Just as they do every year, health officials are urging people to get vaccinated against the flu. And that's exactly what students are doing here at BU. One of my friends mentioned that they're giving out free flu vaccines and I thought if it's free then maybe it's worth it. According to the U.S. Centers for Disease Control and Prevention, one in five Americans gets the flu. And on average, the flu puts 200,000 people in the hospital and kills 24,000 each year. I know I just thought that it's safer because I don't know what would happen if I didn't get it. I just thought it would be better if I did. Dr. Paul Biddinger is the Director of Operations for Emergency Medicine as well as Medical Director for Emergency Preparedness at Massachusetts General Hospital here in Boston. He tells us more about how the flu shot works. So all vaccines work pretty much the same way, which is they stimulate your immune system to make antibodies so that when you're exposed to an infection you are already primed and ready to go and that prevents the infection or at least limits how severe it's going to be. The CDC recommends everyone older than six months to be vaccinated against the flu. And if you're someone who falls under the high-risk category for developing flu-related complications, this vaccination could be life-saving. However, some people still aren't sold on the flu shot. I don't get the flu shot because I think if I'm supposed to get sick, then I'm supposed to get sick and that's part of my life. We wear our seatbelts not because we expect to crash, but just in case when we're in our cars. And you don't want to be that very unlucky person that has to be hospitalized or in the intensive care unit, even if you're healthy because you didn't get that chance to ward it off of the flu shot. If you still want your flu shot, it's not too late. All you have to do is go to Boston's public health website and use their flu clinic finder. That way you can see where to get vaccinated before this year's flu finds you. For Good Morning BU, I'm Iris Moore.


So, good morning and I will come back to NPTEL course on Classics in Total Synthesis Part 1. In the last lecture, we talked about the Total Synthesis of Strychnine by Viresh Rawal and Larry Overman's group. So, today we will talk about another Total Synthesis of Strychnine reported by Martin Kunis group, okay. So, here in this Total Synthesis, again they used iso-strychnine root that means the synthesizer via iso-strychnine and the key reactions which they used was a tandem manik, co-prearrangement and manik reaction, okay. So, that is a key reaction used to construct the five umber ring. So, this is this five umber ring they constructed using this key reaction, five umber as well as the six umber ring, okay, together they constructed using this three reactions in one step. First they reported resemic synthesis, then they used chiral version starting with corresponding chiral amino acid. So, overall it took about 14 steps to complete this synthesis of Strychnine. So, their synthetic strategy as I said depended on three reactions in one pot, they are manich reaction followed by co-prearrangement followed by another manik reaction. So, they did a model study where they started with this alpha, beta and saturated aldehyde derived from pure and 3-carb aldehyde. So, they treated this with this corresponding amino ester in the presence of Lewis acid at high temperature. The first the aldehyde forms iminium ion with this amine, aldehyde forms iminium ion and the manich reaction takes place. Once the manich reaction takes place, this is the intermediate you get, that is a first intermediate. Now, you can see this can undergo a co-prearrangement, so 1, 5 diene, okay, this 1, 5 diene can undergo co-prearrangement. So, once it undergoes co-prearrangement, you get this intermediate. So, now you have a 9-membered ring, okay, so what you have is a 9-membered ring because of the co-prearrangement. Then as I said it undergoes the second manich reaction. So, the second manich reaction cyclizes again back to the 6-pi system, okay, so that is how in one part he could successfully make this tetracyclic compound, basically he made 2 rings in one part. So, that is the key reaction which he later used for the synthesis of strychnine. So, for the synthesis of strychnine, he does not need this furan, okay, he wants an aldehyde, he wants an aldehyde. So, what he did, he started with the corresponding protected aldehyde, it is a furan, he got this compound and the next slide we also will see how this starting material was made from commercially available starting material. So, he started with this tryptophan, tryptophan is NH2, then he treated with tertiary butyl oxychloride. So, tertiary butyl oxychloride is known to introduce chlorine here, okay, so that way you get the chlorine here. Now, you treat with dimethyl marionide and sodium methoxide, okay, so that will give you the CH, COTME, COTME. What you do not need here is one COTME you do not need, okay and one benzyl group you do not need. So, it is easy, one of the esters can be easily removed by crapto condition, you heat it at high temperature lithium chloride and dimethyl acetone, then dimethyl acetamide, so you treat this with lithium chloride and dimethyl acetamide, it undergoes decarboxylation, so you get only one ester, now as I said you do not need one more benzyl group, so you can easily selectively remove by doing hydrogen aliases. So, that is how this starting material was prepared in 4 steps, okay, starting material was prepared in 4 steps, but I should say 5 steps from triptophan, okay, so once this was prepared then this was treated with this alpha beta and saturated aldehyde, so as I said in one pot 3 reactions taking place, a managed reaction 3-3, sigmatropic rearrangement that is copery arrangement followed by another managed reaction, okay, so then a copery arrangement followed by another managed, you get the corresponding tetracyclic compound, so earlier we had a furan, now you have the dimethoxy, okay, once you have this, next what you should do is you have to hydrolyse the acetal to aldehyde, hydrolyse the acetal to aldehyde, so you do that, now the aldehyde can be homologated, so how do you connect this, now you have to connect these 2, is not it, now you have to connect these 2 and you need one more carbon atom, basically you need one more carbon atom and connect this, so that can be done, now if you take this and then treat with trimethylsulfonium elide, the trimethylsulfonium elide as you know when it treats with aldehyde it will form an epoxide, is not it, so that is what you get, you get an epoxide, now this epoxide, okay, if you remove the benzyl group, if you remove the benzyl group hydrolysis, then what will happen it will open the epoxide, so when it opens the epoxide from the less in that side if it attacks you get the thermodynamic products, okay or it can also attack this carbon, okay, one will give 5 umber ring, other will give a 6 umber ring, okay, correct, one will give, this is 5 umber, this is 6 umber, so you take the thermodynamic product that is the 6 umber which is required, then that can be controlled to get only one as the major product, now if you remove the benzyl group, okay, benzyl group can be easily removed under hydrogenalysis condition, then the double bond, you know I mean the push pull double bond can be reduced with sodium cyanoborohyd, but you get a mixture at this carbon, you get a mixture at this carbon, no problem, the free hydroxyl, now you have a free hydroxyl that should be acetylated, okay, so when you acetylate at that stage you should be able to separate these 2, okay, so you have this beta ester and alpha ester in the ratio 3 is to 1, okay, you can take both beta and alpha, you can take both beta and alpha ester and treat with 2 reagents successfully, one is lithium-examethyl disoloside, say what is lithium-examethyl disoloside or what will you do, it is a base, hindered base, so you have n acetate that n acetate, what it does here, you can see, okay, I have written only this portion, LIHMDS, lithium-examethyl disoloside will generate anion here and it can attack this and your OEM will come out, so that way you will get a 60013 dicarbonyl compound, 60013 dicarbonyl compound and followed by treatment with sodium ethoxyl methanol, the sodium ethoxyl methanol will hydrolyze the acetate and you get this, okay, so both will give, but the second one that is this, the first step it does not work, so it hydrolyzes only the acetate and in the second step you treat with lithium-examethyl disoloside and you can get this, okay. Once you have this, now you can see how many rings you have made, 1, 2, 3, 4, 5, 6, okay, what is missing? You have to connect the seventh ring, that is the seventh number ring, you have to connect, how do you do it? You reduce the ketone, you produce the ketone to alcohol, basically you have to introduce a double bond, you have to introduce a double bond. Now you treat with acetic anhydride, you get a beta-alpha acetate, okay, does not matter, then you treat with DBU, okay, when you treat with DBU you get this intermediate, okay, so if you look at other synthesis, you will see this intermediate you would have seen. What you need is you have to homologate this, you have to oxidize this hydroxyl and do the homologation. So how will you do? First you oxidize with swan, swan condition to get the ketone, then you do the Wittig reaction. So when you do the Wittig reaction, the destabilized Wittig, you get the corresponding alpha, beta and acetate ester, both E and Z in 1 is to 1 ratio, okay and you know you need this isomer, you need this isomer for the cyclization to get the 7-membered ring, no problem. So this can be isomerized, so 1 isomer can be isomerized to required one through a photochemical condition. So photochemical is you know very well, the double bond can be isomerized, cis trans isomerization or trans cis isomerization can be done under photochemical condition. So once you have this alpha, beta and acetate with the right regiochemistry, then reduce it with di-ball. So once you reduce with di-ball that will give you the iso-stichnid. As you know iso-stichnid has been converted into stichnid in one step by treatment with base, okay. The base first it will isomerize the double bond here, then followed by oxamical addition you will get stichnid, okay. So this was a very simple straightforward synthesis, however the key step was one part manage 3-3 sigma tropic rearrangement and another managed reaction. Then he also used another route instead of homologating using Wittig reagent, he used a vinyl Grignard addition. So on this ketone they added vinyl Grignard to get the tertiary allylic alcohol. Then he did the palladium catalyst rearrangement, so after making the tertiary alcohol as acetate he treated with palladium catalyst to get the allylic rearrangement, allylic rearrangement to get this protected allylic alcohol, okay. So once you have that if you treat with potassium hydroxide THF that the acetate is hydrolyzed then you oxidize you get the corresponding aldehyde, okay. That aldehyde can be isomerized to get this isoparticular isomer. Then sodium borohydride cerium chloride, sodium borohydride cerium chloride reduces the aldehyde to corresponding alcohol that was acetylated and that is called isostichnid acetate and that alcohol itself if you treat with base that will convert the isostichnid into stichnid. So these are the two strategies he used to make isostichnid and stichnid, okay. But if you look at these two approaches by reported by Q and A both are resimic synthesis. He also tried and reported an asymmetric synthesis and in this asymmetric synthesis he started with drift of an derivative, okay chiral one and he also took about 14 steps the same number of steps which he took for the synthesis of resimic stichnid, okay. So now the difference between the earlier one and now is this chiral center, okay. Everything else is same except this additional chiral center. Then he treated with this alpha beta unsaturated aldehyde and R being CH, OME and OME, okay. So you do the same reaction and you get the same product and here this is CH OME, CH OME the main difference is this compound is chiral. So because of one chiral center present you can make now three chiral centers, okay. Once you have that then you do not want this ester, is not it? You do not want this ester, okay ester it did its purpose. It introduced three new chiral centers. So once that is done you have to remove that. So first you convert that ester into amide. So that is normally done by reflecting with ammonia. Then the amide to cyanide was done with trifluoroastic anhydride, a dehydrating agent, amide to cyanide can be done.  Once you have the cyanide the cyanide group can be removed because you have lone pair here so the lone pair will help. So potassium borohydride you get the corresponding pyrrolidine ring without the cyanide, okay. Next it is straight forward. So what we have done earlier so this is aldehyde, you remember this is aldehyde we had and once you have this aldehyde what he did he treated this with the corresponding tributyltin methanol but that alcohol was protected with ethyl vinyl ether, okay. So now if you treat with butyl lithium, butyl lithium what will happen it will exchange. It will exchange this and then you will get a lithium here. That lithium will add to this aldehyde. So what you get is this compound. You have the CH2 and the alcohol is protected as ethoxyethyl ether, ethyl vinyl ether and ethoxyethyl ether, okay. Then you oxidize the secondary alcohol under swan-like condition to get the ketone. Then remove the protecting group that is ethoxyethyl group under acidic condition you get ethoxyethyl is like THP protection, okay. So you remove that and then you get the corresponding CH2 OH. Once you have the CH2 OH convert that into toacylate, okay, toacylate. Now if you remove this benzyl group automatically it will undergo SN2 reaction and then this toacylate will go and you will get this six-mombot ring, okay. So now you have made pentacyclic core structure of strychnine. So what is required, you have to add the two carbon unit and then cyclise and then you get the isostrychnine structure or the umlic aldehyde. So what you did? You did a VTG reaction, okay.  Then the required one you took and then treat it with di-ball, okay. When you treat with di-ball it forms the oneness. So this is not as reactive as this. So one can selectively reduce that to get the alcohol. Now you reduce this double bond selectively, you see sodium cyanoborohydrate, acetic acid, you get this compound, okay. You can see the double bond is reduced and it gives only 1 isomer. Sodium ethoxide methanol in THF, sodium ethoxide methanol in THF, this compound you can write like this, okay. The compound can be written this way. So what is happening? Sodium ethoxide methanol, look at this chiral center. Hydrogen is beta whereas here alpha. So the epimerization takes place. The epimerization takes place to give alpha hydrogen. So once you have that then di-ball will give, this ester will be converted into aldehyde. As soon as the aldehyde is formed, this alcohol will attack the aldehyde to give Vlan-Gumlich-Aldehyde. As you know when you talk about totals in this of strychnine, there are 2 key intermediates. One is Vlan-Gumlich-Aldehyde, other one is isostrychnine. So you can make either isostrychnine or Vlan-Gumlich-Aldehyde. If you make isostrychnine which he made, okay. That is in the racemic synthesis of strychnine, Martin Kuhl made isostrychnine, okay via Wittig reaction. He did the Wittig reaction, he also did vinyl grid not followed by palladium catalyst rearrangement. Then he made the corresponding isostrychnine. Here in this case, what he made was Vlan-Gumlich-Aldehyde, what he made was Vlan-Gumlich-Aldehyde. The Vlan-Gumlich-Aldehyde is also known to be converted into strychnine in a single step. You have the lactol, the lactol on treatment with Wittig reaction, okay or you can use Melanic acid, Acetic anhydride and Acetic acid. So, you will get the alpha-beta unsaturated ester, okay, this aldehyde will react, aldehyde and alcohol. The aldehyde will form alpha-beta unsaturated acid and also cyclise with this NH and then same process, the oxa-mical addition also will take place. All will take place in one step, the Vlan-Gumlich-Aldehyde can be converted into strychnine successfully by treating with Melanic acid, Acetic acid, Sodium acetate and Acetic acid, okay. So, this is again another interesting total synthesis, so we talked about 4 total synthesis of strychnine. We started with total synthesis of Woodward, okay, so Woodward used a very nice classical method to synthesize strychnine. Then we talked about Vireshe Ravel, so Vireshe Ravel used a very nice intramolecular Dielsall reaction to construct the six-numbered ring here. Then we talked about Laurie Overman used cleverly a Klaisen rearrangement, okay, Island ester Klaisen rearrangement to get the six-numbered ring and he also used a managed reaction, the combination of managed reaction and Klaisen rearrangement to get the 5 and 6-numbered ring. So, in this case, in Martin Kuhne's total synthesis of strychnine, he used a Domino Managed and 3-3-Sigmatropic rearrangement followed by another Managed, so 3 reactions in one part to construct the C and D ring, okay. So, with this, we will stop and then we will talk about more alkaloids and other natural products in the next few lectures, thank you.


This is stock number 7T405A. We are here at Summit Automotive in Fond du Lac, Wisconsin, checking out this super clean 2013 Ford F-150 Super Crew Short Box. This truck has the 3.5 liter twin turbo EcoBoost motor. From this HD video you'll be able to tell that this truck is extremely clean all the way around. Didn't see any dents or dings or cracks on the front bumper. Factory fog lights. Has hand-cooked Dynapro tires. These tires are P275-65R18s and they are on the factory alloy rims with the chrome covers. And these tires look like they have roughly about 60% of the tread left. I'd say 60 to 70 to be safe. Blue jeans metallic is the color. Very good looking color if you haven't seen it before. I didn't see any dents or dings on the hood. Passengers side rim and tire is in excellent condition as well. And as we go down this side of the truck you can see just how clean the body is, how reflective and glass-like that paint is. We take these HD videos so if you're far away or even if you're close by and you just cannot make the trip down you can still see the truck, hear the truck and have confidence in the vehicle that you're looking at before you even get here. Very clean down this side.  Factory chrome step bars. Back rim is in excellent condition as well. No scuffs or scrapes and the back tires have just as much tread as the front tires. You can see the frame and underbody on this truck is extremely clean. I didn't see any corrosion under here. Very, very nice condition considering the miles on this truck. Lower rockers all look really nice. It has a Ford soft tonneau cover and as we go around to the rear here you can see that it does have a full towing package which includes receiver hitch, four pin and seven pin wiring. Tailgates in really nice condition. I didn't see any major dents or dings on that. One tiny little ding on the bumper on there. And under here we have a factory Ford drop-in bed liner. 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We'll make a start. I'm sorry that there are more people here because this is really a matter of life and death and careers in academia that we're going to be talking about. And I don't think we have answers, but we certainly have a lot of questions. I'm Jean Anderson. I'm from Victoria University in Wellington where I set up the New Zealand Centre for Literary Translation in 2007. And the other panellists are in order. Russell Scott Valentino who I probably don't need to introduce. He's current President of ALTA and Geoffrey Anchor. I'm sure some of you have already heard talking about some of the legalities and complexities of copyright. I don't think he's got the answers today either, but he's got some plans. So what I wanted to talk to you about today is what the implications are of this increasing pressure to have all PhD theses and some master's theses deposited in electronic forms so that they are thereby released into the world at large in due course. I think there are actually three main areas of concern and if you have a message to take back to your respective institutions I think you should also bear in mind that we're not just talking about literary translation. There are some particular issues around that. We're not just talking about creative writing programs or other creative areas within the arts although there are issues there. There are also some very major implications for all PhD theses and as we'll see from the handout in a little while the universities that are on to these kinds of things and I'm thinking here of places like Oxford and Cambridge and some of the world leading universities are on to this already and are advising their students to put off the electronic deposit as long as possible for reasons that I will come to hopefully shortly. My main concern here is a personal one because it seems like every two years we have the same conversation with the administration. We make the case for creative writing and literary translation practice-based thesis work to be excluded from this compulsory electronic deposit. We have support from the university's copyright lawyer and then two years later we have the same conversation because we're told it is a legal requirement. If research is publicly funded it must be publicly available. Now interestingly just last week I finally got around to asking our Dean of the Faculty of Graduate Research if he could point me in the direction of the relevant law to which he responded I don't know where you heard this I have certainly never said it and I can't find the email in which he certainly did. So we're looking at a requirement which certainly in New Zealand is not a legal requirement. There is no law that covers this. It's possible that the Freedom of Information Act of I think 1992 could be invoked to get some of this data released to an individual member of the public requesting it and I know from talking to Lynn Penrod here that the Canadian situation is different. So we have a global issue which has different jurisdictions different sets of laws applying in different contexts. So as I said I don't think we have answers for you today but at least like to tease out some of the problems. We have been told in the case of literary translation practice based theses that it is the students responsibility to ensure that copyright is met copyright requirements. I have tried to point out that where translation is into English you're essentially expecting a publisher to give you worldwide English language translation rights which no student I know of could possibly afford even if the university had a fund for students to apply to the university couldn't afford to cover these things. So there are some financial implications. There are certainly legal implications. One of the ones that we've discussed at some length internally is who is actually responsible if there is a copyright infringement in this way because the student doesn't actually publish the thesis the university does. So my interpretation of that I am not a lawyer and I have no legal training would be that the university is liable if there is an infringement. The student didn't publish the work. The student did a thesis. The university then decided to make that available worldwide and if as I said the student couldn't afford the worldwide English language rights then surely that's the university's liability. I'm sure Jeffrey will shoot me down and flames shortly but it's an argument that has had a limited success so far. How are various universities managing this? I have a handout it's just behind you on the desk next to you in which I have just gathered together some rather random information about what happens in various universities as I said there's not a great deal of clarity about different types of thesis and most of the advice that's being given to students applies globally to all PhD thesis and as you will see if you work your way down the list most of the big names are already telling students to take the longest possible embargo term at least two to five years and most of those big name universities are quite happy to grant those exemptions and they have their own reasons for that. Obviously if we move on there there's a question here about what publication actually is is putting a thesis one copy in the library publication I have been told that this is a form of publication in which case the modern languages association is going to have to stop advising us to refer to unpublished theses because clearly there's no such thing. Publication in that format is obviously very different from sending it out on the internet to whoever can Google. Universities I assume these these ones who are a little bit more on the ball are presumably aware that it's not in their best interests for their best and brightest students to not be able to publish their work in book form so that that's I'm referring there to PhD thesis more globally if as some documents that I've seen and getting ready for this panel if for universities this open access thing is a matter of storefront and making the world at large aware of how wonderful that university is in what areas then they are also shooting themselves in the foot in terms of the book publication and I don't know how your research evaluation exercises work but in my country if I said oh yes I put that on the internet as opposed to yes it's a book I imagine that would be a difference of zero points in the first case and ten or eight or something a bit more respectable in the second so I don't see how they can have their cake and eat it too but that is the nature of power presumably so what are the concerns as I've said this is just to sum up there at least three threads to this already immensely complicated discussion one is that if we're going to put all of the PhDs in electronic form out on the internet then it is a serious threat to book publication some of these universities are advising students to check with potential publishers before they decide whether or not to make the electronic deposit this is largely British universities I'm talking about in the case of copyright issues around practice-based translation projects obviously you won't probably find a publisher ready to fund you're already we all know translations are far too expensive to produce you won't find them willing to put that investment into a book publication if it's already available to anyone who can google the issue over the rights I can foresee this being a massive problem assuming you can negotiate with the publisher I have a student who has had clearance from a French publisher to do a translation within the framework of a thesis but I would be prepared to bet that if that publisher knew that that meant stick it on the internet afterwards there would be no authorization or permission publishers rely on selling translation rights to make a business and they're not about to just cheerfully sign them away there is one interesting case and if you'd like to look at the top of the handout the city university of London they have they run an MA in translating popular culture which covers things like comics graphic novels big pardon popular fiction of various kinds and they have had a number of cases where MA students and they don't have practice-based PhDs so they can only do this at MA level um they have in fact contacted publishers for permission and ended up with contracts and book publication I think that in the case of city university of London they have a lot of students from Europe who are translating from English into less global languages and I suspect one of the reasons for this success is a that they're close to Europe there's a sort of network already in existence there and the other is that they are translating into Italian or German or Polish excuse me that's quite a different situation from someone who wants to translate into English I suspect although I'm interested to hear um from Reiner Schulte at UTD that they haven't had any problems obtaining rights for translations obviously that's something that sort of explored further with them but I haven't had time and the third stream and perhaps Russell you might be talking a little bit more about this too is what happens with creative writing project where the original creative work is online and readily available as I said which publisher do we know of who will pick up something that's already out there and Lynn Penrod here from Canada was earlier talking about the fact that this applies to set design all kinds of humanities areas where all the specs the drawings everything is going to be out there and available for anyone who wants to pick them up and use them with or without authorization potentially so those I think are the three main areas for concern as I said we're getting very different policies from different universities around the world even within the same country there's different interpretations being made of what exactly this applies I think and we were talking earlier about potentially killing someone's career if your thesis cannot become the really important first book on whatever what does that do to the stepping stone for a career in academia so there are lots of consequences Russell had suggested that he might talk about some actual case histories flesh out some of the potential difficulties and then we'll hand on to Jeffrey as I said to solve all the problems possibly not and hopefully we'll have lots of lots of time for questions and practice if you've got illustrations from your own experience that would be useful for us to hear as well thank you great so I'm going to sit here I don't have anything to project so I will speak up make sure you can hear me first I want to sketch a tiny bit more the the pressure on the institution to make theses available theses and dissertations and theses might include undergraduate theses honors theses it's not in my experience it isn't if you're the graduate dean or the undergraduate dean of undergraduate affairs and you're you're charged with doing this it's not so much a question of legality they're not told you are a public institution therefore you must put all these things online at least not in American institutions US institutions haven't faced that issue as a rationale it's more a question of outcomes measuring outcomes having data being able to say we have x time to degree here is our placement rate and then here are the products and graduate deans and undergraduate administration officials are under some pressure to be able to show their the outcomes that that their institution has they're they're they're expected to do that and I think that has increased in recent years they're expected to show results some kind of results and then then they want to compare programs with programs at one institution and another institution sometimes within the same institution in order to do that they need data and if you're filing your thesis in the library that's not data and they want it online they want it tangible easy to get to so that they can start creating what they call metrics which is their way of comparing apples and oranges because no two programs are the same no two institutions are the same so they want to create a metric that enables them to compare these these things that are not the same and the only way you can do that is by creating data google comes along and says hey we can help you with this we've got infrastructure we want content and at this point the equation starts to sound a little bit like a lot of academic publishing in general the academics are doing the research as part of their job then it gets published as part of their job which they're paid for and then the publisher gets to do with it what they want right and the publisher is relying on this free basically free labor model to have this content and that's what google is doing as well they look at this generation of content by faculty and now by students and say we can solve your problem for you by by having a data infrastructure and we'll plug in all the data just give just give us a pdf and we're ready to go and you can then have the data that you need to to do what you need to do and respond to the pressures that you have in your institution and across institutions and then the the problem then becomes the fact that google has just made this data there the actual content available now whether that rises to the level of a copyright infringement is now being debated all the time and I think the latest decision is in favor of google that is not a copyright infringement that it's considered a transformation that the snippet function it doesn't doesn't constitute an infringement it's just making data available or making content available people can't download it and they can't print it and they can compare things and it's a it's sufficient transformation that um it's not considered illegal google so far has won that battle and they they seem to be winning that battle what's really interesting i find that this is like a kind of a double speak what's really interesting about it is in the same set of decisions that i've read and jeffrey you can talk about this more uh translation is constantly referred to as derivative so you can't claim fair use for a translate your translation needs to have permission but if then you've created a translation in context of a university structure where you didn't get permission and google takes it and puts it online google has not violated any copyright laws according to the latest decisions because they transformed it in a manner that is sufficient to correspond to the fair use doctrine but you didn't so you are liable and maybe the university is liable i don't know that's that's the part where it gets kind of fishy i'm not exactly sure so the at that stage we've entered a new a new domain where these other considerations that gene brought up come into play and i would add a third which is the question of dissemination of knowledge there's what to do what university is supposed to be doing and if you embargo the results of years of research for years they're not disseminating any knowledge they're not doing what they should have done or should be doing in many cases they're charged to do that they're charged to do that as well as being public institutions they're charged to to build on the this is a science model obviously to build on the knowledge of previous generations and disseminate that to the world so that we can build on that further and this new equation or this new this new technology that could be developed by something based on research done in your institution doesn't happen because there's an embargo on the on the thesis that's that's a an additional consideration the the careers one is is palpable where you have a thesis that is the translation of two-thirds of a novel let's say or three-fourths of a book of poetry or it's an anthology of poems based on a criteria that you've you've developed as part of your thesis research they're not finished they're part of your thesis it's part of an apparatus you've got a little introduction you've got some notes you wouldn't publish it that way necessarily if it went into book form and yet it's all available all the stuff that you did is available and that has happened um and uh then so the nightmare scenario is uh you unknowingly do what the university tells you to do which is file your thesis electronically and and then the summer after you graduate you email your theses advisor which is me and and it's uh i just found that my thesis is available and i didn't ask permission from the authors or the rights holders and what do i do how do i get it taken down well the answer is it'll never come down i mean you can try but it's always going to be available somewhere at some point um you can trace it so uh at at that point then it becomes backtracking and trying to say let's let's take it down graduate college um and so this is again something that has happened on numerous occasions it happened to me while i was at Iowa with students filing thesis theses and then finding out that that um this was in the initial stages of the digitization revolution and they had signed a contract with google and that's exactly what the scenario was they were hoping to use the data that google was going to provide as part of their desire for content to create metrics and use use them as part of the graduate college's um measurements for success among a variety of programs that included the translation mfa that included included the writers workshop included everybody and so the response from those programs was to not to embargo but to go and look for some of these exemptions exactly like uh melbourne uh monash does uh or no the university of east anglia so they say uh phd theses often practice based exemption from e-deposit is almost routine now it's almost routine at iowa to have the exemption but uh in order for that to happen the graduate dean has to know about it the person who oversees the intake of the theses has to know about it has to be on the website it has to be in the graduate student manual all the graduate advisors need to know about it needs to be a form that you routinely provide to the students it says check i do not want it has to be simple form check i do not want my thesis thesis electronically deposited what happens then it goes in the library the same way theses have always gone in the library and it's available through interlibrary loan anybody can get it you just and libraries are good at coordinating that they've done it for a long long time there's nothing unpublic about that it's available yeah i don't know if it's published or not what i i don't i don't know about that the technical definition of publishing it but it is definitely available to anybody who wants to get it in some cases the library will make a copy of a chapter and send it to you i mean they really do those sorts of services it does not restrict knowledge in any way it's not as readily available but you can get the whole thing sent to you and you can read it and that's a i think that's a perfectly reasonable solution for most many at least maybe not most because as i say this argument about dissemination of knowledge could be made for some of the disciplines and it's easier when it's online it's true and for some disciplines they don't care so much they're not thinking that they're going to publish that p that's phd thesis in physics or organic chemistry as a book they're probably not they're going to publish some articles based on it yeah you had a question permission and what did they say so okay so so i my argument and i and what we and what we put in place while i was there and i think it's still in place i don't think they've changed it in the two years since i left was that um if you insist on students trying to get permission to publish things you're going to kill the program yeah that's not a good way to support your program um the way we've always done it the way we had always done it up until then for 40 50 years whatever it was was the way i just described you don't have to ask anybody for anything anybody can translate anything actually if you want but then after that that's the question if you're going to then use it as part of a thesis it never came up in the past it's part of a thesis that has an apparatus that goes with it which is you probably do this in archetype i think you do you have a an introduction of some kind which contextualizes the work you might talk about translation problems that you faced history of the author of the genre things that sort of thing you might have glossary you might have notes right that's part of a it's an academic project that's a fair use project and it's going to go in the library the way all theses used to go in the library i think you could probably win that argument jeffrey you can tell me if you think i'm right we never had to make the argument in the past and so that's that's the line that we drew and they they bought it they said okay exemption from the e deposit and go ahead and continue doing it the way you've always done it no permissions necessary can i can i just add to that that we have had that model agreed to probably three times now but that each time they come back to this yes but you know it's not an electronic deposit and so things probably are going to just shift backwards and forwards if they haven't at iowa kudos um it's shifting sands in our case i agree anyone can translate anything anyone can put that into the body of a thesis which traditionally a thesis is not a publication if you then insist on it being published and internet is where the real issue arises then that completely changes the situation we have a very simple form but invariably the students who need to say please don't make this electronically available uh they've pressure on them as individual students i've seen them wording in some of the letters and it's really quite alarming yeah they have to take the initiative to say no i don't want yeah they do and there is another um related issue which has just gone out of my head and will come back um which has to do with no it will come back sorry we had a question there i can send you one of ours it's a very simple yeah yeah it was i can tell you exactly what it said i mean it or almost it just said i i as here name of the thesis name of the student um i request exemption from the e deposit sign the form and date that that's what that's the form we created um so there's nothing fancy illegal about it just that that's that's the form that we had and that's what they i think that's what you need to have library agreement and admin agreement that this is a possible option for a student to select um i'd be happy to send you a copy of our form the the thing that escaped me was um that sometimes it's difficult to ascertain who actually holds the rights yeah for translation i've had one instance of a canadian student in fact who had asked the author and there was online and i said but does the author actually have the rights and that disappeared offline so presumably the answer was no right um and that's that's sometimes very difficult to find out and what are they going to do to track down track down the descendants for try finding a state this was a living but yeah yeah and through so i want to make sure i understand so the student asked for an embargo uh of the graduate college at arkansas oh yeah so so what we're talking about is a stage before that it never gets digitized yeah and when i was at the i review even we i remember finding we one of our authors wrote to me saying i just found some of my poems at pro quest for 495 apiece it was we didn't authorize it they just started selling it should follow the the things you've done before we didn't have to really log in as an official exemption the student now chooses electronic to positive for hard copy the issue of translation person how far are they to get the publisher or most generally the student will get permission as jean has said to use um the translation to get the end of the year early you will not putting it in however in the last funding from sure that you will um be open for open access and that really includes all kinds of research um and research production areas including the fine arts so that's put us in a in a little bit of a well a very big dilemma because it means that the old days we were doing things which were perfectly reasonable and rational without embargoing things all made us subject not to um statute but a ruling from a grant agency that says you have an m o view sign with us university fx and if you can't apply by our decree then any funding from us which of course they go oh well we have to be situation at the moment as i see it is that we are all still trying to figure out what the definition of as the gene has already said what is what is and also in terms of the grant agency we're responsible for disseminating if we have their money so if it's open access and then we end up with researchers whether they're students or faculty members who are having their careers damage whether in terms of faculty evaluation or students able to get um get jobs i'm not sure we know exactly what we're going to do so some of the procedures adopted by british universities or american universities we we're trying to use those but now i don't know how they're going to stand up under plagiarism now comes in under all you know how as supervisor or as a student or as someone translates or works in these areas how do we keep on we're trying to track on the internet what may be out there is out there so the really sad cases students students and it's still out there it's really not much partial translation that can take somebody a pretty long way jiffy ready sure uh can we carry on now and move plenty of time for questions later i think jiffy and if you know if you'll forgive me i i think it will be easier for me to use selector in terms of seeing and it's easier to breathe and i'll also bring this along so i can watch time so i'm jeff angstrom nothing i say will be legal advice i'm not admitted to practice in the state of arizona and i will dodge some questions specifically for that reason but i think there are some legal issues that we can at least bring in some information on i'll back up just a little bit and reflect on how we got here the open access movement was born because in the sciences work was being published in journals that could cost five thousand dollars a year for a subscription where people were having to pay very substantial funds in order to be published and much of that work did have some kind of government subsidy so the argument was made the government the people through the government are funding the research they're paying for publication then our universities using public funds are strapped to pay for all of these journals and then the journals are being bought up by large conglomerates that keep running up the prices and so we're paying for our colleagues for access to our colleagues work so the solution is proposed for the sciences to start publishing in open access and the some of the solutions for the sciences have been elegant public library of science plos wonderful online resource it's worked well for many of the sciences but the juggernaut kept moving and these solutions were not well adapted for the humanities and science was important to have speedy publication and for them getting getting their article out there getting their research out there quickly was very valuable very valuable look over to sciences and social sciences and the humanities the american historical association has called for an eight-year embargo on publication of dissertations you think about it for many people that dissertation can have data and work that will be mined for several book projects and you know the the problem of undermining a career by forcing outdated that somebody spent a long time in archives to come up with but at the dissertation level hasn't had time to really develop the interpretation and make full use of so i think you know open access has had many wonderful aspects but for for translators it's created an absolute nightmare and a real legal mess i'm going to go in a somewhat unsystematic fashion and just address some of the questions that have come up there is good reason to be confused about what we mean by publication there are different legal meanings for publication in different contexts so why are a lot of science dissertations embargoed for two years in most of the world if you publish if you make public your invention or new system you lose the capacity the possibility of patenting at that instant in the united states if you publish your invention you have one year to file for a patent if you don't file within that year it's lost what does publication mean when it comes to invention of a device it has been found that having a dissertation sitting on the shelf in a university was publication for purposes of patent showing a neighbor whom you had invited over for dinner your invention and how it worked was deemed to be publication so for some students and faculty in the university publication may mean holding up something saying look what i invented you see how it works that could be publication under copyright law when we're dealing with whether we're publishing a translation of a work the legal definition in the u.s. canadian law is a bit different other systems are a bit different but in the u.s making a copy available to the public so if you have it posted online and it can be bought from pro quest if it's up there in a pdf and it can be downloaded that is publication if a if you've made a chat book and you distribute it to friends as a new year's gift that's generally considered sort of private circulation it's not being made available to the public and there is of course some gray area in between the two so there are cases that have gone to court to try to tease out whether something has been published within within the within copyright law but that's that's the basic standard for copyright if a copy is made available to the public the i think sometimes when when this sort of major change comes along we respond with with two tax and i think what may be needed here is a short-term sort of band-aid first aid uh perhaps a defensive approach especially in institutions where the administration is not being helpful or where you're facing national law or or regulation forcing publication students may be told for this project for you as a student you need to work either with something in public domain or something for which you can get permission when you're facing legal uncertainties you know we'd like to get things cleaned up but when there's a possibility of liability the choice of the text to translate might need to be more conservative and the longer term i believe what is needed is to get these stories pulled together and you go to an administrator or perhaps in Canada to a legislator and say these policies are being very damaging one of the first things they'll want they will ask you know can you show me that people are actually being harmed is there really a problem and we need to have a ready answer names addresses telephone numbers and descriptions of what happened with those people so real problems evidence of real problems that need to be solved two we need information pulled together so we can say here are the organizations that are protesting the sort of policy that is there and i'm hoping that we may be able to get such statements you know perhaps through alta perhaps through pen perhaps through authors guild perhaps through the british society of authors the stakeholders in this situation certainly bringing in the the the statement from the american historical association and others if you go to administrators and they have to answer to others who are wanting this we have to make it easy for them to do the right thing and by assembling the evidence that they would need to persuade others we can be more effective advocates you know pardoning for in the united states there's been a movement toward where canada has gone at this point if your project has gotten funding this isn't happening to us but in other departments if funding has been received from the national institutes of health i think the current period is a six-month embargo and then the research findings have to go online there have been calls to expand that to a much wider area that may pass it might not but it's certainly in the air in the united states so i think we've got a lot of work ahead of us i think it i think our best hope is to get adverse advocacy from groups who are in a position to collect the information and make it available to those who need it so i'm hoping that alta may be able to be of some service there so can you say something about the fair use argument and the transformation of a text so if we put it inside a thesis and analyze things that are in it as opposed to just translating the book and putting that book as part as the thesis sure i mean so uh i'll back up just a just a smidge in the 1660s you know the scientific revolution comes along the royal society is established and just this this watershed and intellectual history comes along and it's understood that scholars need to be able to demonstrate what they do and it's the notion that a scholar has a duty to publish to make public the findings and so that's as as you brought up there's that sense that that's part of our responsibility especially within academic institutions there's a responsibility to put out the findings of what we've learned copyright law says if you were the creator of the work or if the creator has passed rights to you you get to restrict the flow of that information there's an exception there in american law and us law for fair use saying requiring you to look at five different points to sort of weigh out to to tease out whether this is a fair use or not and one of those is what purpose you're making of of the text and if you're using a portion of something in instruction in scholarship that counts toward fair use you have to look at all of the elements to make a determinism determination of fair use so part of it yes it's being used in learning in scholarship one thing that favors a finding of fair use so you don't have to get permission you can't end up in trouble for for making use is if your use is transformative so if you have changed the work in some way so that what you're using really isn't going to replace that original work so if google has scanned whole books and people can search and they just see snippets that's not going to replace the purchase or the sale of the whole book so that's why the google scanning case there was a finding that that was fair use and that's considered transformative there's the court found that transformative i see yeah it was some people have been surprised yeah but that was considered transformative with translation i think one why is it called derivative in the copyright statutes the probably the most important section if you're going to read anything in american copyright law read section 101 of the copyright code that's the definitions the most you know that's sort of the mother low and the definition for derivative work you know translation is the classic derivative work it takes that original work and makes a direct use of it so is a translation fair use the translation can replace the purchase of the original work so the translation itself is sort of a classic not fair use if you've got the whole thing there um and i'm sorry and you can watch a movie so a movie can replace the film adaptation is also derivative right i think it is in the it's i think you know i i think that's they always say if if you ask a lawyer especially good lawyer any question what's for lunch it depends so if it's a really bad film adaptation it is it's farther transformative it's farther from being a direct use but if if you can recognize the work it's it's getting really iffy uh no it's like generally a film adaptation while it you know it's basically a derivative work but it is farther out there than translation some others just ask one of the areas in which we've had debate in my institution had to do with whether a translation was like a performance of something so you've got the music and the translation is the performance of the music is is that that would be well i think the author of a work no no the the author of a work also you know part of the copyright is the right to public performance so a public reading of a text would be addressed under the public performance right of the copyright putting a copy online is the right to make a copy or to publish to make copies available and so public performance is just another facet of copyright it's i always i always say copyright is the most complex it's the nerdiest area of law next to tax and perhaps and i would say just about as metaphysical as tax so i i think with other things i've made the points i really wanted to make if there are questions we can pursue i wonder if i could i like the idea you you suggested about public about responding to the challenges by looking at your program and modifying the program somewhat rather than trying to fight fight and so you look at a translation program you say well let's let's restrict the program to public domain works that could be really interesting it doesn't change the nature of a lot of programs i mean they really people focus on contemporary works because often what gets them interested in it sure but um you can still do plenty with contemporary works without making them your theses yeah that you can be they can be workshopped they can be developed in other forms you can do all sorts of things before you get to the thesis stage and the thesis stage is a is a public domain work and there are plenty of good public domain works that are not translated or have been translated badly and a lot more actually discussion you could have about public domain works and in ways the re-translation is fascinating that that's also a really interesting domain so that that that's not a bad tack to take is to look at your own program and say how could we transform our program in order to not fall into this this problem yeah i think another possibility would be for a director of of a translation program in university to call up the director of a publishing house that has a substantial list of of of of works or that's you know i guess you know get a hold of people who control rights for a large corpus of works that would be of interest to the students and say is there any way that i could sort of count on being able to have a student get in touch with you ask for permission to do something as a project to school and get some sort of smooth passage for reaching a decision you mean the foreign publisher yeah the foreign publisher yeah or if there's an agent for that that publisher in in the u.s. yeah and you know perhaps work things out so there's a safe list yeah for shorter projects things like the french publishers agency would love to have translations of chapters from works the rights for which are available so if there's a possibility one of finding safe works and two just building into the program some more training on how to get rights and permissions and you might even be able to get a local lawyer to come and sure that can be part of the program professionalization part of the program should be I would like these discussions have gone on among programs supervisors and administrators we're also running around trying to figure out what all of this means for the social science series of work jobs so on doing all these wonderful things it might not be a bad idea just have a very clear course series of workshops where we get people to come and at least lay out the problem I was I was of course reminded when you did the science the science thing about why open access started I'm sure there are a lot of people who don't who don't know that who reminded me of it that I know we have lots of graduates do too who don't really understand this and if we if we have a better sort of information ground level it might it might help us get some subtraction but teaching the program in terms of what we actually do for our leases party we don't have too many students who want to do leases but we probably don't make that that's a problem yeah and and within the British system there aren't courses often attached to masters or PhDs so there isn't going to be an obvious opportunity to do the contemporary stuff which ironically enough we're also under pressure from our government to demonstrate that what we are training our students to do is is of real world usefulness and so 19th century is it's not going to actually probably be very persuasive other than by pointing out that it is the general skills training that goes in there but where we would fit in contemporary under that thesis only model is it could happen but it's not as obvious I think from that point of view and actually I'll modify my earlier suggestion if instead of having the head of a university translation program speak with another with with a foreign publisher if if the head of an organization that can help get information to its members saying I'm in contact with translation programs around you know throughout the U.S. and we have a problem it's hard for us to clear permissions for translation students perhaps you have works on your list that are not particularly likely to attract the commercial trans translation but you'd like some attention drawn to those works is there any way that we can help each other here if some communications could actually open a path for multiple institutions this would be a lovely thing it's easy for me to say because I wouldn't be the one doing the hard work so you will be did you say I'll be doing other hard work that depends I couldn't resist first this there's really no such thing as international public domain so public domain is according to so what really matters is if you're working in this country is it in the public domain where you're working so if you are if you're moving to Iran and you're going to do your work there and there's no recognition for his copyright in Iran you're home free if you're crossing you know if if you go you decide you want to move to Egypt and there you know his work is under copyright you got a problem so you just need to look at whether it's in the public domain where you are or where you plan to publish so if you really want the book to be distributed in england us canada you need to look at whether you need permission in those places but but isn't that exactly the problem we're talking about with with internet that we we don't control which country it's available in i'll put it this way if if i write something very nasty about Zimbabwe i'm and and i publish it in a blog or a newspaper i'm almost certainly violating Zimbabwean press laws and a british journalist was just fine until he went to Zimbabwe so if you're violating copyright law in countries you will never visit where you have no access or you will never stop in the airport it it doesn't matter this is not legal advice get real legal advice before before traveling across the zone yeah your zone can look at this not because you can't because it is under some point i mean jesse to ask to answer your question i just write directly to robert chandler and ask him how because he's translated a lot of platona in the in the uk and see whether he has had to get permission or his publisher has had to get permission he should know um platona is a great case because he was writing during the so early soviet period i don't know when he died i don't know why yeah and so did the family has it i don't know i don't know anything about what happened there so he would know the mask i will say to sea lions all the time i would say some of the most surprisingly spectacularly successful careers have been those of people who have the nerve to phone up the top people in various fields and say you know i'm interested in this could you answer a question please careers have been built because someone had the nerve to make a phone call send a letter show up at a doorstep so the worst that can happen is you phone someone famous they don't take the call get it back but it's amazing how generous people can be when somebody shows interest so be bold young person i think we may be it yeah we're heading close to cutoff time so very happy to talk to anybody outside session but i think we might call it to a close and thank you very much for coming i have found it personally extremely informative you do this i hope you have too thanks very much


Alright, I'm going to talk to you about non-toxic electron radiotherapy collometers. Here are my causes. Please contact MEU as they're the cause. So, you're still using Serbent to make an electron cutout. You can contain lead and cadmium toxic materials. And typically, even if you're using safe practices, you're often venting toxic fumes into the local environment and spreading small amounts of metal particles around the building. So if we want to avoid toxic materials, we thought we could 3D print a plastic shell filled with tungsten ball bearings to shield the electrons. To make it more clinically robust, we combined it with a CNC machine, copper frame and some additional soft rubber 3D printed parts. So here it is all combined together. So the only part that's patient specific is the non-reusable, as this single 3D printed part, all the other parts are reusable, including the BB. We made a bunch of profile measurements with iron chambers and film. We also did some output factor measurements. One small point to note is that the small field size, small energy output factors are slightly higher than Serbent. We tribute this to some scatter from the plastic ball, but larger energy, larger field size equivalent to Serbent. To make sure it's clinically robust, we did a lot of drop tests, redesigned based on our drop tests, until we found a solution that's strong and robust. And you can see here, although the rubber bumper flies off, it absorbs the initial impact and the plastic containing shell, BB contained shell does not crack, does not leak, bulb it. Because we have a granular shielding material, we want to make sure that we are not underfilling. So we have a calculated internal volume, and from that we define a minimum mass, and we make sure that the measured mass is above the minimum mass. And then to double check this, we're deliberately underfilled by 1%, and you can see this lateral gantry angle, the BBs conspire to leave a hole, but this is still okay because this area is covered by a copper top, and so there's no electrons leaking through this area. So to put it all together, here is the workflow that we use currently. So we explore the aptuaries in the SAPI script from our variant Eclipse treatment planning system. This gives us the patient-specific wall shape, and then we combine this with our 3D printable blank template, where we can put on top of this blank template some additional patient information. And we just literally boolean this patient-specific wall with the blank template to create the patient-specific part. It's printed at 45 degrees and then filled with ball bearings. So it's almost a fully enclosed part, apart from this small fill hole. And then we check the weight and screw in the copper top, and that's it, all together. And thanks for listening, and please find more information in this link.


proudly we hail from New York City where the American stage begins here is another program with a cast of outstanding players and featuring Miriam Wolf as Lydia Darrow public service time has been made available by this station for your army and your Air Force to bring you this story as proudly we hail Lydia Darrow heroine of the American Revolution our story is entitled a message for the general and is based on an incident in the life of Lydia Darrow heroine of the American Revolution this is the story of a woman caught between her religious teachings and her desire to save her country in an hour of need after this important message our first act curtain will rise before this exciting story begins a story about a courageous American woman of the past here are a few words about the American women of the present women who are now serving their country in the United States Army and United States Air Force they are helping to write new pages in America's history during one of the country's most critical periods you can join these women by volunteering in the WAC women's Army Corps or in the WAF women in the Air Force do your part in keeping America strong visit your local United States Army and United States Air Force recruiting station today and now with Miriam Wolf in the role of Lydia Darrow your army and your Air Force present the proudly we hail production a message for the general not that war is evil in the sight of God but a woman must do what she can to help when her country is in danger and Lydia Darrow's country than 13 colonies struggling to win independence was in danger our story opens in December 1777 in Philadelphia which was occupied by skill professional troops under General Sir William Howe General George Washington's army ill fed ill clothed and largely ignorant of the skills of war was encamped in the snow at White Marsh eight miles from William Penn city of brotherly love for the colonies the picture looked dark and among the peace-loving Quaker people of Philadelphia hearts were strained with torn loyalties who managed to feed us well in spite of the occupation I never ceased to thank God that he gave me the wit to see your cleverness as well as your pretty face he gave you a ready tongue surely you would have me thinking I'm still as young and pretty as the day we wed and these three great boys to shame me of such thoughts instead I must be thinking of all the work there is to be done this day now have you a word for the children before you leave for the shop be thankful for each new day sons and fill it to the brim with industry and loving kindness David do your work in your horn book I have father I can spell the lesson backwards be aware of pride my son it is a sin that leads to anger if you know the lesson perfectly then help Timothy yes father Jonathan you have grieved me and your mother playing at soldier games have you anything to say no except father may I go and join General Washington's army my son Jonathan you know it is against the friends beliefs to fight one must not resist evil with even though you are the eldest you're not yet 15 war is not for little boys my son little boys mother that's enough my son that will do I'll get to your chores and when you are finished carry your mother's basket to market for her if you do all your duties you'll have no time to think of war but no buts my son yes father may I come to the print shop this afternoon and help you set time yes that you may do now let us ask God's blessing on this day and later that same day Lydia Dara escorted by her son Jonathan joined her neighbors and friends in the marketplace good morning mr. Grace and good morning to you mr. Stara I'm glad I had a plump turkey left for you who a general house aide cleaned out my entire stall yesterday if I had not kept this bird at home he wouldn't be here now there are two hessians coming cover the basket Jonathan I think that is all now apples chestnuts salted fish I thank you and good day Jonathan we must go to the mill for flour thank you but my son is escorting me and I'm perfectly safe in the streets of Philadelphia gentlemen gentlemen mr. Stara is a respected Quaker lady do you not see her gray bonnet and down surely you don't want to have trouble with the adjutant the friends are known for their peacefulness and the general has given orders that towns people are not to be disturbed no one addressed you I am sure that this lady can appreciate advantages of masculine company in these car to the muddy streets there Friedrich perhaps is right let's go don't you see the adjutant general's courage mr. Stara the adjutant general's compliments madam well yes I'm mr. Stara I was told I might find you here the adjutant would like to see you madam will you accompany me to his quarters yes certainly come Jonathan allow me madam very well wait for me outside Jonathan while I speak with the general yes mother be seated thank you was that your son madam yes my eldest what is it you wish sir I am told you belong to the society of friends and as such you and your family take no part in this uprising is that true madam it is true friends do not believe in war and do not take up arms in violence it is well for our cause that your William Penn settled here you quite misunderstand what his intention was oh well no matter no matter understand you have a commodious house mr. Stara with a private chamber to let yes pray may I beg the use of it this evening I require a meeting place with absolute quiet and privacy I suppose I may let it to you oh what are the terms a pound for the evening fire and candles to be ready at seven o'clock your family must all retire to their beds and the utmost silence must be kept about my visit no one must know can you keep these terms I give you my word that no one but me will see you enter or depart that's extremely important if I see or hear anything of any other member of the family the bargain is dissolved and no money will be paid everything will be ready as you ask at seven mother yes my son what did he want the adjutant general yes well I cannot tell you Jonathan it is a private matter but mother surely you've not made a bargain with a fat-faced red coat Jonathan Jonathan do you forget your father's words and mine we are not at war we we are friends the British are children of God the same as we well then why are they taking our cities I'm at war and I will be as long as general Washington has an army hold the candle so I can see your face madam is everything in readiness as I promised you then show us to the chamber please come in I beg you gentlemen be quiet my husband is in thank you now give me the key to the chamber madam and please retire to your own room you're to remain within your chamber until I knock at your door before departing I will let the others in myself very well John I I'm very tired it's been an eventful day will you pardon me to retire to my room well yes my dear it has been a trying day my two will retire very soon first I'm looking on the boys good night John good night my dear I had managed to quiet all my family but I cannot quiet the trembling doubts in my own heart this must be a meeting of fearful consequence to require such secrecy come what may I must try to learn what it means I suppose I could take off my shoes and down a night robe and pretend sleepwalking if I'm discovered listening at their door and find my door without one here's the keyhole now if I can but here over the pounding of my own heart gentlemen now that we're all here at last gentlemen we will end this period of inaction I've received confidential orders from general howl all troops out to march tomorrow evening to white marsh there we will attack general Washington's army and break the backbone general Washington won't have a chance if he isn't war someone must warn him I dare not trust the secret to anyone I must think of a plan must go to bed and pretend to be mr. Stara open the door have you finished with your friends you must have been very soundly asleep better yes we finished now we must leave come on I will show you the way as your key madam and one pound in gold thank you for your courtesy and sleep well no general I will not sleep this night until I think of a way to warn general Washington and so the curtain falls on the first act of our proudly we hail production featuring Miriam Wolfe as Lydia Dara after an important message will be back with the second act of a message for the general down through the years women have always shared the burden of defense today more than ever before women are needed to help defend the cause of freedom more than ever before the United States Army and United States Air Force need young women in its expanding forces you will enjoy the same pay allowances medical care vacations and opportunities for travel as the men in the services so go to your nearest United States Army and United States Air Force recruiting station today have a talk with a recruiting sergeant he will help you decide how you can best serve your country volunteer for service in the WAC women's Army Corps or the WAC women in the Air Force do it now you are listening to proudly we hail and now with Miriam Wolfe in the role of Lydia Dara we present the second act of a message for the general early Lydia is anything wrong Jenna I just been to the storeroom to find we're out of flower and I must bake today I'll have to go to the mill and get some right away but the mill is it frank for it outside the line yes yes I must just get a pass if you must go today take Jonathan with you and wrap up in your warmest cloak the snow is deep and the wind is blowing heavily no I've looked in the boys room and Jonathan isn't there I thought he must be milking I've seen neither hide nor hair of him the boy is moody lately let me go to the mill Lydia instead of you it's a nasty looking day no John I want to go it's my fault not paying better attention to the stores now don't you go getting moody to Lydia where's your sunny smile that's always with you please please try to understand John this is something I must do myself it's important to me alright Lydia I know when your mind is made up there's no stopping you mistress Lydia Dara I have a pass to go to the miller at Frankfurt to get some flour all right madam my compliments it's a hard day to be out in the weather here is my sack will you have it filled when I return that I will mistress Dara you're not walking further in this weather I have a friend whose life is hanging in the balance I must go and see him before it is too late God go with you yes yes you wish to see someone your sentry back there told me I would find the officer in charge here Lieutenant Colonel Craig mistress yes will you tell him mistress Dara Philadelphia is here I would like to have a word with him certainly mistress excuse me Colonel Craig sir yes why mistress Lydia please come inside thank you you must be near freezing with the cold corporal fetch mistress Dara cup of tea from the campfire I suspect I know why you've come mistress Lydia I'm sorry you had to make such a hard trip you know why I've come Colonel what do you aren't you looking for Jonathan John is the child here he arrived only a few minutes ago he told me he had your permission to volunteer I thought the lad looked as if he'd run away his father and I have been at our wits end to know what to do with him would you like to see him oh yes no I'm forgetting Colonel I came on another matter I must think of Jonathan later this is a matter of utmost urgency would you give me your most solemn pledge of secrecy why yes I have an important message for General Washington you must give it to him yourself yes the adjutant general borrowed one of my chambers for a conference with his officers last night while they were meeting I I was curious because of his extreme secrecy and I listened at the door I heard him say he had an order from General Howe for tonight all British troops are to march out tonight to attack General Washington's army a surprise attack yes I cannot tell you mistress Lydia what a great thing you've done I must get this news to the general without delay what about Jonathan would you like to see him yes of course I would like to see him but his father and I have done our best and failed somehow now I must leave him to God tell the boy for me that I sent him my oh no no don't tell him no one must know that I have come I must go home quickly before this the British suspect anything God bless you for your courage mistress Lydia I'll do my best to take care of Jonathan what kept you so long Lydia it's nearly dark oh John my heart is heavy in me please do not press me for explanations and excuses why my dear is there something wrong that you cannot share with me Jonathan Jonathan I haven't seen the boy all day I know I I received word that he's gone to join the army what the army yes oh no yes John my heart breaks to think of his danger but I have decided not to try to stop him oh my dear it's hard it's especially hard for you no matter what we think John we cannot go against the boys own conscience yes I suppose that's right but he's so young in some ways John I think he is older than we are children start building from the highest point their parents have achieved this look look there out the window why the troops are moving troops oh excuse me John I must get the supper ready and start my we are on our way general howl yes the men do not know where they are heading but they all understand the need for quiet and secrecy good we are fortunate not to be on foot in this snowy road yes the ruts and drips are deep the snow will serve as well except for it the night is black I would prefer total blackness to cover our March but Washington will never expect us on a night like this he probably thinks is asleep in Philadelphia yeah we must be nearly there wait I think I see a scout approach general howl general howl turn back sir turn back turn back why what do you mean man out with it we've been betrayed General Washington's troops are armed to a man and on the watch the cannon are mounted and they're ready at every point to meet an attack now by all heaven you blundering fool I told you to preserve the utmost secrecy on our planet I did sir I'm sorry sir I I cannot imagine what we're sorry idiot all our trouble has been in vain order the troops to turn back yes sir Fox again has outwitted the hounds yes good morning mr. Stara the edges in general would like to see you all right I'll go with you let me fetch my cloak David tell your father I have an errand in the town what is it mother may I go with you no son tell your father as I told you and mind you be good to Timothy while I'm gone I'm ready wish to use my house again sir I must make sure we aren't over her come over with a window mr. Stara you look tired I am tired sir or I have had family trouble since I spoke with you last my regrets madam it's about your family that I wanted to inquire yes that night in your chamber mr. Stara I didn't tell you then but that was an important meeting with the officers of the army are you quite certain no member of your family was about while we were there we all retired early as you requested strange very strange tell me once again I know you to be a God-fearing woman that you would not lie no no I tell you truly my husband and three boys and I retired to our own chambers I said good night to all of them at eight o'clock I know that you were asleep for I had to knock three times before you hurt me yet it is certain that we were betrayed I'm marching out to surprise general Washington at white Marsh we found him prepared at every point to meet a tech and we were compelled to march back like a parcel of fools I'm tired and lost to explain it nor can I explain it general will you have need of my house again what no no thank you lieutenant lieutenant escort mistress Dara home good day madam Lydia Lydia my dear what is it are you all right yes yes John I'm all right except my heart is heavy for Jonathan I cannot help thinking that he he must be cold well then rejoice my dear what he's drinking tea and warming his feet in the kitchen this very minute come and see for yourself my son yes mother the general sent me general Washington but why and how did you get through the line I sneaked through last night no one challenged me the red coats must have been at home in bed the general sent you a letter mother I don't know what it says but he told me to tell you that he was proud to be able to return your message fittingly return your message Lydia Jonathan give the letter to your father would you read it John headquarters white marsh December 4 17 77 to mistress Lydia Dara at Philadelphia dear madam for the many lives you have saved tonight I am glad to be able to give back one to you the boy has the courage of his mother when he is older if God has not yet granted us victory I will welcome him as a volunteer if it were in my power to give you the highest decoration madam I would do so but I know that a mother's son is the most precious jewel she could have you have earned my thanks madam and the gratitude of all the troops for your bravery in warning us of general house intention a surprise attack at this time could have ruined us and lost forever the independence for which we fight for this act the name of Lydia Dara will be remembered as long as these colonies endure I am madam you're grateful and obedient servant gee Washington you're you're you're wonderful Lydia Lydia indeed it was brave of you but I I never thought you could deceive us so and to take part in war I thought your faith would prevent you from such a deal John my dear I I saw it not violence to put a stop to violence I doubt not that war is evil in the sight of God but when evil is at work how can one remain idle I know your thoughts and they were mine until I had to choose between acting or letting the army be destroyed oh the woman must do what she can to help when her country is in danger thank you Miriam Wolf for a very stirring portrayal and now here is an important message to the young women of America you have just heard an interesting story about one of America's gallant women in the past if you are between 18 and 34 and a high school graduate join the gallant women of the present you will find the job opportunities in the WAC women's Army Corps and in the WAF women in the Air Force are now virtually unlimited visit your local recruiting headquarters and learn about the more than 100 different assignments now offered the young women of America talk to your recruiting sergeant get the facts and enlist today this has been another program on proudly we hail presenter transcribed in cooperation with this station by the United States Army and United States Air Force Recruiting Service this program featured Miriam Wolf as Lydia Darrell this is Kenneth Banghart speaking and inviting you to tune in the same station next week for another interesting story on proudly


because that's not what I thought growing up. Well, we have to believe the Bible, not just what people teach us. But when you start to believe what the Bible teaches you, that Jesus took away all of your sin, something begins to happen. When things get hard and difficult, you will still have a feeling that God is against you. And that feeling comes from the fact you grew up religious. It doesn't come from God.  What do you do with the feeling that God is mad at you when you're facing something troubling? Yet you know he shouldn't be, because he was mad at Jesus for my sake. He should be happy with me, even if I make a mistake. He should help me, forgive me, but how do I feel when I feel that? I have an example from the Bible that really helps me to personal to deal with this. There was a guy named, in the Bible, named Joseph. And Joseph was like Jesus, because he was betrayed by his brothers. A lot of negative things were done to Joseph. And one day, his brothers come to Egypt, and these brothers, they come to Egypt, and because they did something really bad to Joseph, they constantly live with a sense of guilt and shame. Just, ah, we should have not done it to brother. And something happened. Their brother begins to mistreat them on purpose. It begins to create a very difficult situation for them. And as they are, it's kind of troubled a little bit, they huddle up together and they say, ah, I knew we should have never done this to Joseph. We should have never done this to Joseph, because God now is punishing us. We are being punished for what we did to our brother. Not knowing in the other room, Joseph is sobbing. They are thinking, God is punishing us for what we did to our brother. We deserve these hardships. This very man, Joseph, who's creating these hardships for them, in the other room, is sobbing out of his deep love for them. He wasn't trying to make their life difficult. And he wasn't even trying to teach him a lesson. He actually loved them so much that when he saw his younger brother, the Bible says, he couldn't stand in their presence, get to get a private room to cry. He wasn't mad. He didn't have to leave so he can see in the anger, had to leave so he could relieve the love so they won't see it. And all of this time, they thought he's mad at us, not knowing madly in love. Yes, not mad. Your feelings are true, but they are not truth. Your feelings, that God is so far away. Your feelings that, oh, he might not be for me because, look, I just got an accident. I just got pulled over. I got a ticket. Look, I was taking this test and I couldn't pass it. Look, the challenges are with my parents right now. It seems like we are not coming to mutual understanding. Look, I'm just on such a heavy stress and load in school. Things are so hard in my work that God just might not be on my side. That is your feelings. They might be true, but remember, your feelings are not the truth.  And Job stinking, God is so against me.  Your feelings are not the best indication of how God feels about you, period. It's what he says and what he thinks and it's what he feels. It's not what you feel about God because somebody say, man, and once some of you will get married, you will know this to be true because one thing about being married, a benefit of being married to a female is many times you will discover how true and real their feelings are and how those feelings can also be very wrong. Your feelings can be very strong and very real and at the same time very wrong. And if you can be okay with that, you will know one thing. I'm feeling down. I'm feeling like God is letting me down, but I know he's on my side. I know in whom I have believed.  Because of Jesus, he's on your side. And if he's on your side, any sickness you're facing, any disappointment you're facing with God, you can overcome. Even if God forbids, certain things don't happen, maybe certain things don't turn around. You know what turned around? You gained somebody on your side. It's one thing to fight the devil. It's another thing when you think you're fighting God. When you're not sure of God is on your side, you don't need to go to someone, you need to go to the Bible. Take the verses where God said, I condemn you not. Sink in them so deeply until faith arises inside of you.


Hello, this is Lin from China. I took a standard 120-hour TEFL and TESL course from the ITTT, and now I got the certificate. I felt it was a rewarding experience for me. Besides the major grammatical units explained in the course, like parts of speech, present past future tenses, conditional, passive voice, pronunciation, etc., it also covers English teaching theories, methods, and techniques. It tells the teacher how to prepare lessons, choose appropriate equipment, and magic glasses. The ITTT course also provides plenty of books and online resources for teachers to refer to. However, if those resources could be categorized more clearly, it would be better and easier to choose from. Anyway, in a word, it was a smart move to choose the ITTT course for obtaining TEFL and TESL certificate that was accepted globally. And it would be especially useful for those teachers who started English teaching at early stage. Thank you.


Tommy Paul vs Ben Shelton is the third quarter final for the men's Australian Open for 2023. And both guys had to battle to get to this stage. Shelton started the tournament off, unseeded and would take on Song in the first round. And after splitting the first four sets, this one went down to the wire with Shelton winning in 5, 4, 6, 6, 3, 6, 2, 2, 6, 7, 6. In the second round he'd take on the qualified Jarry who had just beaten Ketch Menovic. This was no problem with Shelton getting through in traits 7, 6, 7, 6, 7, 5. In the third round he'd take on the wild card Poprin who had just beaten Taylor Fritz number 8 seed in 5 long sets. And again Shelton looked strong winning in straight sets 6, 3, 7, 6, 6, 4. In the fourth round he'd take on countryman JJ Woof who had a very impressive run to get to this stage. And again after splitting the first four sets this match went down to the wire with Shelton coming back from two sets to one down 6, 7, 6, 2, 6, 7, 7, 6, 6, 2 to get to his first quarter final. Paul started the tournament off unseated and would take on the qualifier struff in the first round. And after a close second set Paul got through in straights 6, 1, 7, 6, 6, 2. In the second round he'd take on the 30th seed David Dovich Fakina and after dropping two of the first three sets Paul would have to fight back to eventually prevail in 5, 6, 2, 2, 6, 6, 7, 6, 3, 6, 4. In the third round he'd take on countryman Brooksby who had just beaten number 2 seed Kasparud in the previous round. And this was Paul's easiest match to date getting through in straights 6, 1, 6, 4, 6, 3. In the fourth round he'd take on Batista Agu the 24th seed who had come off beating Andy Murray in the previous round. And after dropping the second set Paul would come back to win in 4, 6, 2, 4, 6, 6, 2, 7, 5 to advance to the quarter finals. These two have never played each other before mainly because Shelton is so new to the tour only turning pro at the end of last year. Paul's been around for a while in American tennis so there's going to be an interesting matchup to see two guys from the same country going at it for a semi-final. If Shelton's going to win he's going to have to use that lefty serve and really probably not play a long match against Paul because Paul likes to grind out the rallies so Shelton's going to have to keep it short and be aggressive. If Paul's going to win he's just going to have to outlast his opponent and also use his experience. I know he doesn't have much grand slam experience at this level in the quarter finals but he has played a lot more tennis than his younger opponent and especially in the big moments he's played on the big stage so I think he'll be able to handle the moment better but he's going to have to do that with this game. This is a really interesting matchup because so random I don't think anyone had this matchup going in to the first round. We had a lot of seeds that fell down early and these guys remain but I'm going to go with Shelton. I think he's young, exciting and he's got nothing to lose. Paul's the guy who knows more experience but I'm just going to go with Shelton for the random pick because this is a random pick no matter what happens. Shelton in five but let me know in the comments below who do you think is going to win this one.