Todoist and Evernote. I have experimented in recent months with Apple Notes, and while Apple Notes is an excellent note-taking app, Evernote has some features that Apple Notes does not. Primarily the ability to create note links that can be pasted into Todoist. You can do this in Apple Notes, but it's fiddly, and I hate things that are fiddly.  Todoist is where I keep my tasks. It has a beautiful and simple interface, and in the ten years I have used it, it has never let me down. Todoist is on all my devices, as is Evernote, but… This is where Evernote is currently weak; I find the mobile version of Evernote poor. The text is too small, and there are too many button presses to get to where I want to be. However, as I use Drafts to get notes into my system, that's something I can live with.  And that's a good point to make. I've used Todoist for over ten years, and Evernote has been my go-to notes app for almost fifteen years. This means I have learned how to use these apps properly, I've come to trust them, and I don't have to waste time trying to figure out how to do a particular action. I've learned everything I need to learn to use these apps optimally.  Apple Calendar has been my calendar app of choice for pretty much the last twenty years. I did try Fantastical for a couple of years, but the additional features were not very useful to me. Certainly not worth a subscription.  Now for the miscellaneous apps. I use Acuity for my coaching scheduling service. This means my coaching clients can book a call whenever they want to, and there's no back-and-forth trying to find a mutually convenient time. As mentioned earlier, I use Readwise for my book highlights and for collecting articles. This is a recent change as previously I used Instapaper, but they are doubling their prices in May, and they don't offer anywhere near the service Readwise does. The great thing is as I read a book and highlight a section or add a note, those notes and highlights are synced to Evernote in a notebook called Readwise.  For all my writing, I use Ulysses. This is a fantastically minimal writing app that, in full-screen mode, is just a dark screen with white text. There are no distractions at all and I can focus all my attention on my writing. This is synced with iCloud so if I am out and about and only have my iPad with me, I can carry on writing where I left off.  I recently looked at the number of words I have in Ulysses, and it's now approaching three million. That just blew me away—three million words in eight years. I wrote my book, Your Time, Your Way in Ulysses, as well as all my podcast scripts, blog posts and newsletter articles. It's a treasure trove of all my writing, and it's all archived in iCloud. That's one of the best things about not app-switching. You begin to create an archive of all your work in one place.  There is an exception to my writing process. I send my coaching clients written feedback after each call, and for that, I use Apple's Pages, which is Apple's version of Microsoft Word. Pages allows me to use a saved template for all my feedback.  For my admin and financial tasks, I use Apple's Numbers. I don't need the complexity of Microsoft Excel; my spreadsheet needs are simple.  And that's about it. The only other item I use to get my work done is paper. I use an A4 Rhodia notebook as my planning book. This is where all my projects, weekly planning and YouTube video ideas get developed. I also returned to writing my journal by hand after using Day One for five years. That was because I felt my life was beginning to be dominated by screens, and it's nice to get more use out of my fountain pen collection.  The most important thing for me is to keep the tools I use to a minimum. I've been down the road of trying out a lot of apps. What I discovered is that it's not the app that does the work. It's me. And for me to do my work in the most efficient and effective way possible, I need as few distractions as possible. Simplicity is my keyword when it comes to apps. The longer I need to spend trying to learn to use something, the less time I spend doing work. Which in turn means I spend less time with my family and doing the things I want to do. Not a very good way to manage time or be more productive. I hope that answers your question, Mark. Thank you for sending it in and thank you to you too for listening. It just remains for me now to wish you all a very, very productive week.   

This is a short update with information about some changes happening on the podcast. Primarily those include the name change from Bitter Endings to Between Light and Dark as well as new episodes featuring interviews with mediums and paranormal investigators in addition to true crime cases. 

Your business is primarily about emotions - even a trades business. Your business exists because of the way it (and you) make people feel about the work it does. Your business exists; it makes money because of how you treat your customers and your team (as well as yourself). If you want help bringing more emotion to your business book a call - we help with mindset in our program. ------------------------- If you're interested in growing your trade business, head over to our website and you can read some more of these Tradies Toolbox Tips: https://www.smallfish.com.au/trades-business-coaching/ Book a money-maker call: https://www.smallfish.com.au/chat FOLLOW US AT: Facebook: https://www.facebook.com/smallfishcoach/ Twitter: https://twitter.com/smallfishcoach Instagram: https://www.instagram.com/smallfishbusinesscoach/ YouTube channel: https://www.youtube.com/c/smallfishau --- Send in a voice message: https://podcasters.spotify.com/pod/show/smallfishcoach/message

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is  Kelly Molson, Founder of Rubber Cheese.Download the Rubber Cheese 2023 Visitor Attraction Website Report - the annual benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends on 29th March 2024. The winner will be contacted via Twitter. Show references: https://carbonsix.digital/https://www.linkedin.com/in/pmarden/Paul Marden is the Founder and Managing Director of Carbon Six Digital and the CEO of Rubber Cheese. He is an Umbraco Certified Master who likes to think outside the box, often coming up with creative technical solutions that clients didn't know were possible. Paul oversees business development and technical delivery, specialising in Microsoft technologies including Umbraco CMS, ASP.NET, C#, WebApi, and SQL Server. He's worked in the industry since 1999 and has vast experience of managing and delivering the technical architecture for both agencies and client side projects of all shapes and sizes. Paul is an advocate for solid project delivery and has a BCS Foundation Certificate in Agile. https://www.rubbercheese.com/https://www.linkedin.com/in/kellymolson/Kelly Molson is the Founder of Rubber Cheese, a user focused web design and development agency for the attraction sector. Digital partners to Eureka! The National Children's Museum, Pensthorpe, National Parks UK, Holkham, Visit Cambridge and The National Marine Aquarium.Kelly regularly delivers workshops and presentations on sector focused topics at national conferences and attraction sector organisations including ASVA, ALVA, The Ticketing Professionals Conference and the Museum + Heritage Show.As host of the popular Skip the Queue Podcast for people working in or working with visitor attractions, she speaks with inspiring industry experts who share their knowledge of what really makes an attraction successful.Recent trustee of The Museum of the Broads.  Transcription:   Kelly Molson: Welcome to Skip the Queue, a podcast for people working in or working with visitor attractions. I'm your host, Kelly Molson. In this new monthly slot, Rubber Cheese CEO Paul Marden joins me to discuss different digital related topics. In this episode, we're answering your questions from the 2023 Visitor Attraction Website Report, asking what more you'd like to see in this year's survey and sharing more on how you can get involved next time. If you like what you hear, you can subscribe on all the usual channels by searching Skip the Queue. Kelly Molson: Hello.Paul Marden: Well, hello.Kelly Molson: This is nice. So the two of us haven't been together for a podcast episode for a while.Paul Marden: It does feel like, well, happy new year to start with.Kelly Molson: Way too late for that malarkey. We've just been busy, haven't we've got lots of exciting projects that are coming to. Well, I don't like to say the end, but they're coming to point of launch.Paul Marden: The launch, yeah. The exciting bit.Kelly Molson: The very exciting bit. So we've all been pulled here, there and everywhere. So I've had lovely guests to speak to and you've had a little bit of a break from this. But we're back. We're back.Paul Marden: Absolutely.Kelly Molson: And we're going to start like we always do with these ones. With what attraction have you visited most recently and what did you love about it?Paul Marden: I have been to Mary Rose Museum and I went with a bunch of nine and ten year olds. We basically went down there for the Kids in Museums Takeover Day. It's one of the kind of showpiece Kids in Museums events that they run every year all around, putting the ownership of the museum into the hands of kids. I managed to wangle my way to Mary Rose, which is relatively close to me. And I took my daughter's class, who I run a coding club for. So interestingly, theme around our coding club this year is all around the arts and how you put art into StEm and make it steam just like an amazingly.Kelly Molson: I can't believe how well that's worked out.Paul Marden: It gets better. The very first session of our club was all about what is the job of a museum curator. And so we took that theme and went and took over the Mary Rose and became curators for a day. So the kids got to go around the museum and have fun and see all the cool stuff that's going on there. They did the 3D Dive, the Mary Rose experience, and it was amazing watching a bunch of nine and ten year olds reaching out and popping these bubbles that were on the 3D screen in front of them. And then they went off and they designed their own interactive display around whatever was the thing that excited them about the museum.Paul Marden: So there was lots of dog themed ones because there's a dog that is the kind of subject of a lot of the kids stuff focused around Mary Rose. But there was all different sorts of interactive displays, augmented reality within the glass lift that looks onto the Mary Rose and how you could gamify it. The kids just had a whale of a time and I just strolled around the museum and watched them having fun and say, that wasn't a tough day at all.Kelly Molson: I'm actually really jealous as well because were due to go and then you got the opportunity to go because of that thing happening and I still haven't been.Paul Marden: I know. And it's an amazing place. We had so much fun. They welcomed us. We had all the education department looking after us and making us feel special. It was just such a brilliant day. Apart from trying to park a minibus with 15 kids somewhere near the Mary Rose, which scared me whitlets.Kelly Molson: Oh, you actually drove a bus?Paul Marden: I did not drive the bus, no, I was a navigator. I had to find the parking spot. It's a level of responsive.Kelly Molson: You were bus driver dad as well that day.Paul Marden: There's a character in Peppa Pig, isn't there? I can't remember who she is, but she works in the supermarket. She drives the minibus.Kelly Molson: This rabbit is the hardest working rabbit you'll ever meet in your whole.Paul Marden: Exactly.Kelly Molson:  No, I'm going to put her on par. Sorry, I'm actually going to put her on par with Mrs. Rabbit, who has got hundreds of kids who doesn't work, but she has to look after those. So she is probably the hardest working rabbit that you'll ever find. So there you go. Digress into Peppa Pig. You can see where my world is right now, can't you? That just gave you an insight into where I'm spending my time.Paul Marden: So tell me about where have you been recently?Kelly Molson: I have been recently to the Museum of the Broads. I don't ever really spoken about this on the podcast that much. But I am a trustee of the Museum of the Broads and it is a lovely museum. It does not get as much love and attention as it should. So I felt that today was a good opportunity to highlight it. It's wonderful. It's on the broads, obviously, it's in Stallham. And it is such incredible value for money because you can buy a ticket to the museum and a boat trip. And the boat trips are phenomenal. Last year these were really popular, so they introduced some afternoon evening boat trips where you could go and spot kingfishers because that stretch of the broads is absolutely like prime Kingfisher viewing area.Kelly Molson: I have only ever seen one Kingfisher out in real life, and they're so quick, like it was a flash of blue and I didn't have my glasses on it. She wasn't going to see anything in great detail. That is incredible. On one of the trips last year, on the boat trip, they saw ten kingfishers. It might have been the same kingfisher, just like, who knows? I'm going to say ten. I'm going to take the ten. But the museum itself is wonderful. Some of the artefacts they have there are just really fun and really engaging. And obviously they've got lots of information about the boats and the broads themselves and what the broads were traditionally used for and how they've developed over the years. It's a lovely little museum. It's volunteer led. They have, I think, two or three members of paid team there.Kelly Molson: So much work goes into the management and the development of those museums when it's volunteer led as well. So it's lovely. It is really lovely.Paul Marden: We both started doing trusteeship type stuff at the same time. So I started at Kids in Museums because I wanted to see a broad view of things. You started at Museum of the Broads because you wanted to see the inside running of the museum itself. What has the experience been like for you?Kelly Molson: It's so different. It's such a different environment to what I'm used to. So, I mean, it won't surprise you to know that museums are not quite as dynamic as an agency, or they're just not as fast paced as an agency. So I think the speed at which some things happen is I find it a bit of a challenge, if I'm honest, because we're used to kind of going, should we try this? Okay, let's talk it. Okay, great. Let's not someone run with it. And it's sort of just, I don't know, there's a speed at which stuff happens in an agency that it's incomparable to any other organisation. So it's nice in some ways that kind of take a bit of time to kind of think things through. I've really enjoyed understanding about all of the different facets that are required within an agency, within a museum. Sorry.Kelly Molson: And the things that you have to understand about. Even when we had an office, there's a level of HR and a level of safety management that you have to do, but it's a whole other level when it's a museum and you've got members of the public coming along. So that's been really interesting to understand and learn about. I've really enjoyed kind of looking at how they're developing certain areas of the museum as well. So when there's a new exhibition that's on. So last year, the Pippa Miller exhibition launched. Pippa Miller was a really famous artist that was connected to the broads, and the museum was entrusted with some of her artwork when she passed, and it's the only place you can come and see it. It's a wonderful exhibition.Kelly Molson: So understanding about how those exhibitions are developed and put on and watching those happen as well. And there's another one this year that will happen, which is an exhibition on peat, which I know that probably doesn't sound that interesting, but it really is my mate Pete. No, not your mate Pete. No, actual Peat. Peat soil Pete. So, yeah, that's been really nice to see and kind of understand how those things progress and are developed and the ideas that go into them. It's fascinating.Paul Marden: Cannot imagine the effort that goes into curating a whole exhibition like that.Kelly Molson: It's vast. And I will give a huge shout out to Nicola, the curator at the Museum of the Broads, because she works tirelessly there to just bring these stories to life. That's essentially what they do. They bring the stories of the broads to life. This is a little plea from me, actually. A little shout out to everyone that's listening. If everybody listening to this podcast, I mean, we get hundreds of people listen to these episodes. If everyone went and bought a ticket from the Museum of Broada that's listening to this episode today, it would make such a massive difference to that little museum. So if you are thinking about booking a little staycation this year, head to Norfolk, get a ticket to the Museum of the Broads, go and check out the broads themselves.Kelly Molson: It is just a wonderful experience to go and see that museum and take a boat trip down the broads.Paul Marden: There's a very nice place nearby to stay as well, isn't?Kelly Molson: Yeah, I mean, a certain podcast host does have a lovely little place in Norfolk that you could rent out, which is literally 25 minutes from this museum as well. Just heads up. Paul Marden: Incidental.Kelly Molson: If you want to give me a shout, I can put you in the direction of 28 Millgate. Or you could just search that on Google. No, honestly, genuinely, if you are thinking about having a staycation and you're heading that way, put it top of your list because it's a lovely afternoon out. Thank you. Thanks for listening to my podcast.Paul Marden: So what are we actually talking about today then?Kelly Molson: In this episode, we are going to be answering some of the questions that we've received from the 2023 Visitor Attraction Website Report. So, as you can imagine, we launch the report, we do the survey. All you lovely people fill in our survey for us and we launch the report, which gives you an analysis of what that survey data has meant. And it's a huge undertaking. It really is a huge undertaking. And I don't say that lightly. It's massive. It takes over our whole lives. And there is so much data in the report that we send out, but there's always questions, there's always more, and there's always more that we can do as well. And I think it just is an awful lot of work. Right.Kelly Molson: So what happens is we launch it goes out, people digest it, and then they send us emails and they say, “This is really great. Thank you for this bit. Is there any insight into this thing?” And there's quite a lot of those emails that come in and most of them we probably can answer. It just, again, takes a bit of work to go back and look at the data and crunch the data and see if there is any answers to those questions. So we have had some of these questions in and we thought, well, let's do it as a podcast. And then everybody can hear the answers to these questions because it might be something that other people are thinking about as well.Kelly Molson: So we're going to talk through some of the ones that have been sent in, and then we are going to give you a bit of a heads up about what's happening with this year's report and survey and talk a little bit about that. Sound good?Paul Marden: Does sound good. I need to get my geek hat on my numbers. Geek hat.Kelly Molson: It's time for Paul to nerd out. I will be asking the questions. Paul will be nerding out on the answers. Right. Okay. One of the questions we had in was how many respondents were return respondents from 2022 to 2023?Paul Marden: Yeah. This was a question that somebody asked in relation to. They saw some changes, I think it was in terms of ticketing systems that were being used and they wanted to know, “Oh, if there's been a change in the ticketing systems that were used, could that because we've got different group of people, or is it the same people changing systems?” So, yeah, I dug into that. It was actually relatively hard to figure this out because what people type in as the name of their attraction is not always exactly the same. It's sometimes different people, sometimes they'll write the same name in a slightly different way. So actually, comparing apples with apples turned out to be quite challenging and I had to change some of the data to normalise it between the two groups.Paul Marden: I could see they were the same attraction, although their names were subtly different. What I worked out was two different views of the same thing. But essentially, in the 2023 data set, 20% of the respondents were return respondents from the previous year. But of course, the 2023 data set was much bigger than the 2022 data set. So if you look at it from the other direction, how many people that filled in a survey in 22? Filled in a survey in 23? It's 50% of the 2022 respondents replied in 2023. So we had a good return rate? Yeah, for sure. But there was 50% of people didn't reply. So that made me think, there's a job of work to do this year.Kelly Molson: Where did you go 50% of you. Cheeky little monkeys.Paul Marden: And they vary. Some of them are smaller institutions, some of them are much bigger institutions. There's the reasonable amount of movement of people in the sector, isn't there? So you can easily imagine. Actually, there was an interesting one there, isn't it? What if I were to match the names of the respondents? Did we actually get a reasonable number of returners, but they were in a different job with a different institution?Kelly Molson: Yeah, that's really a good point, actually, because I do know that people, I know people personally, that I know that they've moved on and gone to different places, and actually, some moved out of the sector and moved into completely different roles altogether.Paul Marden: There is a decent cohort of people that returned and responded in 23, but the 23 data set was much bigger. So when you do see swings between 22 and 23, some of that is just a sample size thing with the best will in the world. We talk to lots of people and lots of people respond with data to us, but we have not captured the whole entire set of all attractions in the UK, and so we will get sampling errors out. If one year we sample a different group of people than we did the previous year, the comparisons can be a little bit harder.Paul Marden: If we could just get more people responding and we had more data, then you'll get that the role of chance and the role of sampling errors will have less impact on the data and you'll be able to compare more year on year outcomes.Kelly Molson: Yeah. Okay, well, there's your call out to get involved this year we'll let you know how.Paul Marden: There's going to be lots of those.Kelly Molson: Okay, second question. Can we break down the responses in the other type category? This is an interesting one, isn't it? Because we detailed out as many different visitor attraction types as we possibly could think of or find on internet and gave everybody the opportunity to be able to select what they specifically were, but we still had a huge amount of people put other. What's the reasoning behind that?Paul Marden: Can I give you facts and then tell you what I think the reasoning is? Yeah. So there's some things that I know. Okay. 37% of all respondents mark themselves as the other. It skews when you drill into that 37%. It's a big group of people. It was like the second or third largest group of people in the report itself. They tended to be attractions that had lower visitor numbers. So they were under 100,000 visitor numbers in that other group. So it was about 45% of people were under 100. About 37% were between 100 and a million visitors. Those are the things we know. Then I started having a play with the data.Paul Marden: So what if I were to group those people that were in other because they had the opportunity to type some stuff in for free text box, and could I make a grouping out of that? One thing that I did notice, and this is observation as opposed to fact. Okay. So I could see many of the places that chose other because we didn't allow them to choose multiple types and they were an attraction that had multiple things. So one of them was one of our clients. And they have a historic house. They have a guest house, they have a beach, they have outdoors activities. They've got.Kelly Molson: So how do you categorise yourself based on all of those? Actually, with that client, I probably would have said historic house because that was what I would have put my hat on for that one.Paul Marden: But then I met somebody yesterday. Not too dissimilar. Yeah. Primarily a historic house, but it's a historic house that has a hotel, bar, golf on the site. And if you ask them, it would totally depend on who you spoke to as to what they primarily were. There were people that ran the historic house who would have you believe that they were primarily a historic house, but there were other people that would say, “Well, actually the revenue is generated elsewhere in the organisation and primarily we are a hotel and golf destination and alongside we have a historic house.” So I think there was a nuance in the way that we asked the question, please choose what type of attraction you are. And the only option for the people that had lots of these things was to say other.Paul Marden: And actually, I think going forwards we probably need to say, what are you primarily, and do you have other things and give people the option to choose multiples?Kelly Molson: Yeah, I was going to say, because even if you put multi, it causes the same challenge, doesn't it? Without being.Paul Marden: But when I had to play around with that group and I tried to assign them to things partly based on what they replied on their questionnaires and partly by looking at their websites and having a guess, a lot of them had some element of outdoor activity. A lot of them had food and drink. There was a large group that weren't multi activity. I don't know what a better way to describe those historic houses with other things going on, but there was a decent size of people or decent sized number of attractions that were tv themed and they were primarily a behind the scenes tour or something themed around a tele program. And we didn't have that. There was nothing like that in any of our categorisations.Paul Marden: So again, it just comes down to refining the questionnaire every year to try to improve what we've got. Give people the option to choose multiples and include some other groups. But avoid getting to a point when you look at all the categories we gave, because you mentioned, we gave lots of categories, there was a very long tail. There was a large number of the actual categories where it had one or two attractions within that grouping. And then it's like, is that a meaningful way of slicing and dicing the data? So we have to be really careful not to throw too many categories at it, but at the same time give people some choices.Kelly Molson: Yeah. You also have to feel that the people have to feel that they are included within this as well. So if those one or two people came along and they couldn't choose what they were, would they feel excluded from it?Paul Marden: Yeah. Would they drop out? Because this clearly isn't for me.Kelly Molson: Exactly. I'm all for having more choice in that. It's a tick box. That's fine. There's other stuff that we can take out, don't worry.Paul Marden: And that's because you're not looking at the data. Add more numbers.Kelly Molson: I'm all for cutting stuff out if it makes life easier for people and more people will be able to fill it in and that. But I think that one particular thing is not one that we need to cut back on.Paul Marden: No, I agree with you. Totally agree.Kelly Molson: Were all attractions who responded to the survey paid for, or how do those ecommerce results break down between those that have an entry fee and those that are free? This was a good question.Paul Marden: Yeah, it really was. In many of the questions that we've got, some people chose not to answer us. Within this group, there's a group of people in the whole set of data that chose not to answer this, either because they didn't know or they felt they didn't want to answer the question. But if we take everybody that reported an entry fee, 15% of those people were free of charge. So they ticked the box that said they had no entry fee. That's already a fairly small group amongst the whole data set. So we're asking questions here that zero in on a smaller and smaller group. This sounds like I'm giving excuses before I give you my homework. Yeah. But as the groups get smaller, then the role of chance and sample error means that the data becomes less and less reliable.Paul Marden: And I got to be honest, within that 15%, there was a large number of people that didn't tell us a conversion rate. So you're down into a very small number of people now. 85% of the free to enter attractions didn't tell us what their conversion rate was or said they didn't know or couldn't measure it.Kelly Molson: So that's interesting in itself, because this is some of the things that we've been talking about in terms of the conversion rate and how we measure that effectively, because some of those free museums obviously will have probably smaller teams, less budget, less ability, maybe just less understanding of what we're asking in the first place. My assumption is that they will use off the shelf ticketing platforms that they might not be able to get the conversion rate from. So you've got that limitation in the data that they can actually then supply us because they genuinely just don't have it, they don't know it.Paul Marden: Or because they're free. They don't think about the concept of conversion. But in that instance, how much does it matter the number of people that come to your website and then the number of people that actually buy? If there is no ticketing, if you're free to enter and you don't even need a ticket to pre book to enter, does it even matter? And I would argue absolutely, it definitely does. Because instinctively, I would believe that there is definitely a relationship between the number of people that visit your website and the number of people that visit your attraction. And if you can improve the ratio between those two, you'll get more bookfalls through the attraction.Paul Marden: And even if you're free to enter a considerable portion of the money that you make out of the attraction is going to be from donations, from people walking through the door. It will be food and beverage sales, it will be gift shops, it will be memberships that they join to get other things. All of those things need bums on seats, don't they? If you don't get bums on seats, you don't generate that revenue. But it can be hard, I think, to join the dots between that big number of people that visit your website, hopefully, and the number of people that are actually walking through the door and creating a correlation between, or creating a relationship between the two.Kelly Molson: It's when there's no purchase made from that thing to that thing, there's almost nothing to tie them together.Paul Marden: Yeah, but it makes it harder to think about which, when you're a small attraction in those sorts of circumstances, if it's harder to think about, then it's not going to be a priority for you. But I would argue it would be a super important thing to do because you tweak those. We're all about tweaking the dials, aren't we? We're all about trying to increase. Kelly Molson:  Marginal gains.Paul Marden: Exactly. And in that instance, it can be hard to see the point. But I definitely believe there really is a point to it. If I go one more thing, I would say, and this is where the data.Paul Marden: I don't think the data is reliable, but were into this small group of people that we had, 15% of people say that they were free, and in that group we had a small number of people tell us what their conversion rate was, and it varied. There were some attractions that had a 1% conversion rate. There were some attractions that chose the 5% conversion rate, which was the higher end of the bracket, which was the average over the whole group. I bet you there's more data that would help us to understand what the difference between the 1% and the 5% was. Is it chance or is there something materially different between those two types of institution? I don't know, but there's a debate there.Paul Marden:  And is it valuable for us to investigate that there's only so much time to be able to put to these things?Kelly Molson: Well, I think this is why it's important. Well, this is why we value people asking the questions about the report. This is why we encourage people to give us feedback and to send us these questions in, because it all adds to the conversation and it all helps us make this better and better every year because we can understand what you send us a question and then that gives us an understanding of what's really important for you right now. So we can start to incorporate some of the ways to get the answer to that question into the survey and the report for this year.Paul Marden: Yeah, absolutely.Kelly Molson: So send us more questions. As a midway to this podcast, definitely send us some more questions. You can send them to me, Kelly@rubbercheese.com, or you can send them to paulm@rubbercheese.com but whatever you do, just send them in. And then we can again start to look at how we incorporate some of those questions into this year's.Paul Marden: Yeah, absolutely.Kelly Molson: Okay, next question. It's around ticketing platforms. One question came in and they noted the apparent percentage drop in use of access gamma in the past year. So what we saw was Digitickets and Merack both seemed to kind of hold their share, and they're UK based. With over 70% of the 188 respondents UK based and about a quarter of European. We found it a little odd that there was such a drop here in such a short space of time and wondered if you had any further insight. Interesting one, isn't it, because we all noted that access had dropped off a little bit.Paul Marden: Yeah, absolutely. I'm going to caveat this again. I can go into more depth and understand the differences between the two, but I would caveat it that if we had more responsive, we could be more confident in the reliability of the difference across years. But we've gone from a large, but a sample in 22, a bigger sample in 23. The 23 sample included some of the 22 people. But really, I think what the question I was getting at is how many of those people actually switch ticketing platforms between that group? And I think that is unlikely to be the reason why we saw these changes. Yeah, of course people change ticketing platform, but it's the beating heart of the business. They don't change it on a whim and they don't change them dramatically very quickly. Yeah.Paul Marden: By the way, there's no evidence to this in that respect. There could be changes, but my instinct is it's unlikely to be a wild change on the basis of the number of people because it's just not that easy to.Kelly Molson: No. And we speak to agencies, our own clients have been through these processes, and we know how long they take and we know how embedded those systems are within an organisation and how difficult it actually is to switch from one to another and the time frame that it takes. So I would agree with you.Paul Marden: On the basis of that. I think the differences are more easily explained by we got more different people included. And we're seeing more of what the sector buys. Now, whether, when we get into 24, whether we see another swing again. Well, that's entirely plausible, because the sample sizes, they're not big enough to be statistically valid. They give an indication, but they will suffer from chance in some areas. And it could just be the group of people that we've got, we know within the year demonstrates the usage of the ticketing platforms within the group of people that responded within that year, but unlikely to be comparable across the years. Only 20% of this year's data were responses that had been given in 22 as well. Paul Marden: So we've only got a small group. Within that group the data has changed dramatically in that year, mainly with people telling us they chose an other not listed system. So it was not one of the big ones that were familiar with, and no one reported anything in that group last year. So this is where you know as well as I do, we get people asking us for copies of their data that they've submitted, because there's a big period of timing between when they submit stuff and the report being published, and then they want to see what they did, what they gave to us, don't they? So people remembering what they wrote last year and putting it in again this year, it's no wonder we see differences between the two year groups. Apart from other not listed, which was by far like a country mile than largest number of responses.Paul Marden: The biggest absolute change in the number of responses within the repeating group was digitickets. Digitickets had more people within that returning group saying that they were using their ticketing platform.Kelly Molson: And I can't remember this off the top of my head, but where people are selecting other not listed, are we giving them the opportunity to write who they are using? So did we give them an open.Paul Marden: Such an unfair question? I can't remember the answer.Kelly Molson: I genuinely can't remember. But if we didn't, well, then we need to, because that space, I mean, there's a lot of ticketing platforms already, but there are new ones popping up all over and there are ones that are specifically focused on accessibility for an example. There are ones that are relatively similar in terms of what they're doing to everyone else, just packaged up in a different way. So it would just be interesting to see some of the names that people were putting forward and where people are swinging to. Kelly Molson: We know that there's Tessitura, for example, and Spektrix that are used quite predominantly in theatre world now. People have always talked really positively about those two platforms and it would be interesting to see if they are looking to make that transition over into the attractions world.And maybe some of these people are starting to kind of move over to those. Who knows?Paul Marden: There's a few systems lots of people know about because they're not just pure ticketing, are they? They're ticketing. So they manage the ticket inventory, they do online sales, they do walk ups, they do EPOS, they manage a shop, they manage a catering, they do everything to operate the entire attraction. And then there were other systems that focus purely on ecommerce and the sale of the tickets themselves online. There are other people that focus purely on the EPOS offering. And actually, there's a lot of complexity within these systems that go to running the attraction itself. And maybe again, we need to give people more choice about what they choose and give them the opportunity to choose multiple things. Because we might say, do you use gamma or do you use Merac or do you use Digitickets?Paul Marden: And there may well be people that use digitickets for their e commerce sales, and they might use Merac for their membership, or they're running the epochs in the shops and their food and beverage. I don't think we give people the opportunity to have the nuance of selecting multiple things that they use.Kelly Molson: Yeah, for like, I literally just had a conversation with someone who uses Digitickets for their ticket in, but Merac for their K-Three, for their till. So, yeah, I totally see where we need to do that. Okay, good. Two more questions. Is there future scope to develop comparisons against other science centres?Paul Marden: Yes is the short answer, and yes, we have done that. It's quite interesting because you and I both have been talking about this year's survey at different places and the science centres one is a good example. It's good because I was the one talking. Well, it's good because I was the one, but. So I went to the Association of Science and Discovery Centres conference in Belfast. I talked about that one of the pods just recently, and I had a table talk where I was talking about essentially observations that I found about the data about science centres. But you've done talks in numerous different locations.Kelly Molson: All over the place. I was all over the place last year. Here, there and everywhere.Paul Marden: Slicing and dicing the data to talk to the group of people that you were talking to. So you were in Ireland and you talked about comparisons of the attractions that we've got in both the Republic and Northern Ireland. And then you talked to know that's a different slice of larger attractions. And in both cases, were slicing and dicing the data and trying to find what made that group of people special or what were the observations that we had, weren't they?Kelly Molson: That was one of the nice things about the report this year, because the data set was so much larger, we could make the things that were talking about so much more specific for people. So the ALVA talk was really great, actually. So I was very kindly invited along to speak at one of the ALVA council meetings. And it was at Bletchley Park, oh my goodness. In their new auditorium that were the first group to speak in there. It was wonderful, such a good experience.Kelly Molson: But that was lovely because I was able to talk about how ALVA members are performing and give them a specific breakdown of the things that they're doing well, some of the things that they potentially not doing so well, and give them some real insight into how they can improve on the things when they're not doing so well. So that was lovely. And then the same at AVEA. It was great to be able to give, again, a breakdown of how irish attractions are performing in terms of the rest of the country, but also showcase attractions that are doing really brilliantly from those areas. So actually in the talks I could highlight a specific Irish attraction that was doing an absolutely phenomenal job in terms of great website, great conversion rate, all of those things.Kelly Molson: And it was really nice to be able to shine spotlight on people this year as well.Paul Marden: So pick out some examples of that. Yeah, so let's just pick out some of the examples from the science centre. So the ASDC members, it was interesting because ASDC members tended to have higher football than when you compared it to the whole group of respondents that we had. That surprised me. ASDC members tended to have higher entry fees than all respondents. ASDC members tended to have substantially higher mobile usage than all respondents. So you're up into 90% of traffic for ASDC members or ASDC members tended to have upwards of 89%, 90% mobile traffic, whereas when you look at the whole group of everybody, it was down into 60%. So still the majority, but not as big a majority.Kelly Molson: That's interesting.Paul Marden: So again, is this chance or is there something interesting about the audience that buy tickets to go to a science centre. Are they genuinely different than people that go to the all set?Kelly Molson: Well, yeah. Is this stereotypically because someone is really interested in science and technology, therefore they are more digitally advanced potentially as an audience. And that's why that's higher. That's interesting.Paul Marden: ASDC members tend to spend less of their gross profit on marketing. 18% of ASDC members spent more than 5% of their turnover on marketing, whereas when you look at the whole group, 24% of all respondents spent more than 5%. So it's interesting, isn't it, this difference in the outcomes and the difference for the inputs. ASDC members were much more likely to track their conversion rate, but most of them didn't track their cart abandonment rate. So they don't know how many people were giving up partway through. ASDC members were more likely to have a top level conversion rate. And of the ones that did tell us what their cart abandonment rate, it was more likely to be lower than the average. They updated their websites more frequently and they tend to spend more on their websites each year than the average.Paul Marden: So there was markedly different things that happened across the different groups when you looked at ALVA, much larger organisations. So footfall is higher because that's a minimum entry criteria. They spend more on marketing and they have better outcomes. They had better conversion rates than average.Kelly Molson: Unsurprising.Paul Marden: Unsurprising completely. But what was interesting was within that group, the averages marked quite relative poor performance. So there were some examples where there were attractions spending a large amount on their site, but achieving poorer conversion rates than the average.Kelly Molson: Hopefully those aren't clients. Fingers crossed.Paul Marden: So yeah, there's group averages and you can see differences by the different groups. I think in future, wouldn't it be interesting if potentially we did this sort of analysis based on the type of organisation? If you're a museum, are you more likely to have a higher conversion rate than you are if you're all respondents?Kelly Molson: Well, this is the thing.Paul Marden: What's of interest?Kelly Molson: Yeah, exactly. We can say, oh, this is interesting. Wouldn't this be useful to know? But actually is it useful to know for you? One of the things that we did talk about doing was doing a regional breakdown of how attraction is performing. And I think that's probably on the cards for the next month or so to get that out. We raised that and got some quite good feedback on having that. So that's definitely top of the list. Kelly Molson: But yeah, again, are these things going to be useful for you? We've always had the ethos that any kind of information or support documentation or essentially our marketing has to be useful for you. Right? What's the point otherwise? We need to know what you need. So more questions, please more. Do you have this? Can we have this? If we can't do it, we'll tell you, but if we can do it, we'll damn well work hard to get you it.Paul Marden: You can just imagine that some people find the full written port to be report to be really useful. It gives a fixed set of slices and dices and it gives interesting insights and it gives recommendation. But people might be interested more in more group comparisons or geographical comparisons with less of a large report and more of a. Well, I want to see a white paper about my sector or my location or what is special about me compared to everybody else, as opposed to telling me everything that is good in the sector. Where do we focus our attention to have the best value for people at the end of this?Kelly Molson: Good. Last question. Is there a correlation between conversion rate and visitor numbers?Paul Marden: It's really interesting because this got me playing with the data. I'm all over a pivot table in excel. All right, so I did loads of analysis. Kelly Molson: I am not.Paul Marden: No. We've got our strengths and weaknesses and complement each other very well, I think when I did this first time round and I was working with a team of people that were analysing data, but I was slicing and dicing in different ways and I looked at these things and I thought there was no great relationship. But when this question came in, I had another stab at reorganising the data. And actually I did a heat map version of what is your average sales conversion rate? And we've got like zero to one to two, three to four to five and more than five. And then what is your annual visitor numbers in groups?Paul Marden: And actually, the larger the annual footfall on site, the more likely you were to have a high conversion rate.Kelly Molson: Just for our listeners, this data is quite difficult to visualise. We've got a graph, we've got some pre pictures that will explain this better, which we will put out on social media. If you follow our Twitter account, or if you're connected with us on LinkedIn, or follow our LinkedIn Rubber Cheese, or Skip the Queue LinkedIn pages, we'll put all of that on there. What we'll also do as well is when we edit this podcast, we always do a video. The videos don't get a lot of love, but there's loads of videos up on our YouTube. So head over to the Rubber Cheese YouTube channel and within this episode we will insert what we're talking about as well. So it's just a bit easier to digest.Paul Marden: So yeah, there is definitely a relationship between these two factors. The more footfall there is, the more likely you are to have a high conversion rate. Just intuitively, they must be related variables. This is not just a relationship between the two. There is somehow one is feeding into the other the more footfall you have, the more budget you're going to have, the more you'll be able to invest in marketing, the more you invest in marketing, you'll have more people focusing on different elements of your marketing and you'll have more budget to spend on digital people that can focus on conversion rates and marginal gains. I don't know whether that's true. The data doesn't prove that. That's just my instinct that spending money on people like me is probably a worthwhile investment. But that's just instinct. There's no proof for that.Paul Marden: The heat map shows there's a relationship, but there's loads of factors involved in what goes on. As I said to you before, spending more money does not guarantee you great outputs. And you have to measure these things, make regular changes, because just because you've got a large number of people coming through the door does not guarantee you a high conversion rate. And you need to graft to get to the point where your website is converting as best it possibly can. One major redesign does not an increased conversion rate may you need to do lots of little things regularly to nudge it in the right direction.Kelly Molson: Yeah, it's just the start. Yeah. That comes back to what I said at the beginning about. I was just about to say we're at the end of the project. I'm like, no, we're not star of the project because the project is launching. That's the starting point for the rest of the process.Paul Marden: Yeah, absolutely.Kelly Molson: Oh, this has been really good. Well, look, listeners, hopefully you found that useful. Hopefully some of the listeners that are listening, we've answered your questions as well. We'll send this out to all the people that did ask the questions specifically as well. But yeah, coming back to what we've said, is there something that is a burning question from you, from the data that we've already released? Is there something that would be so incredibly useful for you that we haven't released that we might potentially have? We just don't know. Or we don't know that you need it. And what does this year's survey hold and what would be useful for the survey and the report to hold for you this year? So we are at the point now where we're gearing up for the 2024 survey.Kelly Molson: Last year we launched it in May at the fabulous Museum and Heritage show. Plans are afoot at the moment for when we launch it, but nothing is diarised yet. So it's a really good opportunity to get involved and have your say about what you'd love to see in it this year.Paul Marden: Yeah. There's some key themes that have come out of our kind of retrospective. We've been belly button gazing and questioning what do we do next year? And there's obvious things that come out of it. One of our big things was we want to simplify 2024. We asked too many too complex questions last year and it took too long for people to submit their responses. And that's not fair.Kelly Molson: It's a big ask that we're asking of you to trust us with your data as it is. We don't want you sitting around for like half an hour having to fill it all out.Paul Marden: So we want to simplify, we want less questions, and we're going to look at potentially a different questionnaire platform. We've done different platforms each year in the last two years and I don't think we found the right answer yet. So that might be an area that we try and simplify things. My instinct of, and this is just based on my own struggles with life. Okay. I am struggling with Google Analytics 4 for everybody. All of my data has moved and I don't know how to answer my questions. And that data that's in GA4, it's the core of the questions that we ask in the questionnaire. And I'm thinking, if I do this every day, what must it be like for all of you guys listening? So what can we do to help you understand how to gather the data and how to submit it?Paul Marden: Because there's obviously going to be a disparity, isn't there, between people that do this every day and people that do this as part of a bigger job and they don't do it all the time and they need advice and guidance.Kelly Molson: Yeah. So one of the ideas that's been floating around is that we actually put on little workshop or little webinars, which it shows you how to go and get the data that actually is needed to fill in the survey. And then that's with you. It's a reference point. You can keep hold of that for the following years and the following, the subsequent years. And we might look at, we've got a brilliant circle of fabulous suppliers that we work with that are all attractions focused, and so we could potentially partner up with them and run the workshops and do something like that.Paul Marden: The questions that we're asking, the data that we're gathering is likely to be marketers' dream dashboards anyway. So it's not just of use to the survey itself, it's of use to your day to day month to month reporting and demonstrating the efficacy of what you're doing. We want to increase the number of people that are responding from large multi site organisations. So the plea call to action here for digital markets is in large multi sites. We were interested in talking to you about. If you've got 50 odd sites that you manage ticketing for and multiple attractions all over the country, filling in the questionnaire based form approach that we've given may not be the right way for you to share data with us. No, we're really flexible. We want data. We want to ingest more data because it improves the quality of the responses.Paul Marden:  So we'll be completely flexible around what different large multi site organisations can provide and the method with which it makes most sense for them to provide it.Kelly Molson: So what are we doing? We're doing a vocal shout out here to National Trust, English Heritage, et cetera, to say if you want to be part of the survey and the subsequent report and the process that we're offering you, it doesn't work. You're not going to sit there 50 times, however many sites you've got and fill in this data. That's ridiculous. We can give you a better process of doing that and we can work with you one on one to work out how that works best for you as well.Paul Marden: Completely.Kelly Molson: If you do want to be involved, don't let the process of how we collect the data put you off. We can solve that challenge for you.Paul Marden: Shout out, call to action. Really for everybody that submitted last year and would be thinking about this year's survey is tell us what key themes are of interest to you. We have what we think is interesting and we'll follow our noses and ask questions and ruble around the data to try and find the answers. But we don't know what you want as well as you know what you want. So tell us, as you said, Kelly, ask questions about what you'd like to see, but tell us what you'd like us to do. We might be able to do something really easily based on the data that we've already got. We might need to ask another question. There was a question that somebody asked that weren't able to answer.Paul Marden: They wanted to know whether you were primarily educationally focused as an institution or primarily focused on selling tickets, whether that had an impact on your conversion rate. And actually, without us guessing, it's impossible for us to answer that question. And what's the point in us guessing because we're going to give you meaningless data if we ask the right questions. What's the primary focus of your website? What are the secondary focuses of your website? If we do that, then we might be able to slice and dice the data. So ask us the questions now because we can use that to influence what questions we include in the survey.Kelly Molson: I would add to also as well, if you are well, to say thank you. We had a phenomenal amount of support with the survey last year and the report. But for us, being able to move from 70 respondents in year one to nearly 200 in year two, the difference in that was all of the membership organisations that supported. It's a mammoth task. There's no way I could have done that on my own just by sending it lots of people and hitting people up on LinkedIn and posting across social media. The biggest difference there is the support we've had. I mean, ALVA, ASVA have been huge supporters of us from the start, which we're super grateful for this year. We had AVEA come on board and help us. We've had AIM help us. We had ACE help us.Paul Marden: We had ASDC.Kelly Molson: ASDC. I mean there were just so many. I've got a huge list of all of the attractions and all of the kind of Hampshire's best attractions and these smaller regional attraction organisations that have supported Devon's top attractions. Without their support, we could not have done that, made that happen. So I guess what I'm asking for is continued support, please, would be great. And are there any other organisations out there that we should be talking to? And if there's any listening that haven't been involved in helping us distribute the survey this year, if you're up for it, give us a shout. I mean, the benefit to your members is phenomenal, right? What we produce for them and it's all free. It's all for free. Come and get it.Paul Marden: That is a nice segue because yes, it's all for free, but it doesn't cost nothing. And actually what we would also like help with is sponsorship for 2024. So if there are organisations around the listening public, as it were, that would be interested in supporting the work that we do on this and would like to influence and help guide what we do, then we would be really keen on talking to people that would like to sponsor and that sponsorship could be gifting kind. So some people might be able to help us by doing things with us. Some people might be able to help us by financially supporting the data analysis or the production of reports or production of specific analyses of a slice of the sector that is of interest to them.Paul Marden: There's lots of ways in which people could support the work that we do. And obviously the more support that we get, the bigger we can make this thing, because it is. I mean, it's a herculean task that you dreamt up two and a half, three years ago, isn't it? And you did the first one and it was amazing and you got a decent number of respondents and I think you were both amazed at the number of people that gave us data and downloaded the report and interacted with us. And then were blown away in 23. But we need to do more. There's a market for this. There's a value in what we're doing. It's not just chance. It wasn't a crackpot idea you had three years ago to do this.Kelly Molson: It was not a crackpot idea about it at all. No, it wasn't a crackpot idea. It's really nice, actually. You've just given me a really good flashback, actually. The Museum and Heritage Show has played like a part in this for years, actually, because the survey itself launched last year at the MandH. But the previous year I sat down at the MandH and had a chat with Bernard Donoghue about. I've got this idea, Bernard, and I think this is good. I think this would deliver some real good value to the sector. Would ALVA be happy to help get the word out and stuff? And that was where it started. So isn't that funny that's a connection? I'd forgotten all about that. It's not crackpot. It is amazing and I'm so happy that we've been able to produce this.Kelly Molson: The value that it delivers to the sector, I get. People tell me about the value. So this is not me going, it's definitely delivering value. The feedback that we've had has been so incredibly positive on it and it's just been wonderful to be part of that. So let's make next year's bigger and even better. But maybe some less questions so it doesn't take you as long.Paul Marden: Yes, more rows in my spreadsheet, less columns in my spreadsheet.Kelly Molson: Less time taken up. If you can do it over a cup of tea and a biscuit, then that's perfect, right?Paul Marden: I reckon so.Kelly Molson: Hopefully that's going to produce some good value today and we'll see you next time.Paul Marden: Cheers. Take care.Kelly Molson: Bye. Kelly Molson: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, rubbercheese.com/podcast. The 2023 Visitor Attraction Website Report is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the report now for invaluable insights and actionable recommendations!

Today's poker strategy is a primer on playing suited connectors in low stakes cash games. All links mentioned in the show are at the bottom of this ⬇️ Introduction * What are suited connectors? Two cards in sequential order of the same suit. 7❤️6❤️ etc * Why are suited connectors so important? They add deception to our preflop raising range, they have playability across multiple streets, they are easy to get away from when they miss, and they can stack opponents with great implied odds. * What are the different ways to play suited connectors? Primarily you should be aggressive with suited connectors from late positions. Avoid them from early position. You can also play them passively in certain situations preflop , mainly from the button. Playing suited connectors preflop * When should you play suited connectors preflop? You want to mainly play suited connectors from late position and for a raise. You can do this over one or two limpers and use your position to win postflop a lot when called. You can also use them to 3b later position pfr when they have a wider range. This allows you take it down preflop, flop big hands postflop , or use your position to win a portion of the time. * How should you play suited connectors against different types of opponents? Let's assume you are on the button with 7❤️6❤️. Vs a raise by a nit you should just call if stacks are deep enough to reward you when you hit against their very condensed range of hands. Raising them preflop would be bad because they open so tight they are never folding and will likely be coming over the top. Vs a standard thinking player who has a more standard opening range you can 3b this spot when they are opening from layer positions at the table like LJ, HJ, CO etc Vs a LAG you can mix calls or 3b. Preferably 3b when stacks are deep and you can punish their wide range on many flops even when you miss. * What are some common mistakes to avoid when playing suited connectors preflop? Always calling and going super multi-way. You open yourself to reverse implied odds against better straights. Not 3b when the circumstances are right. Not raising with them preflop. Trying to play them too much from EP like utg and utg1 etc Playing suited connectors postflop * How should you play suited connectors after the flop? You should be aggressive with big draws especially when the board doesn't favor your opponent. Many times you can just win when they cbet on bad boards for their range and take it down. On boards like this hands as weak as gutshots and top pair with back doors etc are good. In boards where your opponent has a nutted range it doesn't make much sense to raise as you never win with a fold. Raise and playyour best draws very aggressively. Pairs and flush draws. Straight and flush draws. Etc. * What are some common mistakes to avoid when playing suited connectors postflop? Always calling with draws. Especially when multi-way. This allows better draws to come along too. Conclusion * Tips for improving your suited connector play Raise and 3b more preflop Be more aggressive postflop Be aggressive with strong draws Be aggressive on boards bad for Villian Fans of the Pod get ad free, fluff free episode every single Sunday: https://lowlimitcashgames.com Save 10% when you choose the annual option Targeted Low Stakes poker training with hundreds of hours of audio and video teaching exclusively how to crush 1/2 and 1/3 no limit: https://lowlimitcashgames.com Save 10% when you choose the annual option. Hate AK? How to Play AK Master Class For only $49 get this 88 minute training video of me showing you exactly how to play AK, particularly when out of position. https://www.patreon.com/lowlim... The best way to ramp your game up and know how to play any hand in any spot by drilling it over and over again. This is the only product I endorses. Make sure to use my code for a 25% discount at checkout: https://advancedpokertraining.... Use code: lowlimit Want more details on everything that is offered with the training package on Patreon? I go into great detail about it all here: https://podcasts.apple.com/us/...

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Supervolcanoes tail risk has been exaggerated?, published by Vasco Grilo on March 6, 2024 on The Effective Altruism Forum. This is a linkpost for the peer-reviewed article "Severe Global Cooling After Volcanic Super-Eruptions? The Answer Hinges on Unknown Aerosol Size" ( McGraw 2024). Below are its abstract, my notes, my estimation of a nearterm annual extinction risk from supervolcanoes of 3.38*10^-14, and a brief discussion of it. At the end, I have a table comparing my extinction risk estimates with Toby Ord's existential risk guesses given in The Precipice. Abstract Here is the abstract from McGraw 2024 (emphasis mine): Volcanic super-eruptions have been theorized to cause severe global cooling, with the 74 kya Toba eruption purported to have driven humanity to near-extinction. However, this eruption left little physical evidence of its severity and models diverge greatly on the magnitude of post-eruption cooling. A key factor controlling the super-eruption climate response is the size of volcanic sulfate aerosol, a quantity that left no physical record and is poorly constrained by models. Here we show that this knowledge gap severely limits confidence in model-based estimates of super-volcanic cooling, and accounts for much of the disagreement among prior studies. By simulating super-eruptions over a range of aerosol sizes, we obtain global mean responses varying from extreme cooling all the way to the previously unexplored scenario of widespread warming. We also use an interactive aerosol model to evaluate the scaling between injected sulfur mass and aerosol size. Combining our model results with the available paleoclimate constraints applicable to large eruptions, we estimate that global volcanic cooling is unlikely to exceed 1.5°C no matter how massive the stratospheric injection. Super-eruptions, we conclude, may be incapable of altering global temperatures substantially more than the largest Common Era eruptions. This lack of exceptional cooling could explain why no single super-eruption event has resulted in firm evidence of widespread catastrophe for humans or ecosystems. My notes I have no expertise in volcanology, but I found McGraw 2024 to be quite rigorous. In particular, they are able to use their model to replicate the more pessimistic results of past studies tweeking just 2 input parameters (highlighted by me below): "We next evaluate if the assessed aerosol size spread is the likely cause of disagreement among past studies with interactive aerosol models. For this task, we interpolated the peak surface temperature responses from our ModelE simulations to the injected mass and peak global mean aerosol size from several recent interactive aerosol model simulations of large eruptions (Fig. 7, left panel). Accounting for these two values alone (left panel), our model experiments are able to reproduce remarkably similar peak temperature responses as the original studies found". By "reproduce remarkably well", they are referring to a coefficient of determination (R^2) of 0.87 (see Fig. 7). "By comparison, if only the injected masses of the prior studies are used, the peak surface temperature responses cannot be reproduced". By this, they are referring to an R^2 ranging from -1.82 to -0.04[1] (see Fig. 7). They agree with past studies on the injected mass, but not on the aerosol size[2]. Fig. 3a (see below) illustrates the importance of the peak mean aerosol size. The greater the size, the weaker the cooling. I think this is explained as follows: Primarily, smaller particles reflect more sunlight per mass due to having greater cross-sectional area per mass[3]. Secondarily, larger particles have less time to reflect sunlight due to falling down faster[4]. According to Fig. 2 (see below), aerosol size increases with injected mass, which makes intuitive sen...

"People become entrepreneurs because they want freedom, they want control. What happens is typically, the profession and the phase to get more and do more ends up controlling them."Joining us in this episode of Profit First for REI podcast is Brad Chandler and Yvonne Trost. Brad and Yvonne's passion is to help people. They created a program as an opportunity to help people make a true impact on their lives.In this episode, Brad and Yvonne dive deep into what is holding you back as a human being and as an entrepreneur. They can help you with the key aspects and first steps of getting on a better path, so keep tuned in!Key Takeaways:[00:57] Introducing Brad Chandler and Yvonne Trost[06:04] The self-worth issue[10:57] Being an entrepreneur as a trauma-response[13:34] Everything that they have is inside them[19:17] The limiting beliefs[21:12] Letting go of fear and judgment[26:00] The different money mindsets[30:00] Reason behind perfectionism[31:30] Connect with Brad Chandler and Yvonne TrostQuotes:[07:28] "It's built into us to find safety...our self-conscious mind's job is to keep us alive and safe."[13:22] "Quite often, the things that we seek outside of ourselves are the things that turn around and not give us what we intentionally wanted to begin with... everything that they have is inside them."[19:17] "You are the only person who limits you, not society, not the world, not your education, it's you. Primarily you limit yourself by self-learning beliefs that are in your head."[30:51] "Trauma isn't the actual bad thing that happens to you. The trauma is the meaning that you place on that event."Connect with Brad and Yvonne:Website: https://www.bradchandler.com/ Tired of living deal to deal? If you are a real estate investor or business owner who is tired of living deal to deal and want to double your profits, head over here to book your no-obligation discovery call with me. Either myself or someone from my team will hop on a short call with you to get clear on your business goals, remove any obstacles holding you back, and map out a game plan to help you finally start keeping more of the money you work so hard to make. - David

Drummer Jess Bowen, who plays the skins for The Summer Set, 3OH!3, JAX and starred in the Netflix documentary Count Me In alongside Chad Smith of The Red Hot Chili Peppers and Stephen Perkins of Jane's Addiction, visits the show to tell us all about her two Chihuahua mixes. Her first, 4 year old Pepe, was joined a short time later by 3.5 year old Tony and became fast forever friends. Catch Jess on tour with JAX this April in Australia supporting Simple Plan, Boys Like Girls and We The Kings. Jess elected to give a well earned shout out to A Purposeful Rescue who aim to give overlooked dogs and those in need of a little extra work or care a second chance. Primarily focused on South Central Los Angeles, A Purposeful Rescue promotes spay and neuter and education programs and rely on the hard work and dedication of their volunteers. To adopt, foster, volunteer or donate visit apurposefulrescue.org Another great organization she'd like to shine a light on is Bella Vita Rescue whose mission is to make change in the high-kill system; closing loopholes in the present Hayden's Law, as well as create safe havens for dogs, horses and truly whatever crosses their rescue's path. To learn more about their mission and how you can help visit bellavitarescue.org. For more pics and clips of Jess, Pepe, Tony and all our other dog-loving guests, follow us on Instagram.

Ep. 90 The Chosen: Best of Episodes with Dallas Jenkins, Jonathan Roumie, Noah James, and Jordan Walker Ross ABOUT THIS PODCAST:The fourth season of "The Chosen" is now showing in theaters across the country. Previous episodes of The Paul Cardall Podcast have featured Dallas Jenkins, the creator, writer, and director of this widely acclaimed biblical series. Guests also included Jonathan Roumie, who portrays Jesus; Noah James, playing Andrew; and Jordan Walker Ross, in the role of Little James. In the podcast's 90th episode, listeners will enjoy highlights from Paul's interviews with these actors and the director, conducted over the course of seasons one through three. Listen to the full episodes with Dallas Jenkins (Director)Jonathan Roumie (Jesus)Noah James (Andrew)Jordan Walker Ross (Little James) ABOUT THE CHOSENThe Chosen is an American Christian historical drama television series. Created, directed, and co-written by filmmaker Dallas Jenkins, it is the first multi-season series about the life and ministry of Jesus of Nazareth. Primarily set in Judaea and Galilee in the 1st century, the series centers on Jesus and the different people who met and followed or otherwise interacted with him. The series stars Jonathan Roumie as Jesus, alongside Shahar Isaac, Elizabeth Tabish, Paras Patel, Noah James, and George H. Xanthis.After Jenkins noted there had never been a multi-season, episode-based portrayal of Jesus that could be "binge-watched" like shows on streaming mediums such as Netflix, he set out to create the series in partnership with Angel Studios, formerly VidAngel. With the intention of differing from previous portrayals of Jesus, he crafted a story arc which focused more on the people who encountered Jesus and viewed him through their eyes. He has stated in interviews that he sought to present Jesus in a way that was more "personal, intimate, [and] immediate"The show's producers have primarily used crowdfunding on the Angel Studios platform to finance production, and it continues to be the most successful crowdfunded TV series or film project. Additional revenue comes through licensing to other streaming platforms and TV networks, such as Amazon Prime Video, Peacock, and Netflix. Merchandise and video sales provide additional sources of revenue, as have limited premiere runs in cinemas. The show has been further adapted into a series of novels by Jenkins's father, author Jerry B. Jenkins, a series of graphic novels by Corvus Comics, and companion Bible study materials published by David C. Cook.According to a 2022 analysis commissioned by the show's producers, 108 million had seen at least part of the show through the app and streaming platforms. Translation into as many as 600 languages is being funded by the Come and See Foundation. PAUL'S MUSIC & SOCIAL MEDIAhttp://www.paulcardall.comhttp://www.facebook.com/paulcardallmusichttp://www.instagram.com/paulcardall Show your support by subscribing to the podcast. Please leave a review.

Hey there and welcome back to Eggs. Today's guest is Vanessa Tierney.Vanessa is a Remote Tech Entrepreneur with expertise in leading global remote teams, co-working, and international remote sourcing models in technology. She is the founder and CEO of Abodoo, the smart work platform where talent meets opportunity. Abodoo is a two-way street that helps both employers and prospective employees discover the best opportunities, people, and companies worldwide. She is also co-author of the very popular book Your Company with No Walls available now on amazon.com.Here to talk about remote work, matching people and companies to opportunities around the globe, heat mapping talent, and so much more, please join me in welcoming Vanessa Tierney to the show. Vanessa TierneyFounder and CEO at Abodoo | Co-Author Your Company with No Wallshttps://www.abodoo.com/About Vanessa TierneyVanessa is a Remote Tech Entrepreneur with expertise in leading global remote teams, co-working, and international remote sourcing models in technology. She is the founder and CEO of Abodoo, the smart work platform where talent meets opportunity. Abodoo is a two-way street that helps both employers and prospective employees discover the best opportunities, people, and companies worldwide. She is also co-author of the very popular book Your Company with No Walls available now on amazon.com.Vanessa's mission circles around creating sustainable solutions for government and business using technology that has a positive environmental impact. Results-driven with experience in setting business strategy, P&L responsibility, building/leading teams, and driving business growth. Primarily focused on revenue creation through online sales channels, strategic partnerships, and joint ventures.  Credits:Hosted by: Michael Smith and Ryan RoghaarProduced by: Michael SmithTheme music: "Perfect Day" by OPMThe Carton:https://medium.com/the-carton-by-eggsFeature with Zack Chmeis of Straight Method up now! https://medium.com/the-carton-by-eggs/zack-chmeis-35dae817ac28The Eggs Podcast Spotify playlist:bit.ly/eggstunesThe Plugs:The Showeggscast.com@eggshow on twitter and instagramOn iTunes: itun.es/i6dX3pCOn Stitcher: bit.ly/eggs_on_stitcherAlso available on Google Play Music!Mike "DJ Ontic" shows and infodjontic.com@djontic on twitterRyan Roghaarhttp://ryanroghaar.com ----Credits:Hosted by Michael Smith and Ryan RoghaarProduced by Ryan RoghaarTheme music: "Perfect Day" by OPM The Carton:https://medium.com/the-carton-by-eggsFeature with Zack Chmeis of Straight Method up now! https://medium.com/the-carton-by-eggs/zack-chmeis-35dae817ac28 The Eggs Podcast Spotify playlist:bit.ly/eggstunes The Plugs:The Showeggscast.com@eggshow on twitter and instagramOn iTunes: itun.es/i6dX3pCOn Stitcher: bit.ly/eggs_on_stitcherAlso available on Google Play Music! Mike "DJ Ontic" shows and infodjontic.com@djontic on twitter Ryan Roghaarhttp://rogha.ar

What are toothbrushes good for? Primarily…fighting tooth decay, though they can also help to clean awkwardly shaped items like jewellery or…in a pinch… to get crumbs out of the toaster. But what about solving a murder? When Francisca Perea Dominguez, 42, was found stabbed to death in her apartment in Aurora, Colorado, all they had to go on initially was that the last man to see her alive was wearing a white cowboy hat. Ultimately it wasn't the murder weapon, or an eyewitness that placed the murderer at the scene of the crime but instead, an item we all (hopefully) use twice a day,everyday. The humble toothbrush.If you want to listen to Smoking Gun COMPLETELY ad-free, and help to support the show, then please subscribe to our channel.What's The Story? Crime is your home for the very best in true-crime podcasts. You can get early access to series, bonus episodes, ad-free listening and even exclusive series you can't hear anywhere else. And if you love the show, your subscription helps to fund the episodes.As well as Smoking Gun, there's a whole collection of shows on What's The Story? Crime. From the stories of the most pivotal assassinations throughout history, to series' about long-term missing people, limited series about extraordinary conmen, and investigations into miscarriages of justice - What's The Story? Crime has you covered.To accompany Season 4, we're launching a new spin-off show called 'Under The Microscope', which is exclusive to subscribers. In it, you will hear Smoking Gun host Tracy Alexander interviewing some of the brightest minds in the word of forensic science, and revealing exactly what they do.Signing up is quick and simple.If you're listening on Apple Podcasts, just search for What's The Story Crime, sign up, and all the exclusive content will be in your Apple Podcasts app.If you're listening on Spotify, Amazon, Castbox, Pocketcasts, or any other player - you can sign up directly here : WTS CRIMEWith a couple of clicks, you'll receive all the exclusive content in your chosen platform.Smoking Gun is a What's The Story original podcast series.This episode is narrated by Sarah Henderson & Tracy Alexander Hosted on Acast. See acast.com/privacy for more information.

Of all the parts of this enjoyable conversation with Seth Zeren, now of Providence, RI, the part I liked the most was this quote:The worst fight is with your allies that betray you.The quote, which is mostly about perception, says a lot about people who are frequently in heated agreement with each other, but find themselves disagreeing on something that's very minor in the big picture. We discuss this as we discuss his post called, “When New Urbanists and YIMBYs fight.”Seth has a great Substack, talking about all the overlap in his interests from city planning to development and more. His path and his passion are impressive. From his early days working in local government, to now the cold, hard reality of making development projects work. And what's next? Perhaps some place management, perhaps some housing policy advocacy, perhaps just more really interesting redevelopment projects.Find more content on The Messy City on Kevin's Substack page.Music notes: all songs by low standards, ca. 2010. Videos here. If you'd like a CD for low standards, message me and you can have one for only $5.Intro: “Why Be Friends”Outro: “Fairweather Friend”Transcript:Kevin (00:01.269)Welcome back to the Messy City podcast. This is Kevin Klinkenberg. I'm excited today to have Seth Zarin here with me on the podcast. Seth and I have met in the past and corresponded a little bit. Seth has a sub stack that I definitely recommend called Build the Next Right Thing. And he's in Providence, Rhode Island, which is actually, I think, one of the sort of most underratedsmaller cities in the country. I've always really liked Providence, enjoyed it. So Seth, welcome to the podcast. I know we're going to have a lot of good things to talk about. We're going talk some housing and some other stuff, but glad to have you on so we can do this.Seth Zeren (00:43.574)Thanks Kevin, it's nice to be here.Kevin (00:46.261)I think, you know, Seth, I want to kind of start by talking about you're another guy who has a really interesting path and background into becoming into the development world, which is what you're doing now, but certainly not at all where you started. And I wonder if you could kind of walk people through your professional background and then even like why you wanted to do a sub stack.in the first place, as some of us silly people do to put thoughts out in the world.Seth Zeren (01:19.862)Yeah, absolutely. I usually introduce myself when I meet people by saying that I'm a former climate scientist, recovering city planner, turned real estate developer. I usually get a laugh on recovering. Much like people who have all sorts of addiction issues, city planning is something that you always kind of in the back of your head, always kind of want to work on, but can be really challenging.Kevin (01:35.381)Ha ha ha.Seth Zeren (01:48.918)I'm actually from California. I grew up in the San Francisco suburbs, south of the city in Silicon Valley, basically. And by the time I graduated high school, it was quite clear that I would never be able to afford to live there. At that point, houses were selling for about a million dollars for a little ranch. Now it's about $3 million. And so by the time I left for college, I sort of knew that the housing situation there had been a little bit of a mess.broken so much that it was really unlikely that I would be able to find a good quality of life there for myself at that time. In college, I ended up studying geology and climate science. So I was a geology major, geosciences major, and I narrowly averted the PhD. I dodged it, fortunately, and I found myself really becoming interested after college. I went and lived in South Korea for a year and I taught English there. AndIt was such a different experience than growing up in an American suburb or in a small town where I went to college. And it really got me thinking a lot. And when I came back to the U S and I went and worked at a boarding school while I was figuring out what I wanted to do with my life. And I started to read about cities and urbanism and architecture. And I realized that, Oh, actually at the time I thought I wanted to go to school and do architecture, but I was really intimidated by portfolio and drawing. And I had, I was a scientist. I mean, I could do data.I understood geology, but, um, so I was really intimidated by that. I ended up going to an environmental management program at Yale where I could kind of moonlight in law and architecture and business. And so that was kind of my entree. And I discovered I really liked zoning at the time. Uh, and I like to say like, I like board games and zoning is basically just the biggest board game imaginable. It's a huge map, bunch of colored spaces and a really long rule book, which was totally my jam. And.Kevin (03:38.485)Yeah. Yeah.Seth Zeren (03:46.038)So I was a zoning, big zoning nerd. I interned with the planning department, but you know, in between the two years of graduate school and then got a job as a zoning official after graduate school for Newton, Massachusetts, which is kind of that wealthy first ring suburb outside of Boston where the doctors and professors go to have children. And, uh, I was there for about three years before I kind of realized this was not the place for me. I wanted to do stuff. I wanted to shake things up and.One of the dynamics you'll encounter when you find a sort of a wealthy sort of trophy suburb, right, is that people buy there because they like what it is. Right. So the political dynamic in a place like Newton, like many wealthy suburbs around many cities in America is people are buying a particular place and they want it to stay that way. That's what they bought. And so there's a real change aversion there, which was just a bad fit for someone in their twenties, whose master's degree and wants to get stuff done. And.I had also at the time had the opportunity to work with a bunch of developers. And this was coming out of the financial crisis. So there wasn't a lot happening right away, but slowly, slowly things started to get back in gear. And after about three or four years there, I decided I was going to jump ship from the, from the planning side and eventually found myself working at a development shop as a development manager, kind of coming in to do the permitting work. Right. So I just basically switched sides. I was going to go do permitting for the developer.moving complex projects through design review and master plan approval and stuff like that. And I did that for my sort of early apprenticeship for about three or four years. And got to the point where, you know, I got married, we thought about buying a house and realized Boston was also too expensive. So we started considering other places and Providence was nearby. We'd visited, we had friends here. And at the time, certainly it was massively more affordable than the Boston Cambridge area.So we moved down here about eight, maybe nine years ago, about. And so I was working as a development manager, you know, for a larger firm. And then when I came down here, I was still working remotely, but I connected with some local developers and eventually joined a local firm, Armory Management Company, which is a 35 year old, almost 40 year old partnership now that has done historic rehab.Seth Zeren (06:09.782)Main Street revitalization ground up in field development and came on board here, you know, also as a development manager and kind of worked my way up. Now I'm a partner and working on kind of the future of the firm and future of development in the Providence area. So that's kind of my, my origin story. It's one path. I haven't met a lot of other people who've come through the planner path into development. I would say that I was one of those people that you probably remember this, Kevin, you know, whatever eight, nine, 10 years ago at CNU.There was this whole conversation about why are you working for shitty developers? You know, to architects, planners, engineers, go be your own. And I took that very much to heart and was trying to find a way to do it. And I've kind of managed to find a way to do it, come through that.Kevin (06:54.709)Yeah. Yeah. I mean, I have met a few other folks who kind of started in the planning route and then ended up in development. But yeah, you're right. There's not too many. I mean, one thing I'm curious about, Seth, so like I'm a Midwestern or so. I don't have that experience of growing up someplace and then realizing like I'm never going to be able to come back. I mean, so a lot of Midwesterners like myself leave at some point.And then often we find our way back home, but it's like, and there may, there's lots of reasons why people do the things, but there's never seems to be this like logistical issue that says, well, I'm just not going to be able to afford to come back where I grew up. What, what's that? And what's that like to at some point have this realization in the place you grew up in, which you probably have some really fond feelings and memories for that you just, you weren't going to be able to make it back or you weren't going to be able to afford to.make it back. That must be a strange feeling.Seth Zeren (07:55.414)It is, and I will say it becomes a lot stranger when you have your own kids, which I have now. I have two young children and we go back to California, you know, once maybe twice a year visit my parents who are still in the house I grew up in. And you know that neighborhood that I grew up in, you know, hasn't built. More than a couple net new homes in the last 50 years, right? Homes get torn down and they get replaced by bigger homes, but.Kevin (08:00.501)Yeah, sure.Seth Zeren (08:24.246)There's no net additional homes. But my parents raised three kids in that house who all have their own households. My parents are still in that house. So sort of mechanically, if you have a neighborhood that doesn't add any homes, you're essentially, but you have, but you have children, those children have to leave, right? Mechanically, right? And if you then multiply that across an entire region, well, then they have to leave the whole region, which is like why people have to leave California. And I, so I have a very,like complicated relationship with it. It's like, obviously, it's my home, it has like a smell and weather and just like the culture that is what I grew up with. It's it's I have nostalgia for that. But I also go whenever I go back there, I'm like, this place makes me crazy. Because it's not like you couldn't build more buildings, you know, you couldn't, it's not like the soil can't support more buildings, right? There's no physical limitation, really. It's the self imposed limitation. And then when you go back, especially,after the last 20 years or so, and you look, you know, here's a region in the world that is the current sort of nexus of tremendous wealth accumulation, right, the Bay Area. And what did we get for it? Right, we got kind of mediocre drive it strip malls, and the, you know, single family houses that go for three and a half million dollars to $5 million. You know, it's similar times in the world, we got, you know,London, Paris, New York, Chicago, Shanghai, Tokyo, like these metropolitan areas were built and there's this tremendous physical capital that's created by economic growth. But in the Bay Area, it's, it's, it's, it's, so it's kind of depressing for me. I feel like it's helpful to go back as a, as like a cautionary tale, you know, it's, it's a, it's a practice, you know, you have to go to the meditation retreat and struggle. And that's a little bit like what it is for me. Um,So you would ask why I write and so I'm a full -time developer. I run, you know, commercial development, residential development, run commercial leasing, a lot of architecture design permitting, you know, I would say, you know, there's a lot of different backgrounds. One can bring into the development world and all of them come with different strengths. Uh, being the planner background gives me a lot of facility with permitting. And so zoning is an area where we're really effective zoning historic.Seth Zeren (10:50.74)neighborhood relationships, all that kind of stuff. And then finding value in buildings that other people don't see because we look around at what other people are doing in other parts of the country and we're able to import those ideas and try things out. Other people have different advantages that they bring. The reason I write is probably like you, I've got like some thoughts in my head that I have to get out. And, you know, development is a great practical.you know, craft practice, you know, and it's, I mentioned, I think earlier apprenticeship, like there are a few schools that teach development, real estate development, kinda, but mostly they teach what we think of institutional development. So if you want to go build a skyscraper, go to MIT or Columbia. Fine.Kevin (11:37.333)Yeah, MIT's got those great courses and everything else that, yeah.Seth Zeren (11:39.51)Yeah, and like, totally fair. Like, that's a reason that's a thing that makes sense in the world, but it's not going to help you, you know, renovate a triple decker or, you know, put up an ad or or renovate a Main Street building. It's just not the skill set. They're not teaching that. So it's an apprenticeship. I mean, it's still really an apprenticeship job. You have to go and you have to go through a lot of stuff and struggle and you see all the pain and suffering and you go through the stress andKevin (11:53.877)Yeah. Yeah.Seth Zeren (12:08.726)You start to learn stuff and it's one of those jobs. There's so much to learn that you, you know, here I am 40 a partner doing a bunch of development work and I'm learning stuff every day, right? And we're all learning stuff every day. So it's it's really satisfying in that way, but. It's not necessarily intellectual job, right? I mean, thinking about stuff is important. Math is important. Those are all relevant things, but it's not the only thing that matters. And so I write because trying to figure out some stuff, right? Trying to figure out.for myself, but then also how to explain things to other people. Um, cause one of things I say to people is that, and I learned this when I became a developer is that like as a developer, I had more in common with the blue collar tradespeople without a college degree in terms of my understanding of the built environment than I did with someone who had my equivalent class background, education, income level, like an attorney or something, right?They live in a house that they bought from someone else, right? They are a consumer of the built environment, but they know very little about how it gets built. They don't get under the hood. But conversely, like I, you know, the plumber and I under, you know, we're in it together. Now we have very different jobs. We might, you know, we're having a different experience of it, but we both are seeing this world. We're both participating in the making of stuff. And so we end up with this very different environment. And then.because of the way we've regulated the built environment, now there's this huge chasm between the people who build the cities and the people who consume the cities that are built for them. Because people don't build much for themselves or for their cousin or for their neighbor.Kevin (13:44.533)Yeah, yeah, that's a, I mean, that's a really interesting point. I like that Seth. And it sort of resonates with me too. And, you know, in my experiences in design and development and you get some of that in architecture too. If you're the kind of an architect who you spend a lot of time doing construction administration or on job sites, you really, I think get a very different feel for that than if you're just kind of working in schematic design all the time. But yeah, that art of.creating things. And this is what I kind of often tell people about development. One of the things that just completely, like routinely frustrates me is this sort of parody of developers that's put out in the world. It's like, you know, as the black hat evil people trying to, you know, ruin cities and, and not this understanding that actually, and not that there aren't those people, there are some, you know, there are crappy people in every field. But most developers are just simply in the act of creating things that other people are going to use.Seth Zeren (14:36.278)Yeah.Seth Zeren (14:44.022)That's true. And I say that all the time as well. And I would add to that, that one of things that's interesting about development, right, coming from planning. So like real estate or city planning, right? Graduate degrees, conferences, magazines, there's even a licensure, right? You get your AICP, go to the conference, get the magazine. It's a profession. Real estate development isn't really a profession.Kevin (14:44.181)Like that's the whole point.Seth Zeren (15:11.254)You get $2 million and buy a CVS, you're a real estate developer. There you go. You put it on your business card, it's your real estate developer. So there's no professional boundaries for good and for ill. I mean, sometimes I think the boundaries around some of these professions are actually really harmful, but you kind of know what you're going to get. You know what the professional culture is and you kind of know how it changes and you know the institutions. Development really doesn't have any of that. Even the Urban Land Institute, ULI, which is a major player still like,compared to like the APA and planning is minuscule. And so like part of the challenges is that, so that's one piece of it. It's not really a profession. The other piece of it is that one of the things that's happened in the 20th century is we blew up our development culture, right? We had an ecosystem of building places, you know, that was the design, the construction, the operations, the leasing, the materials.the trades, there was a sort of ecosystem of it, and we kind of blew it up. We radically transformed it over a short period of decades. And so there's no continuity. So when people do development, there's not a sense of there's any kind of private constraint or private rules. So it feels even less like there's a profession. There's not like a coherent culture, we're going to build more of that, or we're going to evolve incrementally from a coherent culture of building.We're just going to build whatever you end up. That's where you end up with the like two story building with a mansard. That's like with the weird landscaping. It's just this weird Chimera because the developer and to a large extent, the architects have no grounded. There's, there's no like lineage they're working from. There's no continuity. They're just throwing stuff at the wall, you know,Kevin (17:00.341)Yeah, yeah, yeah. And I think one of the other aspects is that in development, so many of the players in the non -institutional world are entrepreneurs. At their heart of hearts, they're entrepreneurs. And it's hard to gather together a whole group of entrepreneurs who are, in some sense, in competition with each other all the time, to feel like a common sense of purpose.Seth Zeren (17:25.174)Yeah, and they're often grinding for their own private gain, which in many parts of the United States is sort of seen as not good, right? Profit is bad to a lot of people. And I think that's unfortunate because while certainly people can do bad things and that's not good, making a profit from doing good things is good. It's a good sign. It means you get to do more of it, right? We say we have to make a profit because that's what we, that's the...Kevin (17:30.101)Yeah.Seth Zeren (17:53.062)seed corn for the next project, right? If we ate all of our seed corn, we would have no next project, right? And if we run out of seed corn, we all starve, right? So you don't get to lose money very many times in real estate before you're out of the game. So it's...Kevin (18:05.685)Yeah, well, and nobody bemoans the local cafe or the barbershop or whomever from making a profit. We all want them to make a profit and succeed, but for some reason, the local developer in a business that's far riskier and more expensive, it's like we completely beat them up about the idea that they actually need to make money to keep going.Seth Zeren (18:22.326)Yeah.Seth Zeren (18:27.606)Yeah. And I think part of it is that there is part of this change in building culture, right? Is that there is where there is more of, or a greater percentage of the built of the new development is sort of seen as done by outsiders for short -term gain. And then they're gone. You know, you'll you've talked to other folks in the incremental development world between the farmer and the hunter, right? And it's we're, we're 90%, 95 % hunters now, you know, instead of 25 % hunters. And that just really changes.Kevin (18:41.397)Yeah. Right.Kevin (18:48.661)Yeah, sure.Seth Zeren (18:56.918)the relationship. So we're a local firm. I work in the neighborhoods in which we live. We work down the block from our projects. If we do a bad job, I have to look at it every day. People know who I am. They're going to yell at me. Like there's a level of responsibility. The profits are most, many of the profits are being reinvested again locally into the next project or into donations to local organizations. So it gets it, you know, not, it's not just as a matter of credibility, but as a matter of like the actual development culture and ecosystem, it's just a better way of life. Um,I think one of the things that's key though about the developer image, right? Is that there was this real period and formative period for, for you and for me, like in the 60s, 70s, 80s of the real estate developer is always the villain, right? And every hallmark movie and every, you know, real estate developers are always the bad guys. And it's a really easy trope, right? It's, it's, it's change for, you know, we're going to change something that's here now that's good for profit, you know, and then they're going to be gone. Um, we don't have any valorous.Kevin (19:37.811)Mm -hmm. Mm -hmm. Sure.Seth Zeren (19:56.442)examples of the real estate developer in popular culture. And I think if I had a magic wand, I would like I would have some great popular sitcom about, you know, a real estate developer, young Latino builder in LA doing interesting stuff and growing over the course of seasons and be hilarious because there's so much tragic comedy and development. So if anyone out there wants to pitch a show to Hollywood, that's that's what I would pitch. Oh, my God, no, that's not me.Kevin (20:19.893)Well, I think you've got your next screenwriting gig. So, give us an example of a project that you're involved with now, something you're working on to get people sent to what you're doing.Seth Zeren (20:31.798)Yeah, so yeah, I'll give two quick examples. So we just finished a rehabilitation of an historic structure, four story masonry building that was converted back to residential, right? It had been turned into actually a nursing home. It was first as a hospital than a nursing home in the 20th century. It was originally built as four brick row houses. And so we brought that back to residential. That just finished last summer, 12 units. And that project was really great. It's really beautiful building.We are a little bit counter -cultural in some times what we do. So we built, in part following the logic of the building, because we were doing a federal historic tax credit project, we didn't want to torture the building. So the units are large. We have, you know, 1500 square foot, two bedroom, two bath apartments, which is on current construction, like weird. It's just, they're really big and they're expensive as a consequence of being big. But what we're finding is there are people who will like nice stuff, and they're willing to pay.more for an apartment. And it's still cheap compared to New York or Boston. It's expensive in Providence, but there are people who will pay that. And right now we're working on the second phase of that project. So that's probably 26 unit building. We're going to try to get some three bedroom apartments in that, which is again, sort of philosophically, we think it's important that there are places where families could live in multifamily housing. It's on a park. It's a beautiful location. And then the project we just started,As we acquired a 50 ,000 square foot mill building in a kind of old industrial area of the city that has, it's one of those things where the previous owner kind of ran out of money and attention. So some things got done, but not other things. So we're finishing that up and that project, we are actually going to complete sort of the previous owner's plan, which was to create modestly priced commercial spaces. So we, in our portfolio, about 50, 50 residential and commercial, which isn't.necessarily by strategy. It's just sort of where we've ended up. Uh, but I think on the margin, we're a little bit more comfortable with commercials than the typical developer or landlord in our area. So because we run so much of it and it's full, I mean, we're 95, 97 % full and commercial across 300 and something thousand square feet. Um, and that's because we price to rent it, you know, and we take a good job caring for it. Uh, we follow the advice of making things smaller if they don't rent.Seth Zeren (22:57.878)Right? So if you make them smaller, then you make the rent smaller, which means more people can rent it. Um, and there's turnover, but you have a reusable unit, just like an apartment, people move right into it, uh, run their business out of that. So it's been good. I mean, you know, who knows things could always change, but we see a lot of value in, you know, one of the things that happened in American cities is disinvestment and white flight took place was not only did the people leave, but I'll sort of all the businesses.So it's like, what is your dentist? Where's your doctor's office? Where's your accountant? Where's your graphic designer? Or, you know, where's your retail shops, you know, your salons, your banks, your restaurants, your bars and restaurants and bars usually come first, but that's only a piece of the ecosystem. You know, it's a whole, you know, you need gyms and retail stores and yoga studios. And I know that sounds kind of trite, but it's sort of a, a, a curating kind of orientation. So this building, part of the strategy is to create a building that is safe.and modestly priced and not pristine so that it's a building in which people can do work. So it's artists, fabricators who have real businesses but need a space to operate their real business. It's not just a crazy building, spray painting the walls, but a reasonable building, not too expensive, not too fancy, but safe. Sprinklers and a roof that doesn't leak. So that's kind of our current project.Kevin (24:16.149)Yeah. Yeah. That's a great model. It reminds me a little bit of one of Monty Anderson's projects in South Dallas, sort of a similar deal, large former industrial building and essentially a minimal, very minimal tenant finish, but incredibly flexible. And if it's priced right, it, you know, in his case, at least up, you know, very quickly. That's a cool model. So I didn't really have any, a whole lot of personal experience withProvidence probably until the CNU was hosted there in what was that? Mid 2000s or so. Which was the best Congress up to that point and the best one until we hosted one in Savannah, of course. And anyway, I was really impressed by Providence. I thought it was...just an incredibly interesting city, very walkable, really cool architecture everywhere, nice downtown. Just seemed like it had a ton of assets, especially in that region. And like you said, priced very differently than Boston or New York. And so I'm curious about the last decade or so, what's going on in Providence. How's the market there? How are things changing? And as a...more of like a third tier city, what do you see that's different compared to some of the larger markets?Seth Zeren (25:47.094)Well, I think that the big story of the last 10 years is that we're no longer kind of isolated on our own. And I don't know if that's mostly a combination of remote work or if it also has something to do with just how expensive Boston and New York have become and other cities. And Providence has seen some of the highest year over year property appreciation in the country. So you're right. It's a nice place to live, you know, and then if you're paying, you know,$3 ,500 a month for, you know, kind of crappy two bedroom apartment in Somerville, you move to Providence and you can get a really nice apartment for $3 ,500 or you can save a bunch of money. And so that it's not so similar for me, right? We moved down here because it was cheaper. And so that adds demand. It adds demand in the upper end of the market. So a big part of what's happening in Providence, Rhode Island is, is that there's a relatively small number.but of people with a fair amount of resources, income and capital moving here. And the state chronically, because it's sort of been tucked away for a long time, it has very little home construction, right? We are the last, second to last, third to last in per capita home construction every year for the last few decades. And so the intersection of those two things is causing a really crazy housing spike and a lot of angst.And for myself, this is one of the places where like my own experience growing up in the Bay Area and then having my own kids has really hit home because, you know, I know in 20 years, I'm still going to need a house to live in. And my two kids are probably each going to want their own house to live in or apartment. Right. So I either got to build them one. They're going to buy yours or they got to leave. It's math. Right. And so it's put the question of housing shortage kind of on the sharp end of the stick for me personally.Right? Is, you know, am I going to be able to see my grandchildren more than once or twice a year kind of thing? You know, and that's a big deal. Right. And I know people don't quite appreciate it yet. I feel a little bit like a harbinger of doom sometimes because in Rhode Island, the feeling is like this could never happen here. Right. Because we're kind of this backwater sort of economically hasn't done well since deindustrialization. You know, there's some bright spots, but it's a little tough and nice quality of life, but not too expensive. And that whole script.Seth Zeren (28:13.142)of worked for a generation or two, but it's not relevant anymore unfortunately. And then that psychic cultural transformation is going to be really hard.Kevin (28:23.541)So coming from the background that you came from, how do you compare the development or the regulatory apparatus in Rhode Island and in Providence compared to places you've worked or pros and cons and what's going on there?Seth Zeren (28:36.086)Oh boy.Seth Zeren (28:41.494)Yeah, when I go to CNU and I'd say I'm from New England, they're like, how do you work there? Because it's hard. Yeah, we're more heavily regulated region. I think that in some ways that's beneficial to someone like me, right? If you're good at navigating the rules, then it's actually to your advantage to work in a regulated market because there's, you I'm not competing on how cheaply I can put up drywall. I'm competing on who can come up with the most creative use of land and get through the regs.Kevin (28:45.685)Ha ha ha ha.Seth Zeren (29:13.686)It's, you know, Providence itself has a mod, what I would call like a modern zoning ordinance. It's got a lot of, you know, there's things I would quibble with, there's things I would change, but it's basically a functioning ordinance that like does the right things more or less, right? And which is great. We mostly work in Providence. I'd say the rest of the state, like most of the rest of New England, it's still like 1955 and there's no...resources, no political impetus to like really fix that yet. I've, I've helped one of my responses is I helped found last year a group called Neighbors Welcome Rhode Island, which is a sort of strong towns meets UMB type or organization that we're still kind of launching a website now. We're working on legislation, state level legislation, and also trying to support local organizing in these towns.Seth Zeren (30:14.998)So it's a, it's, it's, you know, very similar to the markets I'm used to. It's a new England place. Everyone's in everyone else's business. The place has been inhabited buildings on it for, for, you know, hundreds of years. I think one thing that's always interesting about, about new England though, you know, compared to the national conversation is the missing middle is not missing here. Like our cities are made out of triple deckers, twos, threes, fours, sixes all over the place.Kevin (30:37.653)Mm -hmm.Seth Zeren (30:43.062)Our problem is we don't know what comes next. So a city like Providence right now, the only plan is, and this is true, Boston and these places, you can, sure, you can build on the vacant lots and there's a bunch of vacant lots and you can build those for a while. There's gonna be some bad commercial buildings. You can build on those for a while. There's some old industrial land. You're gonna build on that for a while. But in a different way, but similar to the regions where everything's zoned single family and it's built out single family, you can't add anything.to the bulk of the neighborhoods, which are zoned for two and three family homes, because there's already two and three family homes there. And what we don't have, and I don't think anyone has an answer to this, is how do you create a building typology and a business model and a regulatory framework, building code, zoning code, et cetera, to add density to those neighborhoods, to take a three -family neighborhood and bring it to the next increment.whatever that is, because I don't, I don't think we have a model for that other than to go to a full like five over one big apartment building, but the land assemblage there is really prohibitive. So what's the next thing that's denser than three families on 5 ,000 square foot lots, but isn't a big commercial building. And I don't think we have an answer for that yet. I mean, as a urbanist architecture development community, and we certainly don't have a regulatory framework that will allow us to build it either. So that's like an R and D project. That's sort of a back burner curiosity of mine.Kevin (32:08.981)Does the regulatory framework allow you to build the triple -deckers in place?Seth Zeren (32:14.198)Uh, under zoning. Yeah, kind of under building code. No, right. Cause triple deckers are commercial code. So you need sprinklers. So you can't build them. The cost difference. You'd just build a big two family instead of building a three family. It's a much better strategy. So one of the things that neighbors welcome is proposing this legislative cycle to follow on North Carolina's example and Memphis's examples to move three, four, five, six family dwellings into the residential code. And, you know, with no sprinklers, a single stair. Um,And, you know, we'll keep the two hour rating, just add more drywall. Okay, fine. But, you know, that's one of the things we're proposing along with a single stair reform for the small apartment buildings. But yeah, I mean, it's a chicken and the egg, right? There's no point coming up with the prototype and you can't build it. But then no one wants to reform the building code because there's no prototype that makes sense that people are excited about. So it's really kind of trapped. And so, you know, that's an interesting challenge that we struggle with.Kevin (33:14.069)Yeah. Yeah. I mean, it's an interesting thing to think about what that next increment to would be beyond the freestanding, you know, triple deckers and stuff like that. Because, you know, I guess the first thing that comes to mind as you start to think about neighborhoods more like you would see in New York or Boston, certain parts of those cities that went to like five and six story walk up buildings that, yeah, yeah. And they're not.Seth Zeren (33:39.476)Buildings that touch. That's the big thing.Kevin (33:43.931)really townhouses wouldn't call them townhouses, but they might be like a five story walk up. Like you'd see, you know, on the upper East or upper East side or upper West side or something like that.Seth Zeren (33:49.598)Yeah.Seth Zeren (33:52.982)Yeah, there's two tiers, I think. There is a version that's more about lot subdivision, right? So we have decently sized lots and three families are big, but you might be able to get some more houses on them or bigger versions. And then I certainly moving to the part where you have party wall construction and the buildings that touch, you recover a bunch of lost area to thin side yards that no one can use. That tier is really interesting because you could probably keep them as owner occupant.Right? They'd be small, you know, two, three, four families, but on smaller piece of land, you know, buildings that touch whatever the next year above that, you know, which is like a single stair elevator, five, six stories, you know, 20 apartments. That's a commercial loan. It's a commercial operator. And, you one of the virtues of the triple decker, right, is that you have a distributed ownership, right? So that it's not just.You know, we have tons of landlords in the state, you know, because everyone I own, the triple decker I live in, right? Everybody owns, you know, a two family, a three family mom, grandma's two family, right? It's just it, there's so many opportunities for people to be small landlords for good and for ill, mostly I think for good, but there are, there are some limitations to it. Um, you know, so when I look around at international examples, right. You know, so for example, I teach real estate development on the side, cause I really care about bringing more people into this profession and not profession trade.craft, whatever. And I had some European students last fall, and I brought them to Providence on a field trip, took them around my neighborhood, which is, you know, to native Rhode Islanders like the hood. It's like the inner city. Ooh, scary. And they're like, this is a very nice suburb, right? Because to them, a bunch of detached two and three family dwellings with a few vacant lots in between them or parking lots, this is suburban density. And they're wrong. And they're not wrong. They're right.Kevin (35:19.893)Yeah.Seth Zeren (35:47.786)you know, historically like that, that was a transition. You'd go from town, right? Which is mostly detached, small multifamily buildings to herb to the city. The building starts to touch because the frontage is really valuable and you wouldn't just leave it for like, you know, five foot grass strips and whatever. Um, and so, you know, it still ends up being quite car focused because, you know, everything is sort of far apart and you know, you got to fill in the empty gaps.Kevin (36:13.781)Yeah. Yeah. I mean, a lot of that reminds me a little bit of what Jane Jacobs used to talk about in Death and Life of Great American Cities as sort of like the gray zones. Yeah, the in -between density.Seth Zeren (36:23.094)Yeah, the gray density. Yeah. And what I would say is what happened to my neighborhood to a certain extent, and I think this is true of a lot of American, you know, urban neighborhoods, you know, sort of pre -auto suburbanization is that what happened, there was so much, there was a lot of removal, even where there wasn't wholesale urban renewal, you know, mercantile buildings were taken down and replaced with a gas station, right, or a parking lot. And the church is, you know, brought down, you know, there's little holes in the fabric.And when I look at the neighborhood as like someone who thinks about cities and can see, can, you know, learns to look in that way, it's kind of looks like someone who's slightly sick, right? Their skin's a little pale, a little drawn, you know, there's a little yellow in their eyes. That's what it kind of feels like. And so it's about kind of filling it back up again. I think we've kind of, in a lot of cases, we kind of dipped down into the gray zone and we're trying to get back into it because once we get kind of out of that gray zone, adding density is good.Right, it brings more services, more people, which can support more businesses. And there's this positive feedback that strengthens the neighborhood and makes it better. But in the gray zone, it's like, well, is more people gonna make it worse? Like, what are we? It's a nice callback, because most people don't make it past parks in death and life. It's just too bad. I tell them all the good bits are at the end.Kevin (37:37.781)There's many good bits. But yeah, I think there's an interesting aspect of American cities in particular there where you have, and I think about this a lot, we wrestle with this so much in my part of town in Kansas City where there is a sort of urban density that actually works pretty well where everybody pretty much drives still, right? If you know what I mean, like it.Seth Zeren (38:05.526)Yep. Yep. Bye, Norris.Kevin (38:06.869)The parking is easy and it's just not that, it's not really urban, but it's not really suburban. And I think there was a generation of people who re -occupied a lot of urban places like that in the 70s and 80s in particular, who love it for that. They love the fact that they're like in the city, but it's like parking was easy. Now the problem is, yeah.Seth Zeren (38:17.91)Yeah.Seth Zeren (38:32.182)Yep, we have that here too, absolutely.Kevin (38:34.997)The problem is like historically that was a complete non -starter. Those neighborhoods had far more people, were far more urban. And by today's standards, it would have been incredibly difficult to have a car and drive it around everywhere and park it.Seth Zeren (38:49.258)Well, people forget that like you could have the same number of housing units and have fewer people because house hold size is so much smaller today. So the street is relatively empty, right? Compared to when grandma was living here, you know, 80 years ago, um, as far fewer people around.Kevin (38:53.365)Yeah. Yeah. Yeah. Yeah.Kevin (39:03.381)Yeah. And now with the prevalence of like one car per adult everywhere, the challenge of trying to upgrade those neighborhoods to become more like their historical predecessors, it does create a lot of conflict because then all of a sudden we are wrestling with the, it's really the car issue in many respects. Yeah.Seth Zeren (39:15.798)Yeah.Seth Zeren (39:22.774)Yeah, you're moving from one equilibrium to another equilibrium. And that's always really painful because it's going to reduce quality along the trip, even if you end up in a better place on the other side. You know, one of the things I find really helpful or really valuable, and I admired your work about this, is the business improvement district. And I don't know, whatever we call that microform of government. And we're involved in helping create one on a main street near us that has suffered from a tremendous amount of urban renewal and...Kevin (39:32.501)Yeah. Yeah.Kevin (39:46.003)Mm -hmm.Seth Zeren (39:53.3)institutional concentration and we're trying to figure out how to improve that. And one of things that I've learned from doing that is that the city, even with a pretty strong planning department, Providence has a good planning department, lots of good people, plenty of staff. It's not low capacity, but they got a big city to run, right? And they can't know it super deeply everywhere all the time, right? And here, and I'm involved because we own a bunch of property nearby and I've been working in the area for years. And so I get to know all the other owners and I get to know thethe nonprofits and the businesses and residents and you know, but I'm working on like eight square blocks, if that right. And I know that really well. I can talk about this block versus this block and this crosswalk and that curb and this parking lot and that, that tenant and you know, at that micro level. And it just seems to me that that's gotta be the future of a lot of this governance stuff. Cause to get out of that bad equilibrium is going to require a bunch of really careful.tactical hands -on changes to infrastructure, to private development, public, you know, all those pieces. And when I look at the whole city, I'm like, there's not enough coordination, right? There's not enough attention. There's too many things going on, too many fires to fight. It's at that micro level that I could kind of organize enough people, run the small planning exercise, coordinate the private development, coordinate the public investment and keep on top of everybody. But it's only, you know, eight square blocks, right? In a big city.So how does that work?Kevin (41:21.525)Yeah. Yeah. Well, it's something we've wrestled with a lot and we obviously do a bunch of it here, but I'm a big believer in, you know, place management at that scale. And I think one of the issues that we've seen over and over again is, you know, my city is even much bigger. It's like 320 square miles geographically. It's insanely large. Half a million people in the city limits. So like relatively low density for that large of a city, but...the ability of staff to actually manage all that and know what's going on. It's impossible. It's literally impossible. Yeah.Seth Zeren (41:57.142)Well, I've been city staff and I remember how insane it was. I mean, you don't get out of the building because you're too busy answering emails. You know, this is like you fight with the engineers or whoever about an intersection is like, have you ever stood in the intersection for an hour? Because I have, right? Because I'm there all the time. But you can't run the city, you know, not getting out into the field and seeing the mucky bits, right? And that's like.Kevin (42:17.045)Yeah, there's just a there's a huge mismatch in how we manage cities and their ability to change and solve just solve problems, solve basic problems.Seth Zeren (42:25.43)Well, so one of my questions is, is that in part because like the way we teach kind of all the pieces of city building and management is kind of like, and it feels like they're individually busted and then the system is busted. So like public administration, civil engineering, architecture, planning, you know, development, all, you know, whatever that there's a whole package of different professional schools that you could go to that would teach you these different skills, but none of them talk to each other.And so when they're graduates, I remember being a planner and then talking to the civil engineer Newton being like, we're from different planets, man. Like the words I'm saying, you don't understand the words you're saying, I don't understand, like, and no one's in charge. So we're just kind of like, because every department, one of the things that happens in cities, right, is every department is co equal under the under a mayor or city manager or something. So like planning department can't tell DPW what to do. They're the same level, you know, and so we're just kind of butt heads.Kevin (43:01.493)HeheheheheSeth Zeren (43:23.67)But planning is in a particularly bad situation because they don't have any shovels or trucks or much free cash or anything else. They don't get to do much. Their only power is persuasion.Kevin (43:33.525)And it's the first jobs that are cut whenever there's a recession too. But yeah, I mean, the whole industry is very siloed. And this has kind of been the classic battle of the new urbanism from the beginning was really the push from our side was to create generalists, that people who could pull everything together. And our charrette process was designed to bring all those people together and problem solve at the same time.Seth Zeren (43:36.83)Yeah.Kevin (44:03.317)And that actually worked really well, and it does work really well when you're able to facilitate that. The challenge you have in a lot of city governments that I've seen is that they're just like you said, they're all vertically, you know, all differentiated vertically and it's all siloed. And there's not a ton of incentive for the different departments to understand each other and work together unless you have a particularly strong executive who forces that to happen.Seth Zeren (44:28.662)Yeah, that's really the game. It's like, does your executive get it and care and willing to spend the time on it? You've said something really interesting in the past on other versions of this podcast, which is that, I don't know if I'll get it exactly right, but we spend like 50 % of the time on design, 40 % on policy and 10 % on implementation. And we should be like a third, a third, a third. Here's the thing. I feel like the charrette process is really great, but then the charrette leaves. New urbanists don't have, as far as I can tell, much of an answer of how you actually run the city.There's no proposal on how to reorganize the departments of the city government. There's no proposal on charter reform for cities or, you know, there's a whole universe of, you what should the education for a city manager be? Right. We have, we have an idea about what planning should do differently, you know, and so there's bits and pieces, strong towns, urban three, talk a little bit about the finance side. We're just starting to think about it. When you open that door, you realize, oh my gosh, where are the new urbanist police chiefs? Where are the new urbanist fire chiefs? Right.the controllers, the tax assessors, there's this huge apparatus of public entities that are out there. And I guess part of the reason why the place management is so cool is that you get to actually just be a little micro government. And instead of having to silo off every little bit of things, you're a taxing entity, you can also go hire people to put out flowers, you can also write regulations, you're a whole thing. And so likewise, I feel like the CNU universe has not yet...Kevin (45:47.541)Yeah. Yeah.Seth Zeren (45:55.19)really contended with like the mucky bits of administering, managing the city.Kevin (46:00.245)Yeah, I think that's totally, I think it's totally fair. And, you know, I got a lot of that thinking from Liz Plater -Zyberg who, and so the way she broke it down was design, policy and management. That's the three legs of the stool. Most of the people who came to the new urbanism originally and were most passionate were designers. So they had a very heavy emphasis on design. There were also a lot of policy wonks. So you got that policy piece, but yeah, very few people from.the world of understanding how to actually manage cities. And we've had a lot of interaction and bring people to the table and conferences and all, but I still think very little understanding in that world of how things work.Seth Zeren (46:42.166)Well, and you go, I think, to the International Downtown Association, right? The IDA. How is it that the IDA and CNU are still, like, not connected at all? As far as I could tell, right? From the outside, it just, like, the stuff we're doing is so, so connected, right? And so this, I guess, is a plea to the CNU folks and a plea to the IDA folks, like, let's get together, guys. Because, like, CNU can bring a whole bunch of the design and policy ideas. But you're right, we need managers. And manager, Strong Town sometimes talks about howKevin (46:45.173)Mm -hmm. Yeah.Kevin (46:55.925)This is a good question.Seth Zeren (47:11.132)maintenance is not sexy, right? It's easier to get people to design a new road than just fix the damn road you got. But that's the problem, right? If nobody's interested and we have no way of making management or administration better, like you'll just keep doing new projects and then as soon as you leave, they'll just fall apart, right? Because no one's going to run them when you go.Kevin (47:32.981)Yeah, no doubt. And so hopefully we can make that happen. I would have talked with a few people about this that we need to find a way to link up. I mean, there's always been a linkage there, but it's just not nearly as tight and as strong as I think it could be. I'm amazed when I go to the IDA conference just how few new urbanist consultants even bother to attend, which is shocking to me. It's enormous. But yes, I think there's an in...Seth Zeren (47:53.558)Yeah, it seems like a huge missed opportunity on both sides.Kevin (48:02.965)One of the, I think, ill effects of the last 30 or 40 years of there's been a lot of education that's pushed really smart, ambitious young people into the policy world instead of emphasizing that how important really good management is. First of all, I would say design also. I mean, and problem solving with projects generally is incredibly important.My bias is doing projects is more important than policy, but I know there's a role for both. But management, God, if you don't have good ongoing management of a place, just like any business, if a business doesn't have good ongoing management, forget it, you're toast. And a city, if it doesn't have it, is gonna suffer tremendously. So, you one, go ahead, go ahead.Seth Zeren (48:54.038)Well, I was gonna say, I feel like in my head, I've been thinking about this for a long time. And when I went to school, I went into an environmental management program, quote unquote management, right? It was supposed to train professional people to manage environmental organizations, work in government, work at the forest service, work for nonprofits, working for profits, doing environmental stuff. Were there any classes on management stuff, right? Managing people, managing budgets.Communications, no, it was all science, which is great, fine, like I need to know some stuff about ecology or water management or whatever, but like, how are we a professional school? You know, we have to go out in the world and run organizations which have budgets and staff and HR and communications and negotiation. You know, you can go to the business school and learn some of that and a lot of people did, but you gotta ask yourself like, well, what are we doing here?Kevin (49:44.405)Yeah. Well, man, I had six years of architecture school and there wasn't one business course that was required the whole time.Seth Zeren (49:49.718)Yeah, I mean, I see that. And the planning people, you know, maybe it's gotten better. But when I was going through it, I took a negotiations class at the business school, which was the most useful class for being a planner. It was negotiations. Most planners, we don't need people with physical planning backgrounds. I mean, you need someone who can do some physical planning. Mostly you need some social workers because local government is like a family therapy. They have fights going back 20 years with their neighbor about whatever and who's yelling at who. And it's like, we need just some people to get people to talk to each other.It's not about technical analysis. No one ever voted for my zoning amendment because I had a great analysis. No, it's relationships. So, you know, I look at this as like, and I know there's been efforts around this at CNU, but I think we need to really get serious about building new educational institutions. I don't know that we can do it inside. I mean, we've tried it, you know, at Miami, we've tried it at Notre Dame, and there's been some successes, but it's just not enough, right? 30 years later, you know, there's just...it hasn't really changed anything in terms of what we're training. So we have another whole generation raised up in the old way of doing business and we're surprised when we get the same results.Kevin (50:55.829)Well, one of the things that even mystifies me, somebody who's gone to a lot of architecture schools to do student crits and everything else is like there's this, there's a whole group that have come through in the last, I would say 15 years that don't even know anything now about the early new urbanism because that was like so long ago and it's just not taught. So it's wild to me. It's like that has gone down the memory hole.Seth Zeren (51:14.038)Yeah.Seth Zeren (51:19.35)Yeah.Kevin (51:21.077)So I talk about that a lot with people that I know just to try to keep some of those things going and make sure people have a memory of what actually happened in a lot of those years.Seth Zeren (51:29.91)What I think is so striking is I don't think it's actually that much money that would be needed to build some of these institutions. So if anyone out there is listening and wants to write checks, fantastic. But you could get a lot done for not a lot of money building these new institutions. I really do think that. And the scale of impact on society could be really huge. Yeah.Kevin (51:51.893)Yeah. Seth, I want to switch gears and do one more topic before we run out of time. I want to hit on this piece that you wrote about Yenbys and New Urbanists in Strong Towns and sort of the differences or perceived differences, you know, amongst the groups. I wonder if you could sort of set the table and talk a little bit about what, where you were going with that one. It's a long piece for anybody who wants to read it, but it's, it's really good.Seth Zeren (51:55.862)Oh, sure.Seth Zeren (52:02.538)Yeah.Seth Zeren (52:14.326)Yeah, it's on my my sub stack build the next right thing which is I have small children So we watch a lot of Disney movies. That's do the next right thing, which is a song from frozen 2 But related to incrementalism, right? You don't have to know the final answer You just when you and you're confused you just do the next right thing, you know, you're gonna work your way through it solve the problem incrementally Pragmatically, it's very American way to work. It's good. That's build the next right thing andKevin (52:27.533)Know it well.Seth Zeren (52:45.27)It's a part because like getting to utopia is not like you're not going to take one jump to utopia. We got to like work in the world we're in. So this piece came out actually, ironically, I started writing this in the emergency room with my child in the middle of the night. Because when you have little children, sometimes they eat like stuff and you end up in the emergency room in the middle of the night. So I'm like, I'm like starting to jot down some notes and the notes were really stimulated by another guy, Steve Mouzon, who's been on your show, I think, who, you know, is active on Twitter and occasionally.regularly gets in fights with sort of the very online Yimby crowd. And then there was an exchange, you know, about a piece that Steve wrote and some other people responded. And, you know, a lot of people that I'm considered I like or I appreciate their work. I mean, I appreciate Steve's work. I assign his book on on on the original green. I appreciate Nolan Gray's work. I assign his his stuff. So but I was really struck by this continuing like fight.In this case, between the CNU and the Yenbis. And in my analysis, I mean, you can go read the piece, but I'll give you the really short version. It's basically that, and since I'm from California, I'm very sympathetic to the Yenbi argument, right? I feel it in my bones, right? I can never return to the soil I was raised on because of the failure that has gone before us. So in the Yenbi world, it's all about supply. We got to build a bunch of homes, right? And that's the overriding value and virtue and goal.right? You see it celebrate. We're going to build so many more homes. And the new urbanist orientation, which is really importantly different for a few reasons. First of all, it was started in the eighties and nineties when there wasn't a housing crisis. So the DNA is not built around a housing crisis was built around building crappy places, right? Go read, you know, uh, suburban nation, right? It's about building bad stuff. Read consular, you know, that's, that's the DNA. It's also mostly working in the South, you know, in the Midwest to a certain extent whereThere hasn't been a supply crunch, you know, because they're building stuff, right? It's building sprawl. We can build better sprawl, worse sprawl, but it's still just getting built. And so, you know, a lot of that is about quality. How do we build good places? And so what's so frustrating about, I think, to both sides about the EMBC and U debate is that often we agree. Often building density and building quality are the same. So we're on the same team, but sometimes they're not. And the worst...Seth Zeren (55:12.502)fight is with your ally who betrays you, right? Your enemies, yeah, f**k that guy, he's terrible, right? You know, that's easy, but my friend, I thought you were with me, but now we're not, ah. And so that's what keeps happening, right? The CNU folks are like, you know, that might be a little bit too much density, aren't you worried about the blank walls? Aren't you worried about X, Y, and Z? And then, and the, and the, the Yenbis are like, are you kidding, man? Like we're all homeless, like, unless we build this building, we don't have time for your cute little nonsense. You know, your ADU is just too slow, whatever.Kevin (55:15.477)YouSeth Zeren (55:41.878)And so that's, that's on sort of goals and the people are different, right? The CNU architects first developers planners, the Yimby movement really comes out of activists, uh, political advocates, regular people, software engineers who are not professional built environment people, uh, lawyers, right? It's a policy oriented movement, economists, right? That's the core. That's their intellectual DNA is.know, economists at George Mason, whereas the CNU, it's, it's an, a few architects at Miami. That's really different DNA, right? And I think the CNU has, for whatever reason, not really, it's done some behind the scenes politics, you know, policy change, right? There's been really important behind the scenes policy change, very not visible to normal people. It's never been interested in mass mobilization, you know, votes.persuading elected officials, it's not their jam. The Yenby movement is a political advocacy movement, right? So they're trying to like win votes and get lost. So the Yenby folks have gotten more bills passed that does a bunch of CNU ideas, right? The missing middle, ADUs, all the stuff that CNU came up with like 20, 30 years ago is being mandated by bills passed by Yenby. So they're like, CNU guys, we're doing the thing. Why are you yelling at us? Right? But the Yenbys don't always appreciate that the CNU has,rebuilt so much of the DNA of 20th century planning. So like, complete streets was like a CNU invention. People don't realize that anymore because it's now so mainstream. And so there's this sort of tension where people don't see the benefits the others have provided because they're kind of operating in different styles. So that's, I think, the sort of core tension. And then I added the strong towns because strong towns sometimes finds itself fighting with both of them.And often aligned, right? Often we're all the same team, right? I consider myself a Yimby. I run a Yimby organization. I also am a Strong Towns founding member and I've been at CNU a lot. But they're subtly different, right? The Strong Towns thing that puts them at odds with some of these groups is that Strong Towns core idea is that we need to reengage bottom -up feedback, right? That the system is too top -down, too...Seth Zeren (58:06.454)tightly wound, too fixed, too set. So we build these places that are built to a finished state. We can't ever change them. We have tables that are not responsive to content. So we're just locked up. We can't get anything done. And the Strong Town's idea is, well, we need the systems to be responsive, right? If housing prices go up, we should build. If they don't go up, we shouldn't build. We need to make the streets context sensitive. And so on the one hand, we're all for getting rid of parking requirements and upzoning stuff. So the inbys are like, great.But then sometimes we're like, well, that might be too much of zoning. Here's some reasons why. And the Yenbis are like, wait, I thought you were pro density. I thought you were pro development. We're like, yes, but right. Uh, the strong towns, people would worry that the Yenbis in 1950 would have been the suburban sprawl advocates, right? They would have said, we need the houses now. Damn the consequences. We're not going to worry about fiscal insolvency in 50 years. We're just going to build the houses now. You know, that's, so that's the strong towns. Sort tension with the Yenby movement is the top down, the sort of.And this is a result of your movement being led by political advocates and attorneys and economists, right? There's the concern about that kind of top -down policy orientation, these sort of single metrics, let's get it done. And then I think sometimes there's also debate with the CNU around things trying to be too precious. Ther

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. Magalí Armillas-Tiseyra's book The Dictator Novel: Writers and Politics in the Global South (Northwestern UP, 2019) positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène, Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

Where there are dictators, there are novels about dictators. But "dictator novels" do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. Magalí Armillas-Tiseyra's book The Dictator Novel: Writers and Politics in the Global South (Northwestern UP, 2019) positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong'o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène, Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

MDJ Script/ Top Stories for Feb 15th            Publish Date:  Feb 14th            Commercial: From the Drake Realty Studio, Welcome to the Marietta Daily Journal Podcast.    Today is Thursday, February 15th, and Happy 69th Birthday to Simpson creator Matt Groening. ***02.15.24 – BIRTHDAY – MATT GROENING*** I'm Dan Radcliffe and here are the stories Cobb is talking about, presented by Credit Union of Georgia. Technical Issues with Farebox Distort CobbLinc's Ridership and Revenue Data Cobb County to Launch Innovative Transit Pilot Program in South Cobb Cobb Commissioner Challenges Chairwoman's Funding Proposals Amid Trust Issues   Plus, Bruce Jenkins sits down with Leah McGrath from Ingles Markets to discuss microwave meals.   All of this and more is coming up on the Marietta Daily Journal Podcast, and if you are looking for community news, we encourage you to listen and subscribe!    BREAK: CU of GA STORY 1: Farebox Malfunctions Skew CobbLinc Data on Riders, Revenue Activists and Cobb County bus drivers have raised concerns about the reliability of the county's bus system ridership data due to faulty fareboxes. Local transit advocate Matt Stigall and Reverend Jeff Jones have voiced their skepticism, supported by four CobbLinc drivers who confirmed the existence of these technical problems. In response to these issues, the Cobb Department of Transportation is set to request a $1.3 million budget allocation for the replacement of the malfunctioning fareboxes. This move acknowledges the technical issues that have been causing data inaccuracies. The timing of these developments coincides with an upcoming vote in Cobb County on November 5. The vote will decide on a proposed 30-year, 1% sales tax (M-SPLOST) designed to fund future transit projects. However, there are ongoing concerns about the current ridership numbers and the financial sustainability of these projects. Bus drivers have reported increased stress levels due to the faulty equipment, which has also led to additional distractions as they are forced to manually count passengers. To address these concerns and improve data accuracy, Cobb DOT director Drew Raessler plans to seek approval for the farebox replacement from the county commission by April 9. STORY 2: Cobb to Implement Transit Pilot Program in South Cobb The Cobb Board of Commissioners has greenlighted an initiative to fund a two-year pilot microtransit program in the southern region of Cobb County. With an approved budget of nearly $3.5 million, the program is designed to boost localized, on-demand transit services. Primarily funded through state and federal grants, the county will be responsible for covering 30% of the total cost. The microtransit program aims to provide curb-to-curb service, connecting riders to other transit services within Cobb County and extending to Atlanta. This initiative is part of a broader plan, the Mobility Special Purpose Local Option Sales Tax (M-SPLOST), which proposes funding for significant transit improvements. These include the addition of 108 miles of bus rapid transit and arterial rapid transit routes. Despite facing opposition from several commissioners, the microtransit program ultimately received approval. Funding for a potential third year of the program is currently being reviewed by CobbLinc and the Atlanta-Region Transit Link Authority. STORY 3: I Don't Trust You': Cobb Commissioner Fights Chairwoman's Funding Requests During a recent Cobb Board of Commissioners meeting, a heated debate arose between Chairwoman Lisa Cupid and Commissioner Keli Gambrill. The dispute centered around Cupid's proposal to shift $200,000 from her contingency fund to the county's operational budget. This move, which was ultimately passed with a 4-1 vote, is intended to finance policy research and other related expenses. Gambrill accused Cupid of lacking transparency in her actions, raising specific concerns about the expenditure on the "Cupid Loves Cobb Tour." This initiative, led by Cupid, aims to spotlight local businesses. In response to Gambrill's criticisms, Cupid defended the tour as a valuable community event. The exchange emphasized the deepening divisions within the commission. During an hour-long debate, both Cupid and Gambrill exchanged personal barbs, highlighting the ongoing tensions.  We have opportunities for sponsors to get great engagement on these shows. Call 770.799.6810 for more info.    We'll be right back. Break: DRAKE STORY 4: Cobb Elections Establishing New Absentee Ballot Division Cobb County Elections Director, Tate Fall, recently received approval from the Board of Commissioners to establish distinct absentee and registration divisions within her department. This structural change is intended to ease the workload on staff during election periods. To support this reorganization, Fall requested funding for three new full-time positions: a division manager, a communications specialist, and a GIS analyst. However, Commissioner Keli Gambrill expressed reservations about the approval process. Fall underscored the importance of these new roles in ensuring effective voter service and enhancing the organizational structure of the department. The division manager will be responsible for overseeing aspects of election operations, which will enable better focus and efficiency. STORY 5: Kennesaw State University to Offer Master of Science in Artificial Intelligence The University System of Georgia's Board of Regents has given the green light to Kennesaw State University (KSU) to launch a Master of Science in Artificial Intelligence (MSAI) degree program. Set to begin in fall 2024, KSU becomes the second institution in the state to offer a master's degree in AI, aiming to cater to the growing demand for professionals in this field. This interdisciplinary program will be based in the College of Computing and Software Engineering and will build upon the existing AI Concentration within the Computer Science Department. KSU President Kathy Schwaig emphasized that the program is designed to prepare the next generation of AI leaders and address the changing needs of the workforce. The MSAI curriculum will provide an integrated approach to computer science, data science, IT, and software engineering, preparing students for a wide range of roles within the AI sector. Graduates of this program will be well-positioned to enter a field that is projected to have a substantial impact on the global economy by 2030. The program places a strong emphasis on practical experience, offering internships and collaborative projects to equip students with the skills necessary to handle real-world AI challenges. We'll be back in a moment.   Break: INGLES 9   STORY 6: LEAH MCGRATH And now here is Bruce Jenkins' conversation with Leah McGrath from Ingles Markets to discuss microwave meals.   Break:   Signoff-   Thanks again for hanging out with us on today's Marietta Daily Journal podcast. 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Alejandro Cardenas is an artist who lives in NY's Hudson valley, Primarily focusing on Painting, Sculpture, and drawing. He graduated with a BFA in fine art from Cooper Union. He has had solo exhibitions at BFI Miami, James Fuentes Gallery, Anat Ebgi Gallery, Harper's Books, Stems Gallery and Almine Rech. His current exhibition titled “Porta-Mantis” is on view until March 2nd at Anat Ebgi Gallery's Fountain Avenue Location

#Gaza: More and elaborate tunnels discovered.  Joe Truzman is a senior research analyst at FDD's Long War Journal, focused primarily on Palestinian militant groups and Hezbollah. Malcolm Hoenlein @Conf_of_pres @mhoenlein1 https://www.timesofisrael.com/on-gaza-civilian-evacuation-road-idf-uncovers-largest-hamas-rocket-factory-to-date/ https://www.timesofisrael.com/liveblog_entry/largest-underground-weapons-production-site-found-to-date-in-south-gaza-idf/ https://www.fdd.org/analysis/op_eds/2024/01/23/u-s-and-united-kingdom-forces-jointly-strike-8-houthi-targets-in-attempt-to-halt-ship-attacks/ 1857