A real life story that happened to me with two different customers.
Once upon a time there two files. Each file was used in a different organisation. The files were important for the organisations and several people needed access to them as several departments and projects needed to be able access, update and read them.
The Microsoft customer
In the first organisation the file was created by a team manager who then uploaded it into a team room in Microsoft Teams. Everybody with access to the team room could now reach the file and work on it. However, they didn’t have version control, nor could they really set different permissions for different users of the team room.
Furthermore, other teams also wanted access to this file. But as long as they weren’t members of that particular team, they couldn’t reach the file. The solution was to upload a copy of each file to the other team rooms in Microsoft Teams. Each team got a different copy. The problem with that solution was everybody was now working on different files. This created a lot of confusion.
Finally they had to sit down and try to merge all the copies into one file, which took a hell of a lot of manual work. When the file was to everybody’s liking, they now uploaded it into Sharepoint. They could now add this Sharepoint file to several team rooms in Teams. They could also set permissions so that some teams could write to the file, while others could only read the file. But they could only set the permissions for the team room as a whole. They also had version control now.
However, the team members had a hard time understanding why the file wasn’t in their Teams files. They had to remember to go to the Sharepoint tab in Teams to get to the file. If they wanted to see the file revision and version control, or wanted to see who had done what to the file, they had to open the Sharepoint app. It was a lot of unnecessary work that made a lot of users rather grumpy and confused.
They also wanted to share the file outside of their organisation with a couple of business partners. This could be achieved via a guest account, but this wasn’t something they wanted to do. Instead they discovered that they could share the file externally via the Offie 365 apps, but only if you changed several permissions in the Sharepoint admin tool first. It was a lot of work and they ended up emailing the files to the external users. They then uploaded the edited file they got in return into Sharepoint, with all the pitfalls that came with such an approach.
What they did love though was the ability to let several people edit a document at the same time in their web browser. This worked beautifully, and they could have an online meeting where everybody was working on the same file, seeing the updates being made live. After saving, all the formatting in Office file was intact.
It was also very easy to access the file via Windows Explorer and to open it up in Office to work with it locally on their computer.
But as the number of Teams grew and people started using more and more of the many apps inside Office 365, it became more and more difficult to have the overview the workers needed to keep up to date. There was no singular newsfeed to keep people updated.
The IBM customer
In the second organisation the file was created by a team manager who then uploaded the file to his own profile in IBM Connections. He then shared the file with his team via the community the team had in IBM Connections. Now all the members of this community could both work with and read the file. They also had full version control and they could also set different permissions for different community members.
Other teams also wanted access to this file. This was no problem. Since the original team leader had uploaded the file to his own profile, he could just share the file with any other community or other users directly. Everybody was now working with the same file without any hazzle.
And even though the file really resided in the original team leaders profile, each community saw the file in the Files view of their community, as if the file was there. There was no need to look for other apps or tabs inside the community. To see who had done what to the file, and to have revision and version control, all they had to do was to to go to the file inside their community. All the details were there.
They also wanted to share the file outside of their organisation with a couple of business partners. This could be achieved via a guest account, but this wasn’t something they wanted to do. And since they didn’t want t to do that, there wasn’t much they could do, without buying a third party app like Box or similar. This was a major grievance for the organisation.
What they also wanted was to be able to let several people edit a document at the same time in their web browser. To be able to to this they had to buy IBM Docs as it doesn’t come out of the box in Connections. But they soon discovered that IBM Docs screwed up the formatting in the Office files, especially in Excel and Powerpoint. For Word documents, they got by.
However, it was very easy to access the file via Windows Explorer and to open it up in Office to work with it locally on their computer, something they were very happy with.
What the IBM customers also was very happy with was that no matter how many communities or how much functionality they used, everything was contained within the same user interface, the same program and the same newsfeed. You didn’t need to think about when to use what functions, everything was inside IBM Connections.
Microsoft’s Office 365 has great functionality when it comes to document editing and creating good and useful Office files. It’s also good for smaller collaboration teams. However, there are way too man apps and way too many possibilities, and despite this, it’s still very difficult to share information and files between these apps. Heck, it’s even hard to share information and files between different teams within the same application. For a large organisation, I would definitely think long and hard before I started using a lot of these apps, especially Teams. A Sharepoint site is better, but then you will have a lot of development costs in addition to the license. Unless you find a good Sharepoint template to use.
IBM Connections on the other hand works out of the box. There’s no development needed, unless you want to of course. It’s also very easy to share information and files across the organisation and the various applications inside Connections. The users are thinking of Connections as one app, unlike Office 365 where you have to deal with many apps. This latter so confusing that Microsoft has made an 85 (eighty five!) page manual to tell you when to use what app…
Bot solutions have the ability to create guest accounts so that you can invite external users. But where Connections can’t share files outside the organisation out of the box, Office 365 actually can.
Both solutions makes it seamless to work with files directly from your local PC and from your email.
So both have their strengths and weaknesses, but I find Connections to have the upper hand when it comes to social collaboration and it has a lower learning curve when it comes to working effectively with it as a collaborative tool across the silos of your organisation. Office 365 still encourages silos.
However, if all you want to do is work with files and not much else, Office 365 is the way to go. And: You can actually work with Office 365 files from Connections. Something you cannot do the other way around.
Any thoughts, questions or comments? Use the comment fields below!
One of the things I like about Facebook is that it can show you what you posted on this particular date all the way back to the year when you joined. Facebook is often showing you this functionality in your newsstream:
Under the memory itself, you can click on See More Memories to see all the memories for this particular date.
Some days you don’t get to see this memories reminder in your feed. But there is still a way for you to see all of your memories for today.
Simply add an /onthisday after facebook.com in the url in your browser. So the adress will then be: www.facebook.com/onthisday
If you are on your cell phone, simply open your web browser there and write m.facebook.com/onthisday:
There you go! See your memories whenever you want.
Please leave your comments and tell me what you think of this (and other) tips for to give any other feedback.
It was when vocalist Jon Anderson gave his all at the beginning of the last section of “Heart of the Sunrise” that the hairs on the back of my neck were higher up than a Republican’s hackles if you mention Hillary Clinton.
I had chills running down my spine, and it wasn’t because the guy behind me had poured the ice cubes from his drink down my back (they had melted a long time ago and the water was now mixed in with my sweat). The stage was flooded with light from the spotlights, and I saw that the almost sold out concert venue Sentrum Scene in Oslo were having the exact same experience as me. “Love comes to you, and you foloooooooow” Anderson sang, and I realised I could either have an orgasm or start crying. I chose the latter…
But which Yes was on stage this evening? Don’t worry. If you are uninitiated, I’m not even going to attempt to explain the complicated story of exactly who is or isn’t a member of Yes at any given moment. Let’s just say that it’s complicated. I mean, really complicated. Just take my word for it, ok?
It’s so complicated that these days there are two versions of Yes currently on their 50th anniversary tours. I saw the other Yes this Easter during the 50th anniversary celebrations at the London Palladium. Said band has no original members left after bassist Chris Squire died. Still, they are the ones named just Yes, and they also are in possession of the rights to the famous Yes logo.
The band playing at Sentrum Scene in the Norwegian capital this evening, on the other hand, has Yes founder Jon Anderson as their leader and vocalist. His voice, and name, are what everybody thinks of when identifying Yes. With him he as guitarist Trevor Rabin, who came into the band in 1983 and gave the band their comeback hit “Owner of a Lonely Heart.”
Third man out is keyboardist Rick Wakeman, who’s been in and out of Yes so many times that I ran out of fingers trying to count them. However, say “Yes” and “keyboardist” in the same sentence, and most people will say “Rick Wakeman.” He’s also had a solo career that resulted him selling more records than Yes ever did.
The last time I saw Yes on Norwegian ground it was the other Yes, with Benoit David on vocals. That was an unmitigated disaster of the biggest proportions. David sang so out of tune that a dead hamster buried in the basement of a 30 storey house under a ton of bricks would have tried to get away. And people left the concert in droves.
However, with Wakeman and Anderson on the bill, it seemed that Norwegian Yes fans were willing to give this version of Yes a chance. I was also pleased to see so many young faces there, even if I was below the medium age in the room. But it didn’t really matter, because the band was welcomed with arms that were more open than a Scotsman being told he will be paid in cash. And it’s been a long time since I saw that many people at this particular venue.
The concert started with the instrumental “Cinema” from the album “90125,” before we jumped into “Hold On” from the same album. Then it was straight back to the 70s to perform “South Side of the Sky,” a song Yes almost never played in their 70s heyday. We stayed in that decade to be served one of Yes’ most famous songs, “I’ve Seen All Good People” (- For all the good people of Oslo, as Anderson said).
And so it went. We were in the 70s (“And you and I,” “Perpetual Change,” “Heart of the Sunrise” and “Awaken), with the occasional trip to the 80s (“Changes,” “Rhythm of Love” and “Owner of a Lonely Heart.”) At one point we even visited 1994 and the album “Talk” through the song “I am Waiting.”
Wakeman was in character in a long glittering cape going all the way from his shoulders to the floor (you get away with that sort of thing if your name is Rick Wakeman). His fingers were dancing over the keys like they were made of air. All the soup diets he’s constantly tweeting about didn’t seem to have had much effect, but my oh my how he played. It wasn’t quite up there where it used to be, but my music teacher in middle school would have given him a A-. At least!
And then it’s Jon Anderson. The man who was described as “slightly to the right of Hitler,” by original drummer Bill Bruford, when it came to the treatment of his bandmates… Anderson is 73 years old, and even if his voice isn’t as flawless as it used to be, I know quite a few aging rock vocalists who are green with envy when they hear what Jon Anderson is still able to pull off, vocally. (A certain other Anderson, who’s first name starts with I, I’m looking at you!)
Rabin is a few years younger than Wakeman and Anderson, but he is the one who has been seeing a plastic surgeon on a regular basis, as well as getting lots of hair transplants. He looked like a cross between Ray Monroe in Twin Peaks, Michael Jackson and Little Richard. Still, he’s a great guitarist and I didn’t mind the rearrangements he did of some of the 70s material.
Drummer Lou Molino III played the drums and percussion just brilliantly, and bassist Lee Pomeroy got to play around with “Heart of the Sunrise,” where the entire opening riff is carried by the bass. However, for a band that was started by one of the most brilliant, and original, bass players of all time, Chris Squire, it’s just plain wrong to hide the bass in the mix the way they are doing on this tour. Stop it!
The concert also lasted for just over two hours, way too short for a Yes concert!
But that is just nitpicking when you think back on such magic moments like “Awaken,” where harp, church organ and Jon’s cosmic lyrics made you fly so high that you wondered if you had consumed other remedies than just beer that night. The version they did of “Owner of a Lonely Heart” was also fantastic. Especially the incredible jam session they did towards the end, including a keytar solo.
And when the whole thing was concluded with an encore consisting of a flaming version of “Roundabout,” we all could just dance (or at least as close to a dance as a stiff and aging body is able to) out in the summer warm Oslo, knowing full well we had just seen “all good people.”
Please come back soon, Yes featuring ARW. I am waiting! I am ready!
As I wrote in this blog posting, IBM and HCL presented what was new and upcoming in IBM Notes and Domino v10 and 11 at the Engage conference at the end of May. Domino is the server, which they now hope to people will start using as an open development platform with the help of technology like Dokker and Node.Js. Notes is the client, where users traditionally have used the applications developed on the Domino platform, as well as using the email and calendar features the client offers.
They also announced new functionality for the Notes client, but I was very disappointed that there won’t be a new user interface in v10. Instead, HCL and IBM are going with the same design that the six-year-old v9 already has. But on the other hand, what future does the Notes client really have?
In this day and age, a heavy client is not something you want to have to deal with. I have great love for the Notes client, and I’ve defended it against haters several times. Yes, it can be cumbersome to administrate, but the Notes client has an undeserved bad reputation.
Yes on stage at the London Palladium. Orginal drummer Bill Bruford introduced the band and joked he was the original member on stage that night.
An English translation of my story from the 50th Yes anniversary fan convention at the London Palladium
Jonathan Grierson is only nine years old, but a huge Yes fan. – I’ve been a Yes fan for several years, the young man told us. And Yes cover artist Roger Dean was more than happy to sign the 50th anniversary Yes book for Mr. Grierson.
– I’ve been a fan since I was very young. The comment from Jonathan Grierson shouldn’t surprise me. After all, we are at the London Palladium at a fan convention to celebrate the 50th anniversary of Yes. And even if the average age of the convention participants is pretty high, a lot of the fans weren’t even born when the band started out. Yours truly was born four days after the band’s fifth album, the artistic peak of the band, Close to the Edge was released.
No, what surprises me is that Jonathan is 9 years old! And I have just witnessed him getting the autograph of Roger Dean, Yes’ legendary cover artist.
– I listen to Yes a lot, I was introduced to them via 90125, says Jonathan. – At night I always have a radio on, I listen to Planet Rock a lot and I’m also a great fan of Queen. But at my school I don’t think anyone has ever heard of Yes. It’s kind of cool to like something the others don’t. And my friends would think it is bad music. But I listen to a variety of music. Nothing modern, though.
His mom, Melanie Grierson has been a fan for over 30 years and admits her son was kind of force fed Yes growing up. She attended the Yes concert the night before the fan convention but thought it was a bit late in the evening for a nine year old to be up. So Jonathan will have to wait a bit longer for his first Yes gig but it’s good to see that the recruitment of new Yes fans is still going on.
David Watkinson has collected Yes memoribilia for over 40 years. During the charity Yes fan convention at the London Palladium March 24th he put parts of it on display.
However, the fan convention is by no means a bad consolation price. It was organised by Yes memorabilia collector extraordinaire, David Watkinson and Brian Neeson, the founder of Scottish Yes Network. The event is sponsored by PROG, and editor Jerry Ewing was hosting and doing Q&As on stage during the day. Tribute bands SeyYes and Fragile were also performing. Everything was done in cooperation with Yes and their management.
Yes also played two gigs at London Palladium the same weekend. Both nights Trevor Horn did a guest spot on vocals on during Tempus Fugit from the Drama album. Horn was the lead vocalist on that album in 1980. He also produced their two other albums in the 80s (90125 and Big Generator) as well as their 2011 album Fly From Here. During the convention Yes also released a remixed version of Fly From Here, with Horn on lead vocals.
The profits from the convention will go the Christie Hospital in Manchester and the organisation Kangaroos, that works with children with special needs. And with over 500 fans, from all over the world attending, quite a lot of money came in.
Jerry from PROG
Host and PROG editor Jerry Ewing is delighted when I tell him about the 9 year old Yes fan. Ewing is friends with members of both bands touring as Yes at the moment (see further down for details) and was asked by their management to be host.
– It’s one of my favourite bands, so I said yes. It’s also safe to say that without Yes, neither Prog nor Classic Rock Magazine, would have been started by me. They are the one of the quintessential prog band, no doubts about it. And even if I know most about the band’s history, I have to take into account that people in the audience don’t. So, I have to ask questions accordingly during the Q&As.
Ewing lead several panels, one with Roger Dean and the authors of various Yes books. And later on in the day, he lead the Q&A with the whole band. Nothing Earth shattering came out of the Q&A, but the band looked be in good spirits. And vocalist Jon Davis, currently in his 7th year as their singer, admitted it was a dream come true to be in Yes.
David Watkinson has collected Yes memoribilia for over 40 years. During the charity Yes fan convention at the London Palladium March 24th he put parts of it on display.
The convention was spread over two floors at London Palladium. Downstairs was the bar and the concert venue. Upstairs was a wonderful exhibition of Yes memorabilia, courtesy of David Watkinson, author of the book Yes: Perpetual Change. One of the most popular items to take selfies with was the reproduction of the mannequin head from the cover of The Yes Album (1971).
But those who took the time to have a closer look at the framed newspaper clippings, got to see a lot of band history and trivia, written back when it actually happened. This is a refreshing change from reading modern day biographies that are written with the huge benefit of hindsight.
– I’ve collected for 40 years, says Watkinson. – And in the pre-Internet days, that involved writing letters, sending faxes to Japanese collectors and to America and so on. It could take months from you had tracked a collectable down until you had it in the post.
Another one who was delighted to be at the convention was Kevin Mulryne. He is one of the hosts of the Yes Music podcast. Over the last seven years, Kevin and Mark Anthony K from Canada (– I’ve never met him, says Kevin), have made over 300 podcasts where they are discussing Yes’ career and doing interviews with Yes members and others. You can check them out yesmusicpodcast.com. Currently they are going through all of Yes’ singles.
– We have met so many Yes fans here today who listen to the podcast, and that has been very nice, said Mulryne.
Personally I started listening to the podcast after speaking to Mulryne, and I have to say that I’m seriously impressed with how good Mulryne is in front of a microphone. I’ve worked in radio myself for years, and that is a good radio voice. And he never ever messes up any words.
Norwegian Yes fan Lars Garde had stopped in London on his way back home from the US just to attend the fan convention. – It’s been a great experience he said. And he was fortunate enough to bump into Steve Howe to get an autograph too.
– It’s about how you can tell a story about Yes from the music, rather than through the personnel changes and soap opera surrounding the music business.
The book seems to have struck a nerve, because he ran out of copies and had to jot down names and addresses of people who wanted a copy of the book.
During the entire convention, there was a constant line of people waiting for Roger Dean to sign books, pieces of art and of course album covers. There was also a lot of his artwork on display and to be bought.
– I think I have signed around 400 items today, he tells me after the whole thing is over.
We are just about to have a small chat when a record company representative comes over to talk about some problems surrounding a new Yes box set Dean has done the artwork for. (The problems referred to here ended up in the entire box set, which was curated by Jon Anderson from the other Yes band touring these days, being cancelled -Hogne).
– There are always some complications, he tells me afterwards. – I remember when I came to Yes with my cover ideas for Going for the One in 1977. Vocalist Jon Anderson was painting pictures, pointed at them and told me that this was what he was after. And I basically said no. So, I didn’t make the cover for that album, even if they kept the Yes logo. Although if it’s been a bit on and off, my relationship with Yes has been going on for at least 45 years, give or take.
The London Palladium is a beautiful venue and over 500 people came to the Yes fan convention. The upper floor was at times very crowded because the line to Roer Dean’s signing table.
On and off relationships like that are something Yes is known for. There has been a ludicrous amount of lineup changes, and the band celebrating this weekend has no original members left, after bassist Chris Squire sadly died a few years back. The current lineup is Steve Howe (guitars), Billy Sherwood (bass), Geoff Downes (keyboards), Alan White (drums) and Jon Davison (vocals). Steve Howe and Alan White, have been an integral part of Yes for most of their career, and Howe is these days in charge.
However, there is also another Yes in existence. They consist of Yes founder Jon Anderson, their most famous keyboard player Rick Wakemand and guitarist Trevor Rabin, who saved the band in the 80s. Under the monicker Yes featuring ARW they are currently touring the world, playing Yes music. None of them were at the convenion, a fact that drummer Bill Bruford pointed out when he introduced Sunday night’s gig, by stating he was the only original member present that evening… Jon Anderson was invited to the event, but he had commitments that prevented him from being able to come.
– I would call it the nature of the beast, says Jerry Ewing about this situation. – It’s the music business. But as a fan I have to say that I’m happy to see two bands playing Yes music. It’s the best of both worlds.
All other Yes fans I talk to at the convention agrees. But podcaster Kevin Mulryne adds:
– I think Yes featuring ARW is hiding the bass in the background at the concerts. Chris Squire’s bass playing was an integral part of the Yes sound. So, pump up the bass!
Yes are given a standing ovation after the end of the concert at London Palladium, where the band and fans gathered to celelbrate the band’s 50th anniversary.
A week ago today the annual Engage conference started in Rotterdam, on one of the most amazing conference venues I’ve been at so far, the ship SS Rotterdam, which is a permanently moored hotel ship in the harbour. Theo Heselmans put on a stunning conference, where over 400 people attended. They were IBM Customers, end users, IBM business partners, members from other user groups, people from IBM and I’m sure there were other representatives as well.
As a part of the Brainworker consultant pool, I was treated to this trip by Arne Nielsen, who footed the bill. We did a road trip from Norway to the Netherlands, via Sweden, Denmark and Germany both to and from the conference. It was a nice trip, but I think we will fly next year…
Photo: Kristoff Bruers
I also did a presentation at the conference called “30 tips about IBM Verse.” I was so nervous that nobody would come, but it turns out I got a full room with 50 people. And the feedback was great.
Milan Matejic wrote: “Nice Session for everybody who plans to use Verse Client on a regular basis. Packed with lots of information delivered in a funny and energetic manner.” Aww! Thanks!
Notes/Domino v10 and 11
IBM presented a lot of things around IBM Notes/Domino v10 and v11. I’ve written about most of the Notes 10 stuff in this blog posting, but I will mention the new stuff they presented at Engage about 10:
Support for unlimited documents in folders – This really means nothing to me
Enhancements in Domino Cluster Administration – This was about time
Cluster configuration document – This means you have a place to you configure the files and directories, which have to be clustered
Domino statistics and monitoring via New Relic – Great for administrators
A lot of self repairing and self healing on the Domino server
Roll out automatic updates of the Notes client from the Domino server – Oh yeah!
Forwarding multiple mails in ONE EML-file including attachments and formatting – Yeah… Outlook could do that ten years ago
Scheduled mail delivery – Have to send out an announcement tomorrow before lunch, but you won’t be at work? Schedule it!
Mail policy checks BEFORE the mail is sent to the server – This one I liked. You can actually prevent people from sending out confidential emails
A new “Team Calender” – This can also be used as a Team Mailbox. But most important: You can overlay the Team Calendar over your personal one! Yay!
Forwarding meeting invitations to other persons – Should have been made 10 years ago. But it comes with a twist that the competition doesn’t have: You can set up when you create the meeting whether people should be allowed to forward the meeting invite or not
Persistent chat – This means you can log off Sametime in your Notes client, and then continue the conversation, uninterrupted, on your mobile client. And vice versa.
Nothing new here, but it was strongly hinted that when the lacking functionality in IBM Verse is in place, Verse will replace iNotes as the Domino webmail platform.
What’s Nomad? It’s the ability to run your Notes applications on an Ipad, without the need of any coding! Everything (except mail and calendar) will work! I got to do testing with this on an Ipad, and it worked beautifully
This was the biggest news. Turns out that HCL, who took over development of the ICS portfolio (except IBM Connections), have started developing an alternative to the Notes client. It is more reminiscent of an application with feeds, but it’s still early days.
The first beta of Notes/Domino 10 will be out in June, and the second one will be out in August. We did get to se the new Notes 10 client, and I was severely disappointed. It looked just like V9, but Feeds, OpenSocial Component and Composite Application Editor will be removed. This an attempt to make the client lighter. It also stems from customer feedback that almost nobody was using these features of the client. You can also change the colours of the client in totally different ways than before, but a visual impression is so important, that I really wish the design of the client had been changed.
Notes/Domino v 11 will be out already next year. That version will have a much tighter integration with Active Directory, so that you will be able to create Notes users in AD, and then they will be automatically created in Domino Directory as well. Another vision for Notes/Domino 11 is that of low code. It will be even easier than it is today to set up applications, both for mobile, web and the client itself.
Also, the Domino Designer might get killed off, so that you can the Visual Studio Plugin for coding instead. The idea is that anyone should be able to code a Domino based solution, without much, if any, knowledge of the Domino platform. With new and improved APIs they will be able to read from and write to Domino. Personally, I hope they also get rid of Eclipse.
It was also revealed that over 200 developers (TWO HUNDRED) were working on the next versions of IBM Notes/Domino. And at one of the presentations, the lead developer agreed with me that Xpages had been a blind alley. Thank you! I’ve been saying that for years. And: There’s no end of life date for Notes/Domino.
There was also talks about IBM Domino in the cloud. You can already today move your Domino applications to the cloud or run them in a hybrid environment. This will be made even more easy in the future.
Phew! That was quite a lot about Notes/Domino 10 and 11. What else did we learn?
IBM Watson Workspace
Watson Workspace is something IBM is pushing really these days. They have already made templates for various types of businesses, that will make it easier for organisations to have spaces where teams can collaborate, and have their data analysed in ways that will make it easier for you to make quick business decisions. At least that’s what IBM says. It can also be integrated into IBM Connections Cloud. Contact your local IBM sales person, or partner, to give it a try.
I also attended a few sessions where organisations did presentations on what they are using IBM’s Watson technology for. I especially liked Margo van der Stam’s presentation about what the Dutch tax office is doing by automatically processing letters from the public. It was very interesting to hear about the challenges they have by making the automatic process recognise things like addresses, censoring the names of the sender and decide on the right cause of action. It’s all still in being developed, so there is a manual review as well.
I also saw demos on how to make scripts and customise the templates so that you can add your own actions that you can trigger Watson to do. It is a very promising technology.
Sponsors and partners
The sponsor room was great, with a constant stream of food, snacks and drinks. It was also nice to talk to several of the business partners and sponsors about that they could offer for Office 365, Notes/Domino and IBM Connections.
And speaking of IBM Connections. There was nothing announced about Connections. Less than a year ago at Social Connections in Vienna, it was all about IBM Connections Pink. Now? Quiet. The only times it was mentioned was whenever IBM denied they were only thinking about cloud customers, or when it came to integrating IBM Watson Workspace into communities in IBM Connections.
In addition, I attended a couple of sessions about how to leverage your Notes/Domino data by using various types of technologies and development platforms. Especially Paul Withers talk about Node.RED and the Domino APIs was great. I’ve worked way too little with stuff like this and should really get my act together.
The people that you love
And that was the technical stuff. Another important part of the conference is the social bit. On Tuesday the sponsors and speakers were pampered to a great dinner, with tribal drumming and didgeridoo playing, on the deck of the SS Rotterdam. In beautiful weather, I might add.
On Wednesday Theo took us speakers, as per tradition, on a secret tour. We started the evening at the Dutch Pinball Museum and ended up with a dinner at the Euromast tower.
The next morning Arne and I drove back, and thanks to lots of road construction work on the German Autobahn, we weren’t home in Norway until 3 in the morning. And I had to be at the train station at 04.20…
Once again, Thanks for a great conference, Theo. You give us other user groups something to really strive for! And thanks to all the attendees, especially my fellow IBM Champions and the other speakers, for helping to make it great. See you all next year!
You can see my entire photo album from the conference here:
I’m sure you have received them too. Tons of annoying emails where companies or organisations are explaining to you how they value your privacy, and that because of the new GDPR directive from the EU, they are asking for your consent to continue sending you emails.
Yes, there is a new directive that will soon be put into action. The original date was on May 25th, but it’s now been postponed until June. However there was most likely no need for the company to send you an email asking for your consent. In fact, these emails are most likely illegal and a violation of both GDPR and privacy rules that already are in effect!
In an article in the Guardian, Toni Vitale, the head of regulation, data and information at the law firm Winckworth Sherwood, says that businesses are not required to ask for your consent. They already have your consent because of the existing 1998 Act, which was made in preparation for GDPR.
Also: Consent is just one of the six legal grounds under GDPR. The others are contract, legal obligation, vital interests, public interest and legitimate interests.
In addition, recital 171 of the GDPR makes it clear that you can continue to rely on any existing consent that they already had from you, which you gave them by signing up in the first place. There is absolutely no reason to ask for your consent again. All an organisation has to do is to make sure the consent met the GDPR standard, and that they are properly documented.
In short: You have received tons of unnecessary annoying emails for no reason other than a lot of consultants wanted to make a shitload of money by preying on the misguided fear that companies could be fined insane amounts of money. Naturally these companies wanted to cover their asses.
Not only that, but by emailing you these GDPR emails, the sender will most likely be breaching the rules set by the Privacy and Electronic Communications Regulations, which makes it an offense to email someone to ask them for consent to send them marketing by email!
To quote Vitale: “If the business really does lack the necessary consent to communicate with you, it probably lacks the consent even to email you to ask you to give it that consent.”
On the positive side, if you just ignore these emails and don’t click on any of the links in them, you will not receive more annoying marketing emails from the companies that sent them to you…
Mike Oldfield talks about his career, ups and downs, hurricanes, personal demons, how he made the music industry aware of Napster, how the London Olympics vindicated him and his last album “Return to Ommadawn.” And what has Jean-Michel Jarre got to do with Oldfield’s teeth? Turns out, quite a bit!
In my work as a freelance journalist and photographer, I’m lucky enough to meet with and/or interview a lot of famous (and some slightly famous) musicians, scientists, models and artists. I especially like to talk with people who have made a very important impact in my life.
One of those people is Mike Oldfield. In the 80s he was every now and then releasing hit singles, which kept him on my radar, but it was 1990s Amarok, which consisted on one (1!) track lasting one hour and four seconds that got me hooked.
He started out with his sister Sally Oldfield in a folk band called Sallyangie when he was only 15. He then went on tour and record with musicians like Kevin Ayers.
In 1973, at the age of 19 he composed and released the album “Tubular Bells.” It was the very first release on a newly started company, Virgin Records, and was the start of Richard Branson’s fledgling Virgin empire, now including Virgin Airlines and a world spanning business.
The album went on to sell 15 million copies and has since spawned two sequels and a re-recording, as well as having been sampled and copied by hundreds of artists.
In the decades that followed he became a touring artist, then stopped touring, dabbled with computer generated music videos, did computer games and released over 20 albums. In 2017 he released a sequel to his third album, “Ommadawn,” called “Return to Ommadawn.” The original practically invented World Music, by combining African musicians with Irish and Celtic music, as well as pop and rock. In short: Just as unique as the artist himself.
Just a few days before “Return to Ommadawn” was released in January 2017, I got a lengthy chat with Mike Oldfield. Me in a studio in Molde, Norway, with rain pounding against the windows. Him in his studio in the Bahamas, with the sun shining through his windows. The original article was published in Norwegian by Dagbladet. But here you have a very expanded version, in English. Enjoy. And please let me know in the comments section what you think.
– First of all, I got a preview copy of the “Return to Ommadawn” album a few days ago, and I’ve listened to it constantly. It’s a very beautiful album, I have to congratulate you.
– Aww! Thank you. That’s lovely to hear.
It’s very acoustic based, compared to the music you did in the 90s and 2000s, isn’t it?
Yes, and that was on purpose. Because the original “Ommadawn” was very acoustic. I did use some keyboards on it. Among them a very early string machine, which was an Arp Solina. But the sound was dominated by acoustic instruments like guitar and harp, African drums, electric guitar and so on. I tried to choose the same instruments for “Return to Ommadawn”.
– Did you play everything yourself this time?
– Yes, everything.
– Even the flutes?
– Yes, but I can’t play the recorder very well, and there is a recorder on the original. However, I can play the penny whistle pretty well, so it was a good substitute.
– Technology finally caught up with me
– Was it a spontaneous album to make, or did you use bits and pieces you have collected through the years?
– It was very spontaneous. The first job was to assemble all the instruments I was going to use. And I used a metronome to get the rhythm going. Then I started off with the bodhran, an Irish drum, and started to see where that lead. And day by day, I added more and more. First a guitar part. Then another. So, I continued to add layers for 11 months until it was finished.
– This was a sequel to “Ommadawn,” which was created in 1974 and 1975. What is the main difference between creating music then and creating music now?
– Not much, really. I had to wait for technology to catch up with me, and it did about five years ago. The computer programs that came then made it easier to have a true home studio, and finally the sound you recorded digitally started sounding just as good as the old reel-to-reel tape that we used back then.
Skinny guys shouting
In the late 70s the old rock heroes from earlier that decade started to become looked upon as dinosaurs and boring old farts. The punk music movement had arrived, and Oldfield felt it in full force.
– In the late 70s my music went out fashion. That’s when the people I call “the skinny guys shouting music” became popular. And my music was looked upon as old fashioned and so on. In order to survive, because I had financial troubles as well, I started touring.
After touring with a full orchestra, and lost a ton of money, Oldfield realised that he had to streamline his touring band.
– I whittled the band down to seven musicians. I also changed my music into becoming more mainstream.
Through the 80s Oldfield therefore made a series of more song based albums. He had several hit singles, like Moonlight Shadow, which was huge all over Europe in the summer of 1983.
Vindicated at London Olympics
Oldfield kept going through the 90s and 2000s with albums that covered everything from Irish music to classical music, pop and even techno. He also did two sequels to Tubular Bells. But all the time he was feeling frowned upon by a snobbish music press. Then the summer Olympics came to London in 2012. And Mike Oldfield was asked by film director Danny Boyle, who was in charge of the opening ceremony, to play during the tribute to the National Health Service.
– That made me feel validated, because I got to play to so many people. In addition, some very complimentary things were written about both me and my music. And that made me think it was time to get back to my roots from the 70s and make album length instrumentals again, that were hand played.
– I was going to ask you about the Olympics. I remember when I saw the opening ceremony, I saw you on stage, and I was so happy for you. Because I know all the shit…
*sound of Mike snorting on the other end*
… – the British press has flung in your direction through the years. That must have been a glorious feeling of vindication?
– Ha ha. Exactly! Yes, it was a wonderful feeling. Nothing can best that. It was the number one gig on planet Earth for any musician. And it was a lot of people trying to get in on it. I was doing some sessions over Skype with musicians in Los Angeles. And there were people coming into the studio all the time going “can I get it on it, can I get it on it, it is the Olympics, oh my god” and so on. Ha ha. It was like winning a prize in the lotto. It was fantastic.
Oldfield describes what a wonderful evening the whole thing was.
– Everybody, all the performers and musicians, even the audience, they gave it their very best. Everybody was pulling in the same direction to make it great. I think when British people get down to it, they can do fantastic things. Unfortunately, the British mentality is more about being rude, bored and nasty. But when it really comes down to something important, they can still do it really well. It’s nice to see that, because I am still English at heart.
He is not staying in Britain, though. For quite a few years, the tropical island paradise has been his home for semiretirement, and he is reluctant to leave the islands. Even for short trips.
– Yeah, funny enough, Bahamas used to be British. But they still have a lot of the old traditions of Great Britain. It reminds me when I was growing up in a town called Reading, 20 miles away from London. Children go to school in their uniforms, people get dressed and go to church on Sundays, there are police on the streets and such things. Just like Britain in the 50s. It’s very lovely.
– The weather must be better than Britain, though?
– Ahh! Yes. Apart from the occasional hurricane, the weather is fantastic. Actually, just when I was putting the finishing touches to Return to Ommadawn, we got a direct hit from the hurricane Mathew. That was a very, very powerful storm, and it did a lot of damage. We were without main power for over three weeks. They had to re-wire the powerlines for the entire island.
Oldfield did have an emergency generator, and he says he became an expert in generator maintenance.
– The album was actually delivered to the record company via a little satellite dish on my roof. Via this satellite we have a very slow backup internet connection, so it took me about 24 hours to send the entire album via that connection. There was no cable, no DSL or anything.
– I got this image in my head now with you on the studio floor, with emergency powers, recording, surrounded by candles or something similar.
– Ha ha. Yeah, it was kinda like that.
Tubular Bells app
As mentioned earlier in the article, Oldfield has done a lot of musical styles. Pop, classical, Irish, World Music, ambient, reggae, ambient, techno, rock and the end is listless. I ask him if there’s a genre of music he hasn’t done yet.
– Ha ha. No, there isn’t much I haven’t tried, is there? Can you think of anything? Maybe I could try Bollywood, or something like that. Ha ha. I don’t know. I’ve even done the very ancient music from Bali on my album “Islands.” And I’ve done classical, folk, rock…
– Very often when you listen to an album by an artist, you think “oh, this sounds like the previous album by this artist.” Putting on an Oldfield album, you know you are going to get something vastly different from your previous album. Is this a conscious decision on your part?
– I do think through before making an album about what I want to do, what kind of instruments I’m going to use and so on. I’m working at the moment on a new music player. It’s going to be an advanced music player, an app. I see it as an extension of the old phonograph player, with the huge speaker, like the one the dog is listening to. It’s about time we had a new player.
This new player is going to be based on Tubular Bells 4, Oldfield tells me. So, yet another variation of that classical album, which celebrates it’s 45th(!) anniversary in 2018, is on its way. However, this player will offer even more.
– You will be presented the music via multitrack, so you will be able to create your own mix, if you want to. And it’s going to have a virtual reality section, where you can go into these three-dimensional worlds. Here you will be able to explore beautiful environments while listening to music. The music will change, depending on where you go and what you do.
– Is this going to be a mobile app, then?
– Initially it’s going to be made for desktop PCs. Maybe we will do a stripped down version for mobile. I’m also interested in seeing what happens with those Virtual Reality headsets. If they catch on, we might support them as well. Nearly everybody has a desktop computer, these days, haven’t they?
When I describe Tubular Bells 4 as a multimedia package, Oldfield disagrees with me.
– That sounds like something you buy in the supermarket. No, this will be something new and a different experience. I did some games in the late 90s and early 2000s that were released with a couple of my albums. They were great fun to make, but they cost me a lot of money, and they didn’t sell very well, he he. But they still work, and you can get your hands on them online. Which is nice. Some people still play them. But of course, the quality in graphics have improved considerably since then. Even a simple laptop can today do wonderful things you could only dream about in those days. You’d need those big Silicon Graphics machines for that back then.
Jean-Michel Jarre and the dentist
Oldfield says CD sales have fallen so much that you have to find other ways to get your music out. However, he is very happy about the rise in vinyl sales.
– That’s wonderful! It’s a lovely thing having those vinyl discs.
“Return to Ommadawn” is divided into a Part 1 and a Part 2, just like in the old days. Did you think vinyl when you composed it?
– Absolutely. I still think of two sides of a vinyl disc when I make music. It was a wonderful ritual doing two sides of music. And then going to see the engineer cutting the master of the vinyl disc. We lost that in the world of going from the studio and then straight to digital download. Things are looking a up a little bit for the music industry these days, I must say.
– I interviewed Jean-Michel Jarre a few months back. And like you, he also thought of two sides of a vinyl disc doing his latest album. And he also did a sequel, Oxygene 3.
– He also said that nobody does sequels in music, except for “me and Mike Oldfield.”
– Ha ha! I’ll tell you a story about him. I got a link from someone to a live chat he was doing online on social media. So, I followed the link, because I wanted to look in. This was about his collaborations albums that he did [Electronica 1 and 2 – Hogne]. And someone asked whether he would consider working with me. He replied that he loved my music, but he thought of me as more of an acoustic musician. And I went: “Hmm. If he thinks of me as an acoustic musician, maybe I should make an acoustic album?” That’s one of the reasons I made “Return to Ommadawn.” So, thank you, Mr. Jarre!
– That’s a great story. And he told me as well he liked your music. Do you like his music?
– Oh yes! A funny story about that: My very first introduction to the very first “Oxygene.” I was about to go on tour for the very first time, and my tour manager said that I really needed to go and visit the dentist before the tour. Because some of my teeth were out of alignment.
So, Oldfield went off to see an expert dentist in Harley Street.
– And he said he could put a cap on it. So, I went to the laboratory where they were making the caps. And they were playing this music, which sounded weird, but really nice. And I was enthralled by it. They told me that this was by this French guy, and that the music was called “Oxygene.” So, there they were, making my new teeth, and listening to Jean-Michel Jarre. This slightly out of this world music. True story.
– That’s funny!
– And I still got the same caps on my teeth, to this day, ha ha! 40 years later.
Mike Oldfield and Jean-Michel Jarre’s music have always been compared as being similar, even though there is nothing similar about what they do, other than it being instrumental. Vangelis is also often thrown into that comparison. I ask Oldfield why he thinks that is.
– You’re right. The only common denominator is that it is instrumental, or most of it. None of us have really used anyone as frontmen. And the musician has been more a producer or technician, rather than a performer. And since we all do most of the playing composing and producing ourselves, they maybe see some similarities between us in that way. And of course, not many other artists have been so consistently successful with instrumental music, as those three.
Return to the 70s
Return to Ommadawn is a sequel to Mike Oldfield’s third album. However, listening to it you also hear a lot of traces from his second album, “Hergest Ridge”. I ask him if he agrees with that.
– Yes, that was on purpose, really. I am very active on social media, and I can see what fans write about my music. And I was very surprised with how popular both “Hergest Ridge” and “Ommadawn” were. It seemed to me a lot of people actually preferred “Hergest Ridge” and “Ommadawn” to the original Tubular Bells, which surprised me a lot.
So, Oldfield went to work with the mindset that he was back in the mid 70s, composing. The challenge was to find the right way to start.
– Tubular Bells start with the tinkling piano, for example. I thought I could start Return to Ommadawn with a folk melody. But I decided to set the scene by making the opening very atmospheric and use the same kind of beginning as I did with Hergest Ridge.
– Paul Stanley of Kiss says in interviews that you have a lifetime to prepare your first album, and for the second you have six months. Was that how you felt when you started working on the follow up “Hergest Ridge” after having an unbelievably popular first album?
– Tubular Bells took my whole life to write and get recorded. Just the part of getting into a recording studio took years. Two or three years before this, I was taking my demos around to all the record companies. And they threw me out, like I was crazy. Because my music was instrumental, it had no vocals and no drums and so on. It didn’t help that I was a young guy with long hair and a beard, not looking in any way like a star, you know.
Is being miserable a prerequisite for being a composer?
In what Oldfield describes as pure luck, he bumped into some guys, including the now world famous billionaire, Richard Branson, who were putting together a new company called Virgin.
– They had a recording studio in this old mansion, called The Manor. And I got my foot in there by being the rhythm and bass guitarist for various obscure artists. And these people believed in me and gave me a chance to prove myself. I couldn’t believe my luck. But it took me so long to get there that after “Tubular Bells,” I didn’t really have another album in me.
This was difficult for the people around Oldfield to understand.
– I was always followed around by these people, especially Richard Branson, going “where is the new album”, he he. “We’ve made millions from the first one, make another one! Quick” Ha ha. So, I was sort of pressured into making it. This made me have a difficult relationship with “Hergest Ridge” for some time, but in hindsight, upon listening to it again, I think parts of it are really beautiful.
In 2013 BBC made a wonderful documentary about the making of Tubular Bells. The album was produced by Tom Newman, who also has produced several of other Mike Oldfield’s albums through the years. Some fans even say that Newman is always there when Oldfield makes his best music. In the documentary, Newmans says that Oldfield always makes his best music when he is miserable. I asked Oldfield if he would echo that sentiment.
– Hmmm. *long pause* It goes back to the time when I was a teenager. I was very unsure of myself. Which of course is quite normal for a teenager. But I felt it very deeply. I was having what I’ve later learned was an “existential crisis,” it’s what the psychologists call it. It used to really frighten me. So, music was a world on its own to me, where I had control and understanding. And every instrument was like a character that its own voice. That made music so real to me. I also saw how much power and influence music can have on people.
In the past four years Oldfield not only lost his oldest son, he also got divorced. I therefore ask him if those demons were lurking in the background when creating “Return to Ommadawn” as well.
– I wouldn’t call them demons. But I’ve been through four very difficult years. There was huge tragedy in the family and I had legal problems, personal problems and financial problems. Record sales are nothing like they used to be, you know. So, I guess I kind of retreated into this world of music again.
Oldfield underlines that he’s not unique in that regards.
– A lot of artists do their best work when they are under pressure from other things. Because you can retreat into this safe world, where you know exactly what’s going on. In the past few years I’ve seen the darkest side of life, and the darkest side of human nature. And none of that exist in my musical world, you see?
The heritage of Napster
– You mentioned low record sales. Going back to Jean-Michel Jarre again, who is currently the president of CISAC (organisation that works for the rights of artists), he said that if artists aren’t properly paid for their work from digital and streaming services, we will not get a young generation of new artists who are able to make a living out of musical career. What is your take on that?
– He is absolutely right! It all began with Napster in the early 2000s. I had a colleague who alerted me to Napster. So, I informed my lawyer about it, and he informed my record company. The following week it was on the frontpage of Music Week. It became easy for anybody to listen to anything for free. As far as I understand it, streaming services pay a blanket fee to the record company to be able to play all of their music, but very little of that money comes back to the artists on the lower levels. If an artist gets million of plays, I guess there will be some sort of kickback. But if you get a few thousands, you get nothing. So, it’s absolutely right, it will be impossible to make a living out of recording music. Touring will be the only way to make money, unless the artists and record companies are able to sort things out.
As mentioned above, Mike Oldfield has himself made several computer games. And he says that the music industry could learn a thing or two from the gaming industry.
– If you have a computer game, it’s very difficult to copy it or have people putting it online for free. I think maybe the music industry should look at their business model and offer the music in protected, but user friendly, online services. So that when someone buys your product, you get your reasonable share and people can start making money again.
– Modern music is like porridge
Which brings him over to the state of music these days.
– I think music today has become so formulised that… it’s still good music, don’t get me wrong. But it’s become so formulised that it’s like a porridge. Everybody sort of follows the same ingredients on how to make a song. And everything sounds inhumanly perfect at times. That’s why on “Return to Ommadawn,” I kept the mistakes I made during the recording of it. If I played a little bit wrong here and there, I didn’t tidy it up. Most of it was first take, just like “Tubular Bells” was. Back then we had so little time, so we just had to keep going. Back then those mistakes used to bother me.
But now, he says, he realises things actually are imperfect.
– It’s like us humans. It’s human to have flaws and imperfections. But in this day and age, we photoshop the human body in photographs. You know, they make people’s waistline thinner and smoothen the face and so on. The same has happened with music. It’s all perfect. But nobody’s perfect. In my opinion music has lost all of it’s character and individuality.
In a lot of the world Mike Oldfield is mostly famous for Tubular Bells. In America that’s the only thing he is famous for. But in a lot of countries in Europe, he is most famous for pop songs like “Moonlight Shadow” or “To France.” In my homeland of Norway, “Crises” from 1983 is his most famous album. It was on the charts for almost a year.
– That must be kind of cool, to have different markets and not being a one trick pony?
– Ha. That’s a good point. I suppose it is kind of cool. All countries have their individuality and different cultures will like different things. In Germany, for instance, they never really liked Tubular Bells. But some of the later albums became very, very popular. It’s a bit strange, yes. But a good situation, I think.
Oldfield and Norway
In 1985, Mike Oldfield released the single “Pictures in the Dark.” The lead vocalist was Norwegian singer Anita Hegerland (herself a huge star in Germany) and Oldfield and Hegerland became a couple for the next six years. They had two children.
– We have to talk a bit about Norway, because you have a special relationship with Norway. You have kids and grandkids here, haven’t you?
– That’s right, yes. I’ve been there many times.
– Do you like it here?
– Yeah, it’s lovely.
– It’s a bit cold, though.
– Yes, but you expect that.
These days he doesn’t leave the Bahamas, and instead his children come to see him.
During his career Oldfield has worked with several guest vocalists and musicians. Some already had successful careers beforehand, while others gained a career because of working with him. But there is one in particular who I’m anxious to talk about.
– You also worked with one of my other big musical heroes, Yes vocalist Jon Anderson. Tell me a little bit about how that cooperation started.
– I can’t remember how that came about, really. The only time I met Vangelis was actually at Jon Andersons’ house. This was just as I was doing the soundtrack for the movie “The Killing Fields.” And Vangelis had won the Oscar for “Chariots of Fire.” So, I asked him about working with David Putnam and some technical stuff when it comes to scoring movies.
The cooperation between Anderson and Oldfield heralded two songs. The wonderful “In High Places” from the Crises album in 1983 and the single “Shine” from 1986.
– I think it was Jon that contacted me. He has a very unique voice, he he. And we did a couple of tracks together. We even went to the cup finals at Wembley stadium together.
It would take almost six years from the breakthrough of Tubular Bells in 1973 before Oldfield went on his first tour, the Exposed tour. After that he went into a cycle of one album a year, followed by a tour, up until 1985. Since then he has toured once, and that was in 1999.
– Now that you have started making music again, are there any plans for a new tour?
– Wow. Straight and short answer, there!
– It would be difficult to find people who play the way I do. “Return to Ommadawn” alone has several different styles of music on it. I mean, of course you could find people who can play it, but they would play their own version of it, and then it wouldn’t really be my music anymore.
And once again, we come back to the Olympics.
– The Olympic games was such a high, that I will let that be the end of my career as a live musician. Playing for a billion people… It will be impossible to top that!
Yesterday I got another «Hi, this is Fucker Fuckerson from Microsoft Security calling” call. They had even managed to fake a Norwegian cell phone number this time, which is the only reason I replied. (I never reply to call from abroad anymore. If people outside of Norway wants to get hold of me, they have to send me an email, or message me via one of the many online services I’m on. Once I was called from abroad and they asked “Is this Hogne?” Unfortunately, I replied “yes” and they recorded it and used it as a verification that I had said yes to a lot of services, which I was then was charged for via my phone bill).
However, back to yesterday: I realised it was a fake call when he said he was from Miscrosoft (remember, Microsoft would never ever make an unsolicited call to tell you that your computer is infected). Unfortunately for him I was in a bad mood for other reasons already, so I decided to hurt the fucker. Here’s what I did:
I played along. After he told me my computer was infected, I went “oh no” and confirmed that I would sit down at my computer and let him connect to my computer and help me fix it. What I instead did was sitting down with my trusty old Imac and I started looking through my sound effects library for one particular sound.
You see, I make movies and radio programs, so I have an extensive library of great sound effects. A lot of those are made by yours truly. I was looking for a sound that is a combination of an old modem, a Norwegian civil defence siren (with a higher pitch than usual), a dentist drill sound and nails being scraped along a school chalk board. In short: Sounds that really hurt the ear.
I found the sound, loaded it into my music player, turned the volume of my subwoofer powered speakers to 9, put on my noise cancelling head phones for protection, held the phone as close to my speakers as I could, and turned the sound on.
Even with my noise cancelling headphones my ears hurt. But it didn’t matter. The scream I heard coming from the other end of the phone line was worth it.
For the third year in a row I’ve been invited to go to Engage to do a presentation. Last year we were in Antwerp, where I gave a presentation on IBM Connections plugins, and the year before that we were in Eindhoven, where I also gave a session about the plugins.
This year the event will be held Tuesday – Wednesday May 22nd – 23rd, on board the SS Rotterdam, the former flagship of the Holland American Line. That’s so frigging cool!
If this conference will be anything close as good as the previous two I’ve been to, we are in for a treat. What’s that? You haven’t signed up, you say? Well, you still can! What are you waiting for? I’ts free (apart from the trip and sleeping arrangements)!
You will be there with 400 like minded individuals to learn and engage with the best people within their fields. You will also get the news about what’s coming up from IBM and their partners. Hear the latest news and the roadmaps for Domino, Connections, Verse, Watson Workspace etc.
I will be going down there on a roadtrip through Europe with my friend and business partner Arne from Brainworker. I will be representing Brainworker and the Norwegian IBM Collaboration User Group (ISBG) there as well.