 Hi, everybody. I am honored to get to address Olavi. This is my first SuperDuper WordCamp experience. It's very intense. I like the nerdly feeling. I'm from that world. I planned to talk, and then I realized I had a better idea that came along. So I'm going to start a little different. So apologies for veering off a track here. But I was in Detroit, maybe over, well over a month ago, I was visiting Detroit with a new friend of mine, Hodge Plemings. I want to show you a little video here. This is Hodge. So in the next 24 hours, we want to get one to two websites online and actually put businesses on the grid. So we're starting with Ground Zero. We have a business in a neighborhood, a business owner with a great business idea. Next thing is that we want to make it livable to people all over the world. OK, let's try that. I want to introduce to you my friend Hodge Plemings. Hodge, come on up here. Hodge, come on up. Hodge, I met Hodge through the conference that he runs in Detroit. It's sort of a TED-like conference of thought leaders that connect business and technology. And Hodge was so kind to be my guide to visit Detroit, to work with small businesses. Can you talk a little bit about Detroit? Any Detroit people here? OK, there we go. Detroit in the house, all right. All right, good. All right. Detroit is a very interesting place. It's a place where I believe it can be the blueprint for inclusion. It can be the blueprint of transformation, where a city that has gone through a lot, there's a lot of gritty business owners that put their hard hat on every single day. And there's a lot of things that are happening in the city, but a lot of what I see is very homogenous. It's happening in downtown and midtown. But I think that we have to build a city for all people. And that's what we're truly interested in, in terms of helping business owners. And so we set off to visit your friend Alicia and George. Let's watch Alicia here for a second. It started because I had a dream of owning my own coffee shop in the year 2000. I was working with Blight Busters. And basically, after working and seeing that the group was eliminating Blight and cleaning up and fixing up, it just made sense that, OK, after we clean up and fix up, don't we all supposed to come together and talk and be a community? So I was like, oh, I would love to have a coffee shop. And so my dream was to have this. And although I had the dream and the vision, it was a group of individuals that helped. It was everybody, artists, poets, musicians, volunteers from universities, corporate America, everybody joined in to produce something that eventually became the artist's village. So I remember meeting Alicia. I was so taken by her business, which wasn't this quote unquote business, dollar sign business. It was a community business. And again, I just invited Hodge up like five minutes ago, so this is unprepared. But what is it that you've seen in business you've worked with in Detroit that's a comment like that? I find that there are a lot of challenges that it's very difficult for me to be to change by myself, like your streets that have seven lanes of traffic. So we have foot traffic issues in terms of going into the store. This particular store, they got about 290 cars that go down the street a day. There's about 14 people that walk in. They generate about $3,500 in revenue, not profit in revenue. There's 40 to 100 customers that come in the door. She has no website. So when you began to look at building a website or building a digital presence for a business owner, it's huge because now, if you're coming from the suburbs, are you really going to drive to a neighborhood in Detroit that you've never been to, that you have safety concerns or security concerns without being able to visibly see something online? And so that's what we began to really think about how we could move the needle because that website validates you. You now exist. There's credibility that comes along with it. And it's ground zero in terms of being able to market yourself. And so we realized this is something that I don't have to wait for the city to change and come up with road diets and put bike lanes in and come up with all kind of mediums, all kind of cool stuff because they're trying to keep the doors open. The other point is that these business owners are working 10 to 12 hour days, meaning that they really don't have the time to try to develop and understand all the marketing pieces. They need someone who can kind of help them to get on board and then put together a system that allows them to be able to manage it. And so what we did, when I met Hodge and I felt his vision for Detroit and for cities across America and across the world, I think, too, we set off to make a website. And I'm not sure, if you're like me, I make websites all the time. Click, drag, drag, meet, whatever. And so I think I became lost in that process. I knew I needed to learn. So I was able to learn from Hodge and learn especially from Alicia. I want to share the moment where we showed her her website. That's you. People can click it, and it gives you a beautiful smile. We scroll down here. We are more than just Java. Come here and get your detox water. Oh, my God. And everything about the detox, though, is that big? So I said, you know what I'm saying? Oh, my God, I got a gallon of detox water. But it's all good, so we have good. So we are, so this gets to start, but you know what I'm saying? All right, so is this life? Like, can we use this for the swim? Can I give this as a link to the site? This is a possible customer. Yes, yes. Absolutely. It's live. It's online. Everybody can see it now. So thank you, Hodge. Thank you. And so the point of this experiment wasn't to help someone. It was to learn from them. And this is something I see over and over in how design is changing today. It's the fact that we as experts in design sort of knew everything, maybe. There were a lot of books that told us how to know everything. But our challenge is how to get close to the people actually need things. And Hodge has been one of the many guides in my life. Now he's my guru to understand what I don't understand about small businesses in America. So thank you, Hodge. Let me give you one more round of applause for Hodge then. Thank you. That was completely impromptu, by the way. So I like to sort of give you the answer so you can leave early if you have to use the bathroom. But I have three answers if you sit through this presentation with me. The first is that this is a great place to be, this place of WordPress, this idea of democratizing, publishing, being inclusive, enabling everyone to participate in this digital revolution that's been around for now a few decades. So we have all the values right here to make inclusion important. It's already in us. And I believe that the word design and inclusion are inseparable. Someone asked me, am I an HR? I love HR, by the way. But I think that inclusion and design are so linked together because it's about understanding people. Sonia Lei just gave a talk just a few minutes ago about how understanding your audience, know your audience means, are you acting inclusively. But here's the problem. The problem is that the education system teaches you to not care as much about the people you're working with. Because in education, it's too hard to access the users. So you live in an abstract world of how to create things. You live in your own bubble, essentially. And that bubble extends now to the technology industry as well. So design right now, breaking out of that bubble is the huge challenge today. And inclusion lies at the core of the how to get there. The word diversity is a complex word. I've been studying it for now 15 years. And my favorite definition is a definition that breaks diversity into two types of diversity. One type of diversity is acquired diversity. The other is inherent diversity. The difference is quite subtle but important. Acquired diversity is something you can learn by being with people unlike yourself. It's taking yourself out of your comfort zone to learn how that person lives and feels. Inherent diversity means you're actually in that group. You have experiences that only you will know what that feels like. But both exist. And in many senses, for those who may not have the ability to have an inherent diversity, you can always have an acquired diversity. And with an acquired diversity, what happens is you understand the people better and you can serve them better. They'll be your happier customers. And especially in the case of technology products, because technology products are very unique in that their marginal cost equals zero, which means that it costs no money to distribute these products at scale. And because of that, it produces incredible access to this service that's capable online. And with that access, it means your total addressable market, the people you're addressing, are much broader than you might ever expect. And so coming out of your own zone of who you know will only increase your chances of success. That's takeaways. OK, now let's start over then. So this is my title. I made the title especially long, so I can explain what I do. Global Head. Automatic is global, WordPress is global, so I'm owning that. The second thing is our computational design, a certain kind of design, and inclusion, which I talked about. Now people ask me why I'm so passionate about inclusion in the context of design. It's actually quite simple. It's because I had an accident. Who's ever had an accident before? Accident? It's very jarring. You go over there in the black hair. It's, it hurts. Something happens, and it's like, wait, I thought life was like a normal thing. And then something happens. I had the fortune of an accident where I was jogging. I was in venture capital for three years working in Silicon Valley. And I was living in Arabian bees. I was trying to live like a millennial. And I was living in Arabian bees in Palo Alto. And I was jogging all the time because jogging is good. It's this healthy thing that's supposed to be really good for you. I would wake up at 4.30 and go jogging. And I would jog on the sidewalk, which I know isn't great, but it was accessible to me. And one morning I was jogging. And I was running toward this light. I saw this light over there. I see it every year. I'm running towards the light. OK, I want to make that light. And then what happened is I tripped. Now, I thought that the sidewalk was flat. Be careful. The sidewalk is not flat all the time. We use a linear hypothesis. Do not use that linear hypothesis. Anyways, my guidance system was very confused. Like, whoa, wait a second. I'm flying to the air. Bad situation. I'm going to crash. This is really bad. And so I landed on my face and my arm. And I heard the crunch. And I was sort of lying there in my own blood, sort of sitting there with my Apple Watch, but no iPhone. Really useful. And with no ID and thinking, like, huh, this is a really bad situation to be in. And you're passing out and like, oh, this is not good. OK, so if you feel like that Mars rover that lost computer 1, 2, and 3, you're like, not good. But the power of the mind and body, so I would get up and I would lie on the sidewalk. It was 10 blocks roughly. I would get up and lie in people's lawns. And then I kind of hobbled along and got to the Airbnb and got my phone. And I found out the hospital was 20 minutes away. So I called up an Uber. I cleaned up a bit. I was like a zombie looking a little bit, but it's OK. It was dark. I couldn't tell. And just asked my name. Didn't look at my face. And I got to the emergency room. And then, of course, what happens is they give you a clipboard. And the clipboard, I'm a right-handed person. So I can't fill out this form. Well, you have to fill out the form otherwise it can't be admitted, she said to me. And I said, oh, OK, I'll fill out this form. So you know, like kindergarten script. And I can't read this, but it's going and so. And then I was in a little room, waiting in a little room. And I was there for like an hour. And you know when you're in the hospital, there's all these doctor-like people, right? You don't know if they're really doctors or not. But you better call them Dr. Jess and Case. So one of these doctor-like people came in and said to me, whoa, you look really bad. Can you move your neck? So I moved my neck. And he said, man, you're lucky. And I said, yeah, totally lucky. Like I landed the bad way, but I was still OK. Really good, you know? And then a half an hour later, a nurse comes in. He says to me, oh, you look really bad. What were you doing? I was jogging, jogging. It's like I'm going to get healthy. Look at you, you know? I said, yeah, I'm kind of embarrassed, you know? And he said, we're wearing a vest or anything? Like a light? I said, no. He said, you could have hit by a car. And I said, wow, I could have hit by a car. And from those two moments, you know, it was like surgery came within eight hours, et cetera. It was all kind of a blur. But I remember coming out of it with those two moments of feeling just so lucky. And in that feeling of lucky, I found this one piece of knowledge that I was working on, which was that over the many years of my life, I had noticed that I was curious about this question of diversity and inclusion. I led the efforts at MIT when I was president of a college. It was important to me. But it was at that moment where I discovered that I was Asian. I know, right? I was like, oh my gosh, I'm Asian. I didn't know I'm Asian. And I actually had a post where I came out as Asian. But and the reason why is because I want to highlight that I recognize that by being an Asian male, I've always been able to advocate on behalf of everyone, whether a Caucasian male or an African-American male or a female. I'm always there supporting someone who is different because I'm kind of like a typo minority. I can go everywhere. Are you one? I'm not sure. But it's OK. But I discovered it has actually a secret power. So with that secret power, I began to ask the question, how can I use this? How can I be of service to humankind? And so I began realizing that I had spent most of my life in this area, a space called computational design. And computational design is essentially a fancy word for in the 80s. I was lucky to have been a combination of an MIT computer science person and also a visual arts person. So I was putting things together. I was writing code. I was making all kinds of graphics that most people couldn't make in the 90s. Today, everyone can make everything now. But back then, it was hard to make a lot of things. I made a lot of things for different clients. I wrote software to express, which at the time seemed kind of odd. Today in 2016, it's so normal. But back then, I was like, you know the claymation Rudolph the Red Nose reindeer thing? Or there's that island of misfit toys? I was the dentist, the elf. It was really bad. But because I was early, I made all kinds of things for all kinds of companies. And so it was a good run to design at the time, because it was rare to put these two skills together of computation and visual art. And what I've been trying to do ever since is to understand what worked and what didn't. So I'm going to talk a little about design now, because I think some of you are curious about design. Some of you are designers. Regardless of if you're curious or not, you may have heard of this typeface called Comic Sans. There's like whole websites about this. You can make fun of it. It's like it's a poster child of something people like to make fun of. But I like Comic Sans, and I have a problem with it. We only have a problem with it when it's not used well. And so I want to show you an example of how that happens. So in design, there is a, by the way, if you have any questions for me, just text to my phone number there, 650-272-0471. And I'll be able to stop at any time and answer your question. OK, yep. The number is on stage right now. What's going on? Yes, that's my number. Whoever you are. So design is composed of two things, form and content, at least in graphic design, mind you. There's what it feels like and what it's communicating. This is like an old, old idea. Now I'll note that if we look at Comic Sans formally speaking, what is it? It's an informal handwriting style. It looks like it was drawn with someone's hand. Whether you dislike that person's handwriting, it was drawn by hand. Now if you think of content, so what kind of content should I pair Comic Sans with? Then we discover how design occurs. Maybe it's appropriate for comics, right? Comic Sans, perhaps it's useful for comics. Let's check. So on the left, I have a mouse man calling out to Catman and Helvetica. On the right, I have medicine with Comic Sans. Now, of course, you're concerned about the medicine. You're like, whoa, Comic Sans medicine. I'm not sure if I can take this stuff. When mouse man's talking to Helvetica, you're like, oh, it's like a modernist comic. I'm OK with that. But if you reverse to two, something magical happens. Suddenly, the medicine I will take. It's from Switzerland. It's going to be all right. But mouse man's totally OK. It's so informal. The design is working. It's working because Comic Sans is used for comics. But I bring up the example because combining these two together is what designers are very good at. And I had the fortune of a teacher, Paul Rand, who was a designer who designed the IBM logo and things like that. And he was adamant about it. Just this method, it's a method of putting the two together. And designers tend to be unusually good at it. And by the way, the reason why I have the phone number up there is because I discovered that there's something called WordPress.tv and YouTube, Bimeo. You can always watch someone speak anytime. But if you want to ask me a question, I can stop. And I can get to you. I can service your needs immediately. I wish to include you in this presentation. So that's design form content. Another kind of design that's very important is design that's about utility, not just about aesthetics. Design tends to be a lot about aesthetics, especially in industry. A lot of companies have believed that design is the place that makes something beautiful. Like, oh my gosh, this thing is terrible. Can you make it beautiful for me? And what happens is nine times out of 10, designers are called into action to make it more beautiful. What does that mean? I mean, how easy is it to make something beautiful? I'm not sure there's an absolute beautifying method. Otherwise, we'd have figured it out. So it becomes something highly subjective. And I'll talk about that in a bit. But when it designs about utility, it changes. It gets actually a lot easier to understand. And let me give you an example. So Deborah Adler designed medicine bottles for Target. These are no longer in use, I think. But I mean, she designed medicine bottles in response to the fact that her mother almost took the wrong medicine. Do you remember when medicine bottles looked like this? They had all these stickers all over them. You're like, oh my gosh, I'm totally going to overdose by accident. Some places still use this system. But it wasn't a very good system. But Deborah brought in a different system for Target that was systematized, easy to read. And it was a revolution in thinking about design in regards to utility, a common utility, in this case, taking medicine. Which as you get older, you realize you have to take more medicines, and so it gets really important. If you're younger, you don't care that much. If you're older, trust me on that one. Now, I've been talking with different designers, engineers, and one of my favorite comments from James Nyland. He's an engineer at Automatic. As I was describing design to him, he said, interesting. It is by far the most scientific perspective on design that I've come across. I tend to enjoy the scientific descriptions of design because they're more logical, more rational. But I am irrational enough to ask for you to talk to me. Comic stands is my favorite font. Designers need to stop hating. Laugh out loud. Someone is now asking me for a Venmo payment. That's great. That's new. Very creative audience. So keep them coming. I'm listening. I can hear you. So on the one hand, design can be about debating beauty, which is a pretty tough debate to get into. But some people love that debate. I don't recommend going there. But it's fun with inebriation, et cetera. But design can be about enhancing utility. That's where it gets exciting. That's where a lot of great design occurs. However, the combination still matters. I don't mean to diss the pursuit of aesthetics. Let me explain. So when you think about Maslow's hierarchy of needs, that's a great general model for how people evolve from just the basic need to eat, to be able to think, to be a part of a community, to move up this thing called Maslow's hierarchy of needs. At the very top, beauty is absolutely critical because it's what you get to have after you've graduated from all levels. It's the pinnacle of this is what is right. This is what is good. This is what is great. At the very lowest end, however, you just want it to work. That's all you care about. And it's this combination of the two where everything works out well. Now, the combination is very hard to achieve. The combination is hard to achieve because they are not the same. They're two different types of things. But they're parts of who we are as people. So the nice thing about getting older is you have more feelings. At least I've had more feelings in my life. It's like, ah, I've got some feelings. I'm sort of tearing up, awkward. But you're finding your feelings better. And in that emotional place, you are able to appreciate all kinds of things you couldn't appreciate. If you're just focused on getting it done, you're a whole different person. But we are a combination of those two types of people and that emotional and the pragmatic. And design, at its best, is able to capture both sides and integrate them. There's a word called aichaku in Japanese. It's a great word because the two Chinese characters that form it, the first one means love. And the second one means fit. So it's that combination of something that fits you. It provides that value. But it's also something you're going to love. You have affection for it. It's something special. That kind of design is very hard to create. That's what makes design interesting. This is from, let's see here, one second. I like to be disrupted. I hear you on having to take more and more meds as you get older. Getting old is hard. See? Right? Validated. I got more emotional after the birth of my daughter. Children can break down this wrongness of men. See that? Oh, man, there's feeling in here. That's why I do this. OK. So now here's the problem. The problem is that, on the one hand, this emotional value of making something beautiful and powerful is generally subjective. Like, you might feel different. This person, the blue-green shirt over here, you might feel it differently than someone else. On the one hand, you can also say, well, this is so useful. Of course it's useful. It's subjective. The reality, though, is that both of these modes are subject to flaws. The first one is that this idea of beauty only exists because, if you're a designer trained in aesthetics, you believe you know what is beautiful because you've trained to understand what you think it is. And in doing so, it seems objective to you. So if you try to argue with a designer about comic sans, it's dangerous. Don't try. I really like comic sans. It's like Gandalf will step in and say, don't you dare. Love comic sans. So it's irrational because it's learned. It's learned to become so objective. And it's hard to break those things. As a senior designer, as you get older, how do you break those patterns you've learned to be so comfortable in? On the other hand, something is so useful. Of course it's useful to you all. It tastes the same. It's all great. This is helping all of humankind. This is what we're sold as value. But there are so many products that have been designed for everyone that aren't designed for everyone. Simple example is modern medicine. Modern medicine has been designed for men. It's been tested primarily on men. It's because, actually, and only until a few years ago are women able to be tested for these new drugs because it was not allowed for women to be able to use as test subjects for these drugs. So what does that mean? It means that we administer medicine. That's good for all people. But it hasn't been tested on all types of people. So this idea of utility is also subjective, too. Now why do I give you this just before you're about to see state of the word, which is going to be awesome, and I mean to depress you at all? But it's in these two truths. They both have falsehoods in them. And the way we resolve it is for asking questions about inclusion. I know it might seem very simplistic, but it's what I think can help. Oh, interesting. A slightly inappropriate thing to tell me. OK, we'll censor that one. So three kinds of design are in play. The first kind is traditional design. Traditional design is a design that I was talking about, the design of chairs, the design of things that work really well. Every type of design requires understanding good engineering. I don't know a single graphic designer who doesn't know a printing press back and forth or a single designer who doesn't understand the technology that creates a shelf, that engineering behind it. And the business sensibility is also key to design. Most designers believe that design has nothing to do with business. Have you heard of the school called the Bauhaus? Bauhaus, yeah. Some of your designer people, Bauhaus. Bauhaus was this amazing school. It was kind of like the Justice League of America. It was like all the great designers came together in Germany in late 1900s, 1918, 1920, 1921. And they all came together to sort of create the field of design. This was a project of the German Economic Ministry. It was a business play, actually, because Germany was failing at creating goods that could compete on the global level. And actually, the Bauhaus was created in reaction to the British. In 1857, the British, who were hugely jealous of the French, established a ministry to create two institutions, the Royal College of Art and the V&A Museum to be able to educate the British populace on how to make better things that could get higher margins. And the French have been killing it since the 1700s because they recognize that things made exceptionally well. And with the perception of it being exceptionally well, can command a higher margin. Why is this all important? It's because design takes time. And so it actually costs money to do design well. So only companies that can make an exceptional amount of money can design well. Case in point, Apple, right? I mean, again, this iPhone 7 thing is bugging me. But Apple, the great company, is able to design well because of its logistics. It's able to make those things so much cheaper than they were able to do in the past and therefore have higher margins to invest in design. So that's all of design there. It's all combined, aesthetics, engineering, and business. Then there's something called design thinking. Who's heard of design thinking? Design thinking, it's everywhere. Design thinking was on the cover of a Harvard Business Review roughly six months ago. So big topic, design thinking. What is it? It's basically a fad in business. I hate to say it, but it's clearly a fad. Business loves fads, like Six Sigma, whatever, design thinking. What it is, it's a way to be able to diverge. People who work in small companies find it hard to believe that large companies need help getting creative. It's true. It's because large companies have to execute. Execution means convergence. You are not allowed to go off the random path. And because organizations are trained to work that way, they lose ability to be creative. So design thinking is a method to safely take people, in large corporations, on a creativity journey. It's very effective, I think. It is a period in time where we care about that. OK, non sequitur. Medicine-related joke. A pharmacist gave the wrong prescription, which is a bitter pill to swallow. That's pretty good. This is good criticism here. I think it might be slightly non-inclusive to assume that people operating in the bottom of Maslow's pyramid don't have the mental space or need for aesthetic beauty. You're right. Sorry about that. Alongside design utility, thoughtful aesthetics can make all experiences and lives better. A la William Morse. Thank you, 617 number person. You're right. The best design is the perfect balance of the left and right sides of the mind. Erich Kut 516. I don't know what that means. OK, that's weird, considering men are more statistically likely to die earlier than women. I'm sorry, I don't know the math on that. I assume the medicine thing. Let's get a beer. That's nice. Erich Kut 612. Is there any design that isn't subjective? For example, natural patterns that inspire awe or seem to be universally accepted as beautiful, like flowers. I'm so glad you asked this question, Erich Kut 612. Everything that has to do with design or art is not living in the object or experience. It's living in you. You interpret things. And your interpretation is what creates it. And your vocabulary of knowing what's out there changes how you perceive things. And that is why inclusion is such a key thing to understand today. It is that any design we're doing cannot impact the people because we don't know how they're working or feeling. And lastly, what is web information UX design, this new kind of design? This new kind of design is all due to the fact that computing has been messing up our lives. Let me explain how. So this is an illustration. Five minutes left. This illustration of Moore's law. Everyone heard of Moore's law? Moore's law, yeah. I've been hearing this forever, you know? I want to draw a picture of Moore's law. So this is based on that famous story of the inventor of chess, and how the inventor of chess was going to be paid one grain of rice every square doubled every time. And the emperor said that's a good deal. Turns out it's a really bad idea. It's like a lot of rice. And the numbers doubled in the back, one, two, four, eight. OK, there we go. They keep going. So already halfway across the chessboard, 2 billion times faster than a period before. So in the 1970s, a computer was a certain speed, capability. The computer we use today is now 2 billion times faster. Now, this is hard to fast them when you consider, if you were to buy a car in the 70s, and imagine it to be 2 billion times faster in 2016 at the same price, hard to believe, right? And this is the bigger problem. If we look forward the next 30 years, computers will get this much faster. It's not just billions, trillions, or quadrillions. It's 9 quintillion times faster. That's the speed that your nephew's nieces, children, grandchildren will be tapping into. It is truly unfathomable. And that is the world we're living in today. And that's also the reason why it's exciting to be here, because we're in it right now. And we, as individuals, and as a community, have the opportunity to actually make something with it. Five minutes. So I have the, and someone asked me, will I put this slide online? Yes, I will. OK, I'm going to finish. There we go. OK, here we go. So what is diversity versus inclusion? I raised that point about how there's inherent diversity and acquired diversity, which is pretty easy to understand. I hope you use the definition. Inherent meaning you're in that group. Acquired means you can learn that group. The other thing is the word is diversity and inclusion. What's the difference? This is a quote by Bernie Meyers. Diversity is being invited to the party. Inclusion is being asked to dance. And for those who have the ability to invite people into the dance or to the party, that's a unique power that all of us have in these rooms today. So I invite you to use this. So people ask me, why do I have to care about this stuff? I didn't have to before, because I would design for how I work. And it worked all the time. It worked all the time because the number of users in the world was really small. And they were technical, like ourselves. The users today are so different than ourselves. And so the old principles of design for the computer no longer apply. They will apply if you're living just in the technology world, the pure technology world, which as you know, is still small. It's the bigger world we're all curious about, the world of all the consumers. So inclusion is key. What does it take to be inclusive in design and tech? It just takes four things. I made it easy. The first is for acquired diversity. Just get uncomfortable. I have an Android phone now. So every uncomfortable thing I can do, I'm doing. That's terrible. Again, just from a mechanical perspective. The second thing is to talk to people that you might not normally talk with. I love things like Uber, Airbnb, et cetera, because you meet people you might not normally meet. In terms of inherent diversity, being able to find more people that are unlike yourself, bring them into your communities of work, can make all the difference. It's because you'll begin to see the world differently. But again, I want to make it very clear. It isn't about doing good or doing right. It's about the fact that this is how business has to work in the future. It's how you'll get the largest addressable market by working with more people that are different than yourself. And that's what I think we're trying to achieve as we democratize publishing to include more people. So I'm on time, and I want to see a state of the word. And I have questions. I will text you back, and I can't do the beer thing. Sorry. Thank you very much.