they're like, "oh, my god, evan williams." [evan] i knew biz from google. so i reached out to him to come join our startup, odeo, the podcasting thing. it's good. we didn't lose anyone on the way over here, but maybe on the way back. i started out as an artist, but there was something about the idea of me making the software that allowed so many millions of other people to be able to express themselves that was like, "oh, this is a meta way of being an artist," you know? [evan] i wanted to build the team with curious, creative people. i always think that's the most important thing. i remember my boss at google just saying the same thing over and over to me. "so you don't like money." and i was like, "i like money. money's great." he's like, "so you don't like money." but i just wanted to keep working with ev because we could develop all kinds of crazy things together. he also, i think, was a magnet for jack. [biz] jack had turned up in san francisco. and in south park, there was a place called el centro. and i think he was trying to get a job as a barista.

. >> evan williams. >> and who are you? what do you do? odeo. >> i'm biz stone. >> he's so funny. >> in 2005. well, let's see. the first part of 2005. i think we're just a ragtag group of people in a crummy office in san francisco, in a tech startup called odeo. we were working on what people started calling podcasting. we're trying to build the whole thing all open and on the web. >> it was exciting time. there was just a lot of small companies trying to make. >> it. very nice. >> there was just a sense that something was happening, a sense of excitement, invention. there was a lot of money rushing in. >> and so you saw a lot of little companies like flickr and myspace. facebook started that. it was called the facebook and it was in colleges, and that youtube. they were young and fresh, trying to create something new out of nothing. >> my favorite thing is getting together with people and inventing stuff, building stuff, coming up with new ideas, collaborating like, oh, we do this. it's it's it's a blast. i grew up in rural nebraska on a

evans high commission. all right. i commissioner asllani and williamsmmissioner deputy commissioner guerrero high commissioner lackawanna high, gabriel bauman is approved for c ten on the shelter grievance advisory committee. >> thank you and thank you to the nominating committee for the hard work that you've been doing to fill these seats is actually impressive and i want to extend a warm gratitude to secretary about islam because you have been extremely thoughtful in terms of communication with all the nominees and bringing us all together and pulling all the paperwork together. so we're super grateful that we're at this stage. >> thank you. thank you, commissioner, would we be able to just inform the public of what the available seats? yes, thank you. there's anybody here that would be interested? >> yes. let me read that into the record. >> do you have it in front of you too? it was in the direct, is it? yes, it is. let me grab it from there. >> what's in just for for members? we typically will do this in the directors report but it's also available

evans displays that and those things were written about in the sort of halls where artists would display their work. and later, robert jr as well in portraits. so haven't recovered it was written about williamloyd garrison's the liberator. later in the 1830, he to haiti but this is in the republic. boyer he paints haitian ladies, paints haitian heads of state and is written about again in the liberator, in the press and reprinted and it is that idea that black portraiture matters and the way that it's describe time for the public is important. so yeah, they respond to it not necessarily directly, but they are they are in fact responding. the idea that this person, someone whose life would be caricatured rather described and studied really and preserved documents from the kingdom, and then that it's an interesting subject for robert douglas jr to want go and paint you know the symbol to them of black freedom because there werav the united states too so. to them, this was despite the turmoil. this was a symbol of black freedom. and they wanted to record it and visit and document it and bring it home, bring word of it home to the united states. earlier the presentation we learned that christop