Hi, this is Jeff Schultz of Model Railroad Hobbius Magazine. We're here at the Willamette Model Railroad Club in Clackamas, Oregon with David Biedermann, the president of the club, and Rick Andrews, who has the honor of being the remaining charter member of the club. So Rick, give us a little bit of the history of the club and how you ended up in your present location. Well, we were formed in late 1984 and we got a clubhouse which was an old garage off of Holley Street on 99 near the bomber. We designed a layout and we're getting ready to build it until we realized that the lease was month by month and there was a possibility that the building was going to be sold. So we decided, let's find another place. One of the members was a captain for the fire department which shared the parking lot with this community center and he said, I've got a spot. It's 27 by 30. The only catch was that it needed to be excavated out so we could actually have a layout. So we did that and it took us, I think, three months to excavate it out and we put the layout in the 27 by 30 foot space. There was another basement beyond this that was also 30 by 30, I believe, but that was going to be a harder excavation project. So we had this layout in this current basement until 19 or until 2003 when there was a flood upstairs in the kitchen and it flooded 90% of the ceiling and we realized that we were going to have to eliminate the layout in order to fix the ceiling so it was decided at that time, okay, since we're going to do that let's go ahead and go into the other basement and do that excavation project and five years later we actually got it done and this is where we're at right now. We started benchwork construction in early 2009 on the current layout. So when you say excavation, how much material are we talking about here? Well, I don't remember exactly. I've got the stats but I don't remember the exact numbers but all I can tell you is that we took out approximately 32 full dump truck loads of dirt in five, about five years. That's what we did. Okay, and since Oregon has a tendency to grow rocks any of significant size? Yes. We had quite a few that were rather huge. Luckily, we were able to expedite the project when one of the members had a friend who had a pneumatic jackhammer which was if we here were not going to use that we would have just stayed in this room and had a different layout. But the pneumatic jackhammer helped quite a bit and we took out some major rocks. In fact, we have four of them out on the courtyard. Those are the significant rocks. The last rock that was taken out of the back basement, the last rock that was taken out of the front basement and there was some other rock and I can't remember what that was. I think it was the, I can't remember now but we had some huge rocks that were in here that we had to pull.  Well, currently the layout is about three-quarters complete. We have about 500 feet of mainline that we expect to have when we finish it. Currently it's about 350, 370 operating. As you can see perhaps in the video we're currently finishing the last quarter of the four quarters of the room. And when it's done 550 feet and that's just mainline only? That is just mainline only. We have two major yards. We have a major helix for moving out of the staging yards and then of course there are many spurs and short rails everywhere. So what sort of staging is this going to be? The railroad runs from Albany, Oregon to Bend, Oregon and beyond and we stage from those two towns. So in terms of staging we have approximately between five and ten trains staged at any given time running both directions. We have built this and designed it in such a way we could run in a circular pattern if need be but it's not intended to. It's a point-to-point railroad. So are trains being made up on the fly during the session or is it all staged prior to the session or a combination thereof? When we begin a session we'll have three to four trains ready to go but we run a dispatch here so dispatch is in control of the railroad and how many trains are coming out at any given time. From that point forward in a full session there are approximately 40 trains that will go out so we stage the first four or five but then the rest of those are being made and they're actually operating. Okay and Rick, why did the club pick this particular locale prototype, well freelance prototype to model? Process of elimination. We decided when we were doing the excavating the core group we were going to make sure that we weren't going to make the same mistakes that we did on the first layout. One of the big ones was the concept of the layout the original layout was just mythical. It had towns but there was no rhyme to reason. The scenery was vaguely in western Oregon but if you'd asked somebody where in western Oregon it would be the answer would be well in the western part of western Oregon. It wasn't anything that was specific. So the idea was to have some kind of a locale that either was something like the Columbia Gorge which was already taken. We thought about the Siske line that was too far south the Lamont pass would be neat but it wasn't operationally oriented which is also what we wanted. That was a big prerequisite. So finally one day I was perusing through the internet and I came upon the Bear Creek in South Jackson and I looked on his website and I saw he had a map of Oregon and he had a line cutting straight across from Toledo all the way to Ontario and I thought well that's interesting. What if? And then at that time I didn't even know I knew the SP Mill City branch was just a branch and I didn't know it actually had they had surveyed it over San Iamb Pass and they were actually the actual idea was to connect with Ontario. So finally I saw that and I thought well that's kind of interesting. So I looked in Tom Dill's book and Ed Austin's book SP in Oregon and I actually read about the history and I thought well what if we change history a little bit what if the line actually made it and our railroad actually had the line over the San Iamb Pass. Siske line no. Anyway so that's how it started. That was the seed that was planted in my brain about doing a design like that. We ended up having a design off of four different layout concepts. One was the SP Valley line. One was the Siske line and there were two San Iamb Pass lines. One was a double decked San Iamb Pass line which actually ran from Toledo all or Uquina all the way to Ontario. Yeah and then my line which was my idea which was dub San Iamb Pass light because it wasn't double decked it was only single decked and my concept won and then we went ahead and started building and as far as did you mention something about the scale? No but why not? Well we always wanted to do HO so we just stayed with HO. That was the most popular scale with all the members so we weren't going to change it. So how did the name Columbia Cowlitz and Western come about? Cascade and Western. I think if I remember right way back when we first started we kind of had name the railroad contest and we had a bunch of names and that one was the most popular. That's pretty much what I can remember. So it just basically happened and everybody liked it. Yeah exactly everybody liked it. Okay Rick how'd you pick which era? I mean it looks like you're in the mid to late 70s here? 1979 and the membership picked the era. We had the 40s, 50s, 60s, 70s and 80s and so we just kind of voted on it and it came down to the 50s and the 70s and the 70s went out and originally it was going to be 1975 but then we thought how about making it at the end of the decade because that would add center beams and also the covered auto racks as well. So we ended up in I think it's September. September 79 is the era. Specific. Okay local railroads you had in that kind of general times on the Burlington Northern, the Southern Pacific, the Union Pacific, even the Milwaukee Road if you go a little further north go a little back further back in history you've got the SP&S in this area. Were any of those railroads a particular influence or a combination of them? Oh not really. We connect with the SP in Albany which is staging and the Burlington Northern Albany which is staging and we connect with the BN also, the BN Oregon trunk in Bend which is also staging and we also kind of change history a little bit and say that Milwaukee Road actually came down and crossed into Oregon and came into Bend so we have a connection with Milwaukee Road too.  Yeah it's kind of the railroad kind of picked up orphans from other railroads basically I believe is what the concept is. But we do have some would be some current power for that time which is running our hot shot trains and they're the ones if I don't even think on the video that was shown but the current power has a little different paint scheme. It's red, black and white whereas the older units have the blue and gray and white scheme on them. So you've got your own transition going on? Yeah and we're kind of sort of like the SP&S you never know what color is what. Okay, David? Construction. You've got it kind of doing in multiple phases here how did that come about and is there a time plan and how well are you meeting that if there is? Well the construction started in this area that you can see behind us here. This is Coleman. Equally we were starting with the staging because obviously that's how the railroad runs and then we simply followed on around the corner through Irwinville and on into Lebanon and on. As each crew got farther and farther along another crew would start up behind them. So everything is in stages. We're not actually trying to do all of it once we're actually doing pieces. So after the track work was in here then along came the ballasting, along came the turnouts which are a whole separate crew and we continued on through then scenery and the goal initially was to get operation up as quickly as possible. So I would say that from the time we started this which was approximately three years ago we were up and operating in six months had it all the way through to the end of Lebanon and then we just continued to proceed. At that time we fairly well formed that there were really four phases to what we were doing. This being the first phase taking us to Lebanon the second phase continuing on around into Lyons and terminating there at Shelburne. Then the major phase then started from that which was to take continuing on past Shelburne into Lyons around the Corn East, Lyons up through Fox Valley around the corner into Mill City coming around the gates. So Mill City basically was a lot of the second phase and then we continued in behind us here. We have the staging area that is the other end of the railroad at this point. Now we have started to finish this last quarter of the space which is phase three. We anticipate we'll have this running probably in about six to eight months. Our goal is to have the entire railroad operating in time for the 2015 NMRA convention that will be here at Portland. It's all run very, very well. We've been able to actually exceed our expectations partly because we have a very reasonable general manager as far as the construction and gives us deadlines that we can meet. And we've got a really good group of people working here. There are approximately seven or eight crews. The members get to choose which crew they want to be on. Each crew has a foreman. The foreman is responsible for the overall progress and success of that particular group. And all of the groups have done really, really well. As we can imagine, we've had some turnover in three years, but new people have stepped up to take over the crews and to join new crews, and it has just gone swimmingly, frankly. All right, guys, you've got what I would call floating staging. In fact, I see you've got it named USS Granite Mountain now and there's a USS Lions on it previously. Tell me how that came to be, what the reasoning behind it was and how it's worked. Well, when we got the layout started, the idea, well, actually we got into a dilemma, and that is we wanted to operate because we hadn't been operating for, what, five years. And we were getting operating withdrawals. We were able to go to other layouts and operate them, but there were a lot of guys that were getting, you know, they were like that. And so we were trying to figure out, we can't really, we don't want to build the whole layout at once because that's going to take a long time and we're not going to be able to operate. We had staging over here and we moved west geographically through Tallinn where you see here and moved that way. So the idea was, well, why don't we do it in phases and why don't we have the other end be mobile staging, if you will. So one of the members came up with the idea, well, why don't we build an aircraft carrier with, like, three tracks on it that was the length of our longest trains and we could just move it as we progressed the layout around. So that's what we did. The first phase, which is the USS Lions, which is right in front of me right here, was over in Lions as a three track staging. So we ran trains from staging in Albany to staging in Lions. And then we moved it angularly because we wanted to start phase two and we wanted to start with Lions working east up the hill so we made it at an angle so we could get Lions started but still be able to operate trains. Once we got phase two started, we pulled it out, brought it in here and finished up the bench work and now it's at its present location and it's last location, the USS Granite Mountain now. And once we get phase three in, we'll be taking it out altogether and it'll be scrapped. So we were able to satisfy our operating fix and still be able to do bench work. So what has been the biggest challenge of building this layout so far, and aside from 30-odd truckloads of dirt? I don't know what would be the biggest challenge. I was going to say, I mean this is smooth. It's been really smooth. We've actually had some bonuses. We actually found out that when we were doing the valances, when we were mapping out the valances, we found out that the both rooms were a foot wider each way which helped great with the design. Thankfully it was a foot wider and not a foot narrower. The only other, I guess you could call it a challenge, in the back room there are nine posts and we couldn't take them out because they're load bearing, they're supporting three beams. I think the biggest challenge is that we miscalculated where the coordinates of a couple of those posts were. And it turned out that we had track instead of going behind the post, it goes in front of the post and we have another one over here set between the backdrop and the track of six inches. Well, the post is three and a half inches back. So those have been the only two real setbacks. The other challenge was designing the layout is trying to get it to meander around the posts and you're going to have your minimum or maximum mainline radius set by the distances the posts are and we wound up having to have 30 inch maximum. We couldn't have anything more than that. Plus the IOA space is a challenge because of the posts and we had a 30 inch minimum pinch point on IOA. So we have a lot of pinch points and there's going to be more when we get phase three in there but the decision was made, we want to put a layout in here so this is what we're going to do. So when we have operating sessions we have a limited amount of, we try to keep it just having the crews in here and not have a lot of spectators and it creates bottlenecks. Yeah, I guess if there's a challenge is trying to keep people when we're actually operating is trying to keep the engineers and conductors who are off duty out of here because they want to come over obviously and follow it around and that's probably the biggest challenge. Challenges we're having way too much fun here. I know I've been guilty of that myself usually with a camera. Okay, tell me a little bit about the club and how many people you've got, membership, how is it meant, handled, things like that? We have a 30 member limit on the club which right now all slots are filled with either active members or probationary members. It's all word of mouth. I was talking with somebody the other day saying you don't advertise or anything. I said we don't have to. We are the only club in this region that I know of other than private layouts but the only large club which actually operates a railroad. Other clubs are show railroads and they're beautiful in their own right but they don't operate like we do. We have a full-time dispatcher here when we're operating. We're running four to five road crews at any given time during operating session. Two local crews, two yards. And then of course people staging trains and doing ancillary support tasks. So there's a lot to do. We attract everyone. We actually are starting to have a waiting list of people who would like to join the club. Membership is generally speaking of all ages. We have people in their 20s, 30s and 40s. A lot of retired people as you can imagine. So we have a nice cross-section of people. We have people who work for the railroad. We have people who don't have anything to do with the railroad but just enjoy model railroading. So it's a nice cross-section. We have a lot of talents. A lot of talented people in this club. Yeah, electricity, computers, modeling, scenery, track. It seems like we just draw the right people at the right time. And that's one of the reasons why there really haven't been any building challenges. The crews have just been right there to step in and go.


The beautiful Charlize Theron and Sean Penn arrived hand in hand yesterday at the red carpet premiere to the new movie The Gunman that you will get to see when it hits theaters in a week on March 20, 2015. In the movie, Sean Penn stars as an ex-special forces soldier who a lot of people want to kill. It is a thriller with a lot of gunfights and action, but as Sean Penn says it has many moments that you will be able to relate to every day life. Are you excited for this movie? Here's the trailer. Click here. That eye will take you to the official trailer for this movie, The Gunman. Tell me in the comments below if you plan to see it. And all this footage with Charlize and Sean comes with full permission from Reuters. Reuters is a world news agency that collects footage all around the world about late breaking events so that you can get access to footage to make videos that help you with tent pole programming. If you remember, tent pole programming means events that are current, that people are searching for, and that will help you get more views by getting into the top search results if you're among the first to cover the event. That's why it's so important to get late breaking news available to you fully licensed so you can make videos about it and get into the top search results on YouTube. I got into the front page of YouTube by creating a video that Spock dies. Didn't know Spock died? Leonard Nimoy? Click here. That eye will take you to the Spock dies video using Reuters footage that I made a few days ago. You will get access to this in the Freedom Dashboard. We are building that feature out right now and as soon as it's ready, you will be able to download video footage from Reuters and then tell us which of your videos are using that footage. That way Reuters can see how you're using their content and they may even give you feedback based on what they see. Isn't that exciting? Isn't that cool? Tell me in the comments below if you can't wait to start using Reuters footage and how you plan to use it. What kind of news are you interested in? Are you interested in news like celebrities like you see behind me? Are you interested in news about iconic figures like Spock dying? Are you interested in sports? Are you interested in music? If you remember I made a video that there was a $7.4 million lawsuit that was paid for copying one song. The song Blurred Lines was forced to pay $7.4 million to the owners of Got to Give It Up from 1977. I thought that was pretty interesting news. Click here in case you missed it. That I, you know the drill. We'll take you to the video. This is Freedom and now we're at 90,000 subscribers almost at 100,000 on this channel Freedom Central. Thank you to the 90,000 of you who have subscribed to this channel. And Heartbeat is almost at 29,000 members, users. If you don't have Heartbeat dating for YouTubers yet, why not? It's free. Click here. That will take you to the new Heartbeat Chrome on Google Chrome Web Store. And tell me in the comments below if you're using Heartbeat and how you're using it. We would love to know. And who am I? I'm George, CEO and founder of Freedom and you've been watching Let's Discover Freedom. Click the first video to learn what is freedom and how it helps you grow. Click the second video to learn about sponsorships for all Freedom partners, even if you have just 10 subscribers. And click the other videos like How Do I Leave Freedom to learn more. Click Get More Views to learn how to build your audience faster on YouTube. Click Get More CPM to learn how to make more money from your channel. And click Get More Music to learn where to get more music to spice up your videos. Click the first playlist to watch The George Show on Freedom. That's my show. Or watch The Anthony Show or The Alex Show also on Freedom. And we will grow together as a family because this is the Freedom family. You are part of it. We are all part of it and we're all growing together. So grow with us and partner with Freedom. That play now button right there on the video bar is all you need to click to get started.


Now, Roma Wines, present. Suspense. Tonight, Drury's Bone, starring Boris Karloff. Suspense is presented for your enjoyment by Roma Wines. That's R-O-M-A, Roma Wines. Those excellent California wines that can add so much pleasantness to the way you live. To your happiness and entertaining guests. To your enjoyment of everyday meals. Yes, right now, a glass full would be very pleasant, as Roma Wines bring you... Suspense. This is the man in black here for the Roma Wine Company of Fresno, California, who tonight from Hollywood bring you as star Mr. Boris Karloff in the remarkable history of a Scotland Yard Inspector who found himself in surely the most ironic predicament ever to confront an officer of the law. And so, with Drury's Bones and with the performance of Boris Karloff, we again hope to keep you in suspense. The events that are covered in this report began on the night of December the 28th, 1910, although I didn't know it at the time. But it was on that night that I opened my eyes to discover that I was lying behind some trash barrels in a dark London alleyway. I was ripping the skies apart and the sheets of rain that were pelting on my unprotected body had soaked me to the skin. My head was aching unbearably as I automatically tried to rise and I found I was so dizzy that I had to hold on to the barrels to support. I reached up, the feel of my head. My hair was a massive, dotted blood. From my numb mind I could feel only one ear. I had to find a lighted building somewhere where someone could get me warm clothing and call a doctor. It seemed ours before finally I saw an office building in which a light was burning and gracefully stumbled in its direction. Listen to this, Peter. There's a report from the fire. Who are you? I beg your pardon. Great heavens, man. Come over here by the fire. Yeah, yeah, I'll give you a hand. Here, let me help you. That's it. Good lord. Look at that head. Peter's. Yes, sir. You better call the doctor. Right, sir. Oh, let's get some of these wet clothes off, eh? Easy now. This is very kind of you. Now, now the trousers. That's it. Hmm. Rod's day. I suppose so. Yes, sir. You see, I don't know. Oh, come, sir, you must know whether or not you had a pocketbook. There's nothing here now, certainly. There's nothing? Who are you, by the way? Huh? I say, let's have your name. I'm... My name is... My name. I don't know my name. I don't know. I must have fainted because the next thing I knew I was lying on the couch in the office, covered with warm blankets and slowly returning to consciousness. My benefactors and the doctor were talking in hushed voices near the bed. You say no identification on him, eh? Nothing except these. I found them under his hat, Ben. Hmm. Two ticket stubs, Drury Lane Theatre, December 24th, 1910. Have you checked there? There's no possible way to trace them. I have to call him something. Drury, that's it, after the Drury Lane. And Terrence, after you, Inspector Terrence, Drury. Oh, very well. How long do you suppose this condition will last? Amnesia. No way of knowing. I should just a bit of rest and then some kind of absorbing work, not strange of course.  Danger and this sort of thing lies in the man's working himself into a genuine psychosis from worry. I see. I say, Carothers, why don't you put him to work here? At least until you locate his family. After all, you can't very well turn your back on the chap now that he's named after you. Well, as a matter of fact, it happens that I could use the new man around here very nicely. Well, there you are. And as to forgetting one's worries and absorbing work, I can't think of a better place in the world for a man to do that than Scotland Yard. Tonight for Suspense, Roma Wines are bringing you Mr. Boris Karloff, whom you've heard in the prologue to Harold Swanton's radio play, Drury's Bones, Tonight's Tale of Suspense. This is Truman Bradley for Roma Wines. When you listen to the friendly advice of Miss Elsa Maxwell about hospitality and gracious living, you realize that here is an authority who talks plain common sense all the time. I'm talking to men as well as women. When I say that the finest hospitality is always simple, sincere, moderate and natural, never the opposite. And so I am always emphasizing that the nicest, simplest, most sincerely flattering hospitality is to serve your guests some Roma sherry. With its golden amber color, it's delicious, tangy, nut-like flavor. It's not only supremely enjoyable. Before dinner or in the afternoon, it's smartly correct. A genuine compliment to your friends and to yourselves. And please don't worry about special glasses. It is perfectly correct to use any nice glasses that are handy. Well, Miss Maxwell speaks more authoritatively than I can, but I will add this. Roma sherry, like all famous Roma wines made from California's magnificent sun-ripened grapes, brings you all their fine flavor. Aroma and color is unvaryingly good, always enjoyable, thanks to the age-old wine skill of Roma's noted wineries located in the choicest vineyard areas of California. Yet all this goodness and pleasure is yours for only pennies a glass. Remember, more Americans enjoy Roma than any other wines. Roma, R-O-M-A, Roma wines. And now it is with pleasure that we bring back to our soundstage Boris Karlov as Inspector Terence Drury, who resumes his report on the case entitled Drury's Bones, a tale well calculated to keep you in suspense. It was an amazing stroke of fate that brought me to the London office of Scotland Yard on that dreadful night of December in 1910. But I'm sure that nowhere else could I have had more kindness and understanding. Of course, at first the strain was almost unbearable. I'd absolutely no recollection of my past. I had no idea who the man was who lived the first 30 years of my life. Or was it 40? Or 20? I never knew. But Carothers judged me to be about 30, so I came to regard that as my official age. And he was ingenious in providing interesting work for me. During the days that followed, I became so absorbed in the tide of fascinating cases that flowed across my desk that I had no time for thought or reflection on my plight. My own dossier at last reach was called the Inactive Fire and was gradually forgotten. In short, my present and my future became so interesting that I came to regard my past as a closed book. And so it was, as a full-fledged Inspector, I reported one day in May of 1930 to Chief Inspector Carothers. Oh, hello, Drury. Have a chair. Thanks. Cigar? Yes, I will, thank you. Mmm, Havana, eh? Decently prosperous for a Scotland yard man, Inspector. Sure you're not involved in a scandal of some sort? I'm sorry, old boy. Gift from my niece. Have a light. Only one other conclusion then. You're about to cancel my holiday. Well, as a matter of fact... Murder in Soho, I suppose. Murder in Soho. In Clevelli. Clevelli? Clevelli? That's a fishing village in Devon. That's it. A bit of a resort town, too, you know. Thought you might be able to combine business with pleasure. I do need a rest, you know. I have here a letter from a Mr. John Stanip who resides in Clevelli. It seems he unearthed a human skeleton in his backyard, apparently buried there for years. Or it'll just be a matter of securing a routine report on the case, perhaps questioning this Mr. Stanip, and possibly a few of the local residents, that you can pop down to Torquay and bask in the sun for a few days. Ever been in North Devonshire? I have already, religiously. I'm allergic to moors. Well, what do you think of it? Well, if it were anyone else but you, corubbers. I suppose I'd better write this all down. John Stanip, right? Do you have his address? There's no such thing as an address in Clevelli. There's only one street. I don't have any trouble finding it. What I hear the townspeople will be quick enough to tell you all about the place where the bones are buried. How do you do, sir? Welcome to Clevelli. How do you do? My name is Drury, Scotland Yard. You'll want a single, I expect. Yes, if you have one. Just sign the register, please. Very well. There. I understand that Mr. John Stanip was to leave a message here for me. Oh, you must be here about the bone. Yes. At the moment they've caused, I'll tell you, what were the Ashley Norton's disappearance, a dark mystery these 20 years and all? Who were the Ashley Norton? Lived in that house 20 years ago they did. That would be just about the time the body was buried, wouldn't it, sir? Yes. Did you know them? Never did, sir. Saw them once or twice. Strange pair they were. Unsociable. Keeping themselves to themselves night and day in the house on the cliff. No telling what went on behind them doors. What do people think went on? There's some that thinks that what went on was murder. Murder? Why? There's those who knows the reasons better than I. I'll leave it to them to tell. Very well. Let's see. I signed this book, too, don't I? Oh, no, sir. That's our permanent register for new guests. But you've been here before. I? No, no. I've never been here before in my life. Oh, that's odd. For a moment I thought I'd seen you here before sometime. Mr. Stanup? Yes? Inspector Drury, Scotland Yard. Happy to see you, Inspector. Come in, please. Thank you. I must apologize for the condition of the place, Mr. Drury. The events of the past few days have been a bit upsetting to say the least. I should think so. Like a spot of sherry? Why, thanks. Yes. I had rather an enlightening conversation with Mrs. Tumbly at the inn last night. Seems the townspeople are quite certain it was a case of murder involving some people named Ashley Norton. Yes, yes, Roger Ashley Norton. His wife was named Sarah. Did you know them? No, no, no. I'd never met them. Very few people had. It was twenty years ago. The house originally belonged to my brother. He died in 1925 and I didn't come into the property until after that. I know it's natural to jump to the conclusion of murder when one uncovers human bones, but is there any reason to suspect the motive? Did anybody disappear suddenly? No one, but the Ashley Norton's. I see. There's nothing to go on but gossip. And it's all highly circumstantial, of course. My brother was renting this house to them furnished by the year, payable in advance. And so he rarely had occasion to call on them. But when the regular check failed to arrive on time, he paid them a visit. The house was vacant. And it was immediately clear that no one had lived in the place for the last two months. Your brother made inquiries, of course. Oh, yes, yes. No one had seen or heard from them for at least two months before. And what date was that, Stanup? Well, let me see. That was December of 1910. I'm sorry. Oh, he's quite worried. Oh, here, let me... No, no, no, no. The maid will attend to it. Let me get you another. Not right now, thanks. Well, would you like to examine the garden? The garden? Yes, where the bones were discovered. Oh, yes, yes, of course. I'll throw the French window here to the side. I take it. Yes. Here we are. Just over here, Inspector. See, and the trees thought about here, eh? The what? The holly tree. I must admit you're a jolly fine detective, sir. The garden discovered the body while removing the dead holly tree, all right. But I wasn't aware that I mentioned the fact to Scotland Yard. It was in my room and me in late that night that I first began my notes. I include them now in this report, just as I wrote them then. Clavelli and Devon, May 18, 1930. The feeling that this is all a book that I've read or a play I've seen somewhere in the past has taken hold of my very soul. And the terror that grips me when I think of the future makes rational thought very difficult. Nevertheless, I have resolved to pursue the investigation until I am certain that there is no further doubt. I must discover someone whom you actually know intimately. His profession, his habits, his personality. I think I must risk tomorrow another talk with Mrs. Thumbly. But meanwhile, I shall withhold any further report to Carothers. Now, Mrs. Thumbly, you said yesterday that there were some people here in Clavelli who knew the Ashley Norton's rather well. Did I? Yes, Mrs. Thumbly. Well, it might have been Effie Wilkes I had in mind. Who was Effie Wilkes? She was the Ashley Norton's serving mate, sir. And where is Effie Wilkes now? Oh, she disappeared, sir. She disappeared? At the same time, they did, sir. And not a sight nor sound of us since not these twenty years. Who else? Who else knew the Ashley Norton's? Only the other one I could think of would be Ben Sykes. Blind Ben, they call him now. But he could see then, right enough. And where is he? Oh, he's hereabouts. Gone to bid affidavit with his nephew today. But he'll be back Wednesday if you'd care to speak with him, sir. Did he work for the Ashley Norton's? In a manner of speaking, sir. He helped out with the experiments. Experiments? Oh, yes, sir. Mr. Ashley Norton was quite the scientist. Or so he said. What did Ben Sykes have to do with these experiments? Oh, he got things for them, sir. What sort of things? Live things, sir. Live things? Rabbits, animals, such like things, sir. Oh, is that all? No, sir. If you ask me, that wasn't all. What else? There was human beings, sir. Human beings? Yes, sir. What human beings? Why, I would say, sir, the nearest ones that came to end. What do you mean? Oh, I'm sure you know much more about this than I do, sir. But they do say those bones were the bones of a woman. Carrotta's wired today that he expects to locate the serving girl, Etty Wilkes, within a matter of hours. That means at least that she's alive. And it also means that her testimony will complete the case. And I can no longer deceive myself as to the outcome. I don't quite know why I sent Carrotta's the information about Etty Wilkes. Knowing as I do that I'm endangering myself for that action. Perhaps there's something of which I'm still just a little proud. I'm still primarily a detective. Well, I shall pursue this investigation impersonally and logically until the very last link in the chain. That link is Ben Sykes. Blind Ben. There is only one fact in which I can take some faint hope. Ashley Norton was a scientist, but presumably a doctor. And I can find no faintest memory in myself of any specialized scientific knowledge whatsoever. Or Ben Sykes' nephew is going up at Biddifford today to bring the old man home. I shall go along and talk to him. So you're Ben Sykes. Aye, blind Ben, they call me. But eyes are known. I can keep up with the best of them. What's your business in clovelly, sir? Come to ask you some questions about Mr. Ashley Norton. Haven't we met before, sir? Not that I remember, Ben. Your voice is, uh... Oh, well, what sort of questions, sir? Perhaps about the experiments. I'll say not of the experiments, sir. They were the master's private business. Very well. Did you know Mrs. Ashley Norton? Sarah Ashley Norton?  Did... did he love her? He loved her more than life itself, but, uh... But what? Well, she helped him with his experiments. He was condemned hereabouts for that, but she helped him all through these long months until... Until? Until she went away. Either! Look out! I'm sorry! He's on the road! The last I remember was the sickening sway of the wagon as it overturned in the ditch on the left of the road. I must have hit my head on something and lost consciousness just for a moment. Help me with it! What? Oh, I say it's nasty gas on his leg there. What about the other? Take care of Ben. Right. I'll look to the inspector. Right. There you are, old fellow. Inspector! Inspector, are you all right, sir? I believe so. Here we are. Oh, I see. Thank you. Ben, all right? He's hurt. His leg. I'll sit for the doctor. Let me have a look at it. Oh, yes. No, don't roll it back. Now get me a knife. Oh, there you are. Now help me with this. Here. That's it. Hmm, compound fracture and bleeding pretty badly. Have you a handkerchief? Quite clean enough for a bandage. It isn't a bandage. Now get me a small stick. That's it. Now around here, just below the patella. Hmm. Now hold on to that and relax it when I tell you. Yes, sir. Hmm. Tibia and fibula, both compound. Dislocation of the talus, need X-ray immediately. What? I didn't know you was a doctor, sir. Huh? What? Neither did I. How do you feel, Ben? Much better, Mr. Drury. Thanks to you. She twitches now and then. You'll be all right once it's set. Okay, you was with us, sir. Ben, you were going to tell me about the last time you saw Mr. Ashley Norton. Do you remember? Yes, sir. I remember it well. He was going up to London, to the theatre, he said. Was he going alone? Yes, sir. Mrs. Ashley Norton had gone on ahead to do some shopping, he said. Ben, do you remember when? What theatre? Yes, sir. It was Christmas Eve. And the theatre was Drury Lane. Yes. Yes. I guess I knew it always. Asking your pardon, sir. I'm an old man, and I can say things without anyone getting angry about them. Yes, Ben, what is it?  Oh, run away. I wouldn't run away from it any longer, sir, if I was you. Ben, I believe you're the only one of us who isn't blind. Hello, Drury. Well, welcome back. I say, though, that Chief's been trying to get a hold of you all day. Yes, I know. Is Chief Carothers in? No, no. He had to meet someone at the train. He'll be back soon, though. When he wants me, I'll be in my office, finishing my report. Oh, that's so. You've been on a case. Murder, wasn't it? Did you, uh, catch the fellow? Yes, I caught him. There's little now that needs to be added. Christmas Eve, Drury Lane Theatre. And Ashley Norton went alone, he said, because his wife, Sarah, had gone on ahead. And the medical training. It came back to me when I needed it as though it had been my life, my former life. There can be only one conclusion to this report. Sarah Ashley Norton was murdered by her husband. The case is closed, signed. Roger Ashley Norton, formerly Terence Drury. Oh, come in, Drury. I've been expecting you. Yes. Here's my report, sir. Time enough for that. If you don't mind, I'd rather you read it now. I'd like to get it over with. But, um, you know, we've finally traced the serving, uh, Levy Wilkes. Yes. If you don't mind. And through her, we traced someone else. Does it really matter now? I think perhaps it does. You may show in the witness papers. Yes, it is. Roger. I beg your pardon, but who? Roger. Don't you remember me? I remember you. I only remember that you were someone who was once very dear to me. And now it's too late. No, no, Roger. No, it isn't too late. I'm... I'm... Sarah. Sarah.  And that very night, you were both to go on to Paris. Then at the last moment, you ran into some chap who begged you to deliver a lecture the next day. You agreed, and Mrs. Ashley Norton went on ahead. You were to meet her in Paris in two days. Oh. When you didn't come, I checked with a steamship company. And they said your ticket had been used. The thief who robbed you must have used it. But I couldn't know that. I thought you must be somewhere in France. The French police tried to trace you for years. Then I thought you must be dead. Oh, Roger. Roger. My dear. Oh, Sarah, do you... Well, do you suppose you could call me Terence? I've got used to it, you know, and... Very well, Terence. You haven't changed very much, really. I suppose you haven't either. By the way, I had excellent taste in women in those days. Oh, my dear. Oh. Oh, and can you ever forgive me? Or give you? For what? The bones. Oh. The bones. Yes, I... Well, I suppose if that Mrs. Tumley hadn't been so nosy, I wouldn't have done it. But I was afraid if they found it in the house, it would look even worse. So that's why I did it. Did? Did what? Buried your demonstration skeleton in the backyard. Under the holly tree. Oh. And so closes Drury's bones, starring Boris Karloff. Tonight's study in Suspense. Suspense is produced, edited and directed by William Spear. There is no reason at all, Elsa Maxwell says, why everyone should not have the enjoyment of Roma wines with everyday meals and when entertaining friends. These superb wines of California are so delightful to the taste. So very delicious with food. So smartly complimentary to friends who are your guests. It seems a shame to me that some people still miss out on such wholesomely simple, moderate and inexpensive pleasure. But of course, Miss Maxwell, millions already do know and enjoy Roma wines. In fact, more Americans enjoy Roma than any other wines. And that can only mean Roma wines are California's finest. Always extra good. Unvaryingly fine in flavor and quality. Yet only pennies a glass. Roma, R-O-M-A, Roma wines. Next Thursday, same time, you will hear Mr. Joseph Cotton, the star of Suspense. Presented by Roma wines, R-O-M-A, made in California for enjoyment throughout the world. This is CBS, the Columbia Broadcasting System.


and you're watching DCU TV and I'm now here with the academic. Hey, how are you doing? I suppose the first burning question is, seeing them as we're in DCU, is the academic academic? Not anymore, we used to be at one stage, but now we're all out of college, Stephen didn't even get to go to college. Just straight out of leaving certain to a band. Too bad.  But how did you get the name of the academic then? We got it from the book The Catcher in the Rye. It's like, the academic, he's talking about schools all the time, so we got it from there. And then he just made sense with us as a band, and then we were all in school when we met, and started a band in school, and kind of built our audience from school, kind of. And then that's where I kind of stemmed from. Very good. So your last single, Different, hasn't been off the radio, and you're now releasing a new single, The Northern Boy. So where did you get the inspiration for your songs from? To be anything, I mean, like from growing up, and friends, and just anything. No, it's terrible mistakes.  I've got a good one now. It's not good for me or Stephen, but me and Stephen came crawling out of a nightclub with Dean, and Dean may have been more sober than me and Stephen. And we were walking down, it's called the Lane Club in Mullinger. Okay. Should I say? There is a lane that you have to go through, and it was one of those things I had seen Stephen all night then, and then we just met up and we were leaving. And Stephen, I can't remember what he said to me, and whatever it was, it was that funny that he said it. And then I started throwing up, and he started throwing up, and Dean was in the middle of us cleaning the door, just patting them back. Yeah, just being a saint through. That was a bad one. A very classy one for me. I don't know if there's a song with that one. There could be. There should be. There should be. There is inspiration right there. I'm so... Can you say wrap it up? Yeah, you can do it. Okay. And... Do you want to go now? Yeah. The theme for tonight is superhero and villains. So if you could be a superhero or a villain, what would it be? A shmingle. Yeah, Joker. That one. Oh, the villain. Mmm, Bane. That's really tough. No, don't... I wouldn't like to pick a typical superhero movie one. I'd like to pick something like... Jenny from Florida. Jenny from Florida. Except that would be a bit weird. I think I'd be creative then. Yeah, that's a good one. Snape a villain. No, he's an empty hero. That's the difference. Yeah. I don't know, I'm not sure. There you go. Thank you very much.


Good morning, Hank, it's Tuesday, so listen, I've got some big news, but first I just took the most magnificent bath. Like, I don't want to be hyperbolic, but I consider myself something of an expert in baths.  Alright, hold on, I gotta take the kids to school. But, right, the news. So, Hank, when you got cancer, I became the reluctant and temporary CEO of DFTBA.com, an e-commerce company that connects fans to creators like the McElroy Brothers or Kurtz Gazat, and also makes the awesome socks and coffee clubs and sunbasin soap. The clubs then donate 100% of their profit to charity, and so far, we've raised over $5 million to support better child and maternal health in Sierra Leone. It's just the best, and the people who work there are amazing. Now, did I want to become the CEO of this company and attend a lot of meetings? Not necessarily, but I am aware, Hank, just to state the obvious, that I wasn't the protagonist of the story. So, right, when we first started making sunbasin soap, we had a problem. Like, how do you communicate what a soap smells and feels like when you're an internet company? Like, nobody's invented smell-o-vision, and we do have a sample pack that lets you sample each of the five soaps, but ultimately, we wanted to communicate not just how the soap smells, but how it feels? And that's notoriously difficult because we're headed toward the places that language can't touch. Enter DFTBA's Zoe Ryder, who wrote the most brilliant descriptions of these soaps, Hank. She wrote, for instance, that Enigma, our unscented bar, feels like the liminal air of a spring evening. Potential in every breath. And it's true! For Trailblazer, our tangerine sage bar, she wrote that it's an unseen curve in a winding trail and the thrill to discover what's beyond. That is such a better description of this bar of soap than anything representational. When I say we work with an amazing group of people, Hank, that's the kind of stuff I'm talking about. Like, this is Forager, our foresty bar for people who want some, like, hardcore exfoliation. Zoe called it a sprout peeking through leaves in winter debris, pale green life beginning again. When you nail the description of a soap that way, is it copywriting or is it poetry? I think the answer is yes. So, Hank, the announcement that I'm making is that in one week, I will no longer be the CEO of DFTBA.com. I wasn't very good at the job and I am thrilled to be demoted back to my natural role as unpaid social media intern making third tier memes about our truly exceptional coffee. But I have to say, I will nonetheless miss the job because it's such a joy to be with people who care about their work and together are really making something special. So here in my last week, I want to thank everybody in the warehouse who taught me how to pack and ship, everybody at customer service who taught me how to make our customer experiences as exceptional as our products and everybody in the projects and products team who helped me understand how you make stuff responsibly and thoughtfully. But anyway, as my last act as CEO, I want to encourage you to buy sun, base, and soap, which is truly the best soap. In addition to Forager, Enigma, and Trailblazer, we have Navigator. This one is more lightly exfoliating, has a great fresh Japanese peppermint scent. But why listen to me when you could listen to Zoe? It's open fields with horizons obscured by humid haze. And also we have Daydreamer, which Zoe describes as the clink of settling ice in a glass of lemonade. Oh, and one more thing, Hank, you are not going to be the CEO of DFTBA.com. Hank and I will remain deeply involved at DFTBA, but when Hank got sick, we were actually several months into the process of trying to find the right person to lead the company. And we've found her. Her name is L.J. Jukowski. She is a brilliant leader who is passionate about DFTBA's mission. She has decades of experience doing this stuff and really wants to come to DFTBA because of the difference that we're trying to make in the world. So for the last time as DFTBA's CEO, buy our soap and also our coffee and our socks. 100% of the profit goes to charity. Hank, I did it! I speed ran CEO. Thank you for trusting me with it. I'll see you on Friday.


Welcome back it is Thursday and that means acting analysis for animators that's right and today I'm going to take a look at the movie us. There's a lot to unpack in this movie and there are many many fantastic analysis pieces online so I'm not going to go into the whole story and themes behind it these are more clips and moments that you might be able to apply to your animation shots so let's check them out. First one right here I thought was interesting in terms of adding a character introduction or a button or something interesting towards the end so as the characters hear something right in this case it's the honking of the boat outside so you can have something where you have foreground kind of a mid they kind of was in the same plane here but it's an interesting turn of I want to show this I want to show this now you think this is done but no you can have one more thing where this character pops up and this could be right at the end of the scene this could be something where the character comes up and the character says something right this could be all silence and then that's your pantomime and again this might be helpful to you if you stage it like this where it's in focus and blurry so your lip sync doesn't have to be super accurate but you still want to practice the body language and facial tics and head accents for lip sync I thought this could be an interesting way of kind of an intro to lip sync if you want to but I thought this as a contrasting move was very interesting and speaking of character intro you have this here where she's looking for a kid and again you can look at this in so many ways where this is your your sitting character this is your stand-up assignment so the character gets up and this would be the overlying thing of worry all the way to panic potential right so you have just your mechanical aspect of a shot but you can add something to it right there's the frightening aspect of I'm losing my kid where is my kid and that could be your shot at the same time you can go into this and I always like that stuff I like when you have two ways of showing off your skills one is full body mechanics and we've seen this and now after this boom close-up was very short close-up of a character where that character can react to the character that's now off screen it can be its own thing this could be pantomime body mechanics and then you get into lip sync so you want to show off lip sync without worrying about the body there are many many ways how you can use this but again I thought a very cool moment that could be applied to your animation shots now speaking of end and end button this could be something where your character is done and this would be it the kid the mother says go to bed and she says okay and again your shot could end like this or you add one more thing and this could be I mean this is just kind of visually with this we know she's back on their phone even though she said turn off your phone and this could be something that's a bit brawer maybe you can use with sound or maybe that is moving because the character is playing video games it's a bit more exaggerated but it's something again interesting where your scene doesn't have to end because the lip sync is done you can add one more thing to give one more insight into who this character is if they obey or disobey or do something else now this is not really something you can apply to your shot but I did want to show it just because the complexity of this of this movie is so awesome I love how before she tells the story she has that specific move with her leg it's almost like a ballet move why because we know she took ballet lessons she's done that before it's just an interesting moment of something that's from the past that's still part of her and kind of influences her movements anyway again it's tricky to pull off in one shot on your reel but I just wanted to point that out if you haven't seen this movie this movie is full of awesome stuff like that but going back to something that's potentially more useful in your shots if you have this not that you have to do this with character exits but again it's one of those things when you know this if you watch my clips I love stuff like that where you have an environment it could be a prop where the character uses that as a surprise intro right but I like about this is you got that one two she got two different characters but I like about this too is that now as he says his line as you're seeing what's going on your spoiler you can see what she does right because this is something something I'm going to say to here and I love her reaction like what did he just say it's just a cool moment again of technically this is your lip sink that's all you're going to do but what if you do have a second character how is that second character going to react to this because again your characters need to listen to each other and this is just a great moment of wait did he just say this what and it's a great moment to end this and it's also nicely staged again where he moves I mean moves he says his line but then stops so that gives us just enough direction to look at her he doesn't flail around run around so we missed this moment so in terms of leading the audience it's not I mean it's not huge like he points to her and leads to her face but I thought it's very very clear in terms of where to look especially if you have audio but it's a cool moment that I could see in the shot that you would do if you have a one character and cool too because of this right because you're having because having this this this proper this piece of whatever this vehicle here or whatever set piece yeah this could be a wall this could be a couple of trees over this it also gives you the opportunity to not animate the whole body right you can still do something where you show an offset here and then kind of a weight difference right a lean is a bit different than just standing there two characters and lip sync and reaction without really having to deal with the whole body and the hips and the legs and weight shifts I think again having a set gives you the freedom to kind of change things around to kind of just focus on what you want to focus here being the lip sync and the reaction of the other character there we go little bits and pieces of that movie that hopefully could be helpful to your shots maybe it's a springboard of ideas but generally that movie there's so much more to it I highly recommend that you watch it if you have and you got some thoughts about it comments open let me know if you have any thoughts about that movie but that's it and again if you think that this is cool and helpful you want to apply this to your own shots why not I have a workshop link in the description we can work together on your shots you can sign up at any time now if you're still watching this of course thank you so much for watching this you can like and subscribe if you want to if you do subscribe hit that bell button and hit the notifications whatever all those options are because you do want to get notified about all my uploads I mean only if you do want to get notified I'm not going to tell you what to do but if you want to subscribe and you hit that button there's this option anyway I'm gonna leave this here if you're still watching this you're way too patient I will see you next week for the movie or TV show


So there were a few other things that we didn't get a chance to talk to you on this last episode 10.33. Jared, the long goodbye with Cassini. Tell me what's going on. So Cassini has completed its final journey through the gap between the interior of Saturn's rings and the cloud tops of Saturn's atmosphere. And it's currently heading on its way now to end its mission in the atmosphere of Saturn. Now Cassini, the spacecraft that we have at Saturn, has undoubtedly been one of humanity's greatest expeditions of exploration in terms of science knowledge that we've gained from a technical knowledge from designing the spacecraft and simply the endurance of Cassini as well. It's been in space for nearly 20 years, just a few weeks shy of 20 years. Now Cassini has traveled 7.9 billion kilometers, executed two and a half million commands, collected 635 gigabytes of data, discovered six moons at Saturn, performed 162 flybys of Saturn's moons, completed 294 orbits of the Saturnian system, taken 453,048 images. Data has been used in 3,948 published papers. It's burned its engine 360 times and it has shown that 27 countries can cooperate on a mission of incredible discovery. Now before Cassini, there were things that were considered science fiction, like a small ball of ice generating enough energy to have an ocean. That was the realm of books and films of science fiction. But images like this from Enceladus have shown us that it actually is scientific fact. The idea of a liquid cycle on a celestial body was strictly driven by water. That was until we looked at Titan with Cassini and we saw that even though the temperatures there are extremely cold on Titan, minus 180 degrees Celsius, that there's still a liquid cycle happening there. It's not happening with water, it's happening with methane and then we look at the rings which were considered an old but complex structure and we now know from early results gathered by the science in these final 22 grand finale orbits that the rings are likely very young in terms of the age of things in our solar system. Just 100 million years old and they're even more complex than we can even dream up. The bittersweet part about this incredible mission that Cassini has done is that tomorrow, September 15th, 2017, it all comes to an end. When Cassini was fabricated, it wasn't known that Titan would be so close to the prebiotic chemistry that we've seen. The ingredients for life are at Titan. It's just that the energy isn't there and we didn't know that Enceladus was potentially the best place for life off of Earth present in our solar system. So because of that, because we did not have that knowledge before Cassini, the spacecraft itself wasn't built to the specifications of cleanliness that say something landing on the surface of Mars is. So in order to prevent contamination, it was decided that with what little fuel Cassini has left that it would be sent to plunge in the Saturn's atmosphere and as I mentioned earlier tomorrow, September 15th, 2017, it will do just that. We're going to have the high gain antenna of Cassini aimed at Earth and set Cassini in a mode that will constantly transmit data from its instruments back to the Earth inadvertently becoming our first atmospheric probe going into Saturn. Now from entry into Saturn's atmosphere, which Cassini will be doing at 120,000 kilometers an hour to Cassini losing control, losing contact with Earth and burning up in Saturn's atmosphere, that will be about 60 seconds from touching the top of the atmosphere to Cassini burning up. The entry should begin right around 11.54, coordinated universal time or 4.54 a.m. Pacific Daylight Time on tomorrow Friday, September 15th, 2017 and loss of signal is expected to occur 60 seconds later at 11.55, coordinated universal time, 4.55 a.m. Pacific Daylight Time, also Friday, September 15th, 2017. And probably the most poetic thing about this is that Cassini will now become a permanent part of the planet that it studied. So it spent 13 years around Saturn and now it's going to become a part of Saturn. So beautiful end to an incredible mission. Yeah, that's really beautiful. And actually if you're interested in more information about Cassini and the entire mission, you can go ahead and check out tomorrow's episode 10.15. Although if you're interested in more news and other things like that, you can look at our last week's show 10.33. We talked with Stuart Money about the history of SpaceX, which was actually a lot of fun. And you can always join us live every Saturday at 1,800 Coordinated Universal Time.


Hello, everyone, and a warm welcome to all of you. Advances in AI, automation and connectivity, are giving rise to a wealth of new opportunities to improve road safety. But capitalizing on life-saving technologies on a global scale will demand extensive collaboration supported by a diverse range of expertise, again demonstrating why partnerships receive such emphasis in the UN sustainable development goals. And that's why ITU's partnership with UNECE is so important. UNECE provides a global regulatory structure on vehicles and road traffic, while ITU supports global advances in digital technology. Our long-standing partnership helps ITU in developing international technical standards and communication regulations that are aligned with the priorities of vehicle regulators. As our latest initiative in this arena, ITU has launched a new expert group on automated driving with our collaboration on ITS communication standards. The group aims to determine the requirements for all new cars to be sold from 2032 onwards to be equipped with communication technology for safe, automated driving. It will support the UNECE task force on vehicular communications that aims to establish a global structure for how vehicles communicate, initially with one another, and potentially later with the surrounding environment. Our expert group held its first meeting last week, and we will learn more about what they've done, their ambitions during this symposium. I want to thank the UNECE Executive Secretary, Tatiana, for the productive collaboration that we've built together. We're grateful for the enduring support that we enjoy from John Todd, the UN Secretary General Special Envoy for Road Safety. Together, we're supporting cohesion in the evolution of technology, business, and regulation, bringing safe, automated driving to every region of the world is going to require sustained investment in the technology and sustained investment in public-private collaboration. The community that gives life to this symposium continues to demonstrate the necessary commitment, and I really want to thank you and I applaud you.


So you know about beef jerky and turkey jerky, but what about chicken jerky made with chicken breasts? This is macro and budget-friendly super easy to do. I'll show you how I make it today But pellet smoker and an air fryer dehydrator. Let's start with a simple marinade for two pounds of chicken We're gonna go half cup of bachons Japanese barbecue sauce a fourth cup of sriracha and two tablespoons of rice vinegar traditional Chicken jerky or jerky marinades are gonna be things like soy sauce Everyone's favorite unpronounceable sauce worcestershire sauce That umami saltiness you can add dry seasonings like black pepper crushed red pepper You really make this jerky Marinate your own whatever you use. We're just gonna mix this up and then marinate our chicken ideally overnight Speaking of chicken you'll want to slice this into an eighth to a fourth inch slices to make life easy you'll want to freeze this for maybe an hour before or What I did was went from Completely frozen chicken breasts. I let it thaw for about an hour This makes slicing so much easier You'll inevitably have some size discrepancies due to the shape of chicken breast What you're really concerned with is having a consistent thickness Otherwise your really thin pieces will completely dry out and overcook in the dehydrator smoker Before your thick pieces can fully dry out talk more about how to tell when the jerky is ready to go A little bit later, but first let's get all this chicken into the marinade Toss it together make sure all the pieces are not stuck together And fully submerged in the marinade you can transfer this to like a ziploc bag Or you can tightly wrap this with plastic wrap and marinate I said earlier overnight, but eight hours would be fine if you want to do this in the same day So i'll be showing you two different methods Of making jerky today. The first will be in the instant vortex pro air fryer using its dehydrator function Any dehydrator will work here. This is the only dehydrator. I have experience with so don't ask me for too many dehydrator pro tips But you'll want to make sure you get these in an even layer Not stacking try to leave a little bit of space in between so you get even air flow And so the jerky doesn't stick together And then we'll go in To the dehydrator for about three hours at 160 degrees fahrenheit if you're using something with multi levels like the instant Vortex pro you want to switch the racks from top to bottom About halfway through so at the hour and a half mark This is their recommendation for making jerky Other dehydrators may not require you to switch racks around just this model If you want to be absolutely certain your chicken jerky reaches that 165 degree fahrenheit internal temperature You can throw this back in this air fryer or into an oven at about 275 degrees for five to ten minutes Then use a food thermometer just to double check you make it there Okay, let's talk making chicken jerky on a pellet smoker This is a traeger pro 575 and a pound of chicken pretty much takes up the entire Grill grate here So unless you have you know a second rack or some kind of rack system for your pellet smoker About a pound of chicken jerky is all you'll be able to do here while keeping them spaced out We're going to smoke it at 200 degrees. I'm using the traeger Signature pellets, but you can match the type of wood with your marinade You know, whether it's like a sweeter cherry apple something like that I would highly recommend doing that You know and something I didn't mention in the dehydrator version is you'll miss out on that smokiness With using an indoor dehydrator So you may want to add something like liquid smoke To the marinade if you're not using a real smoker So we'll go about Two and a half to three hours On the smoker at 200 degrees And you'll know when it's ready when you can bend without breaking And then when you tear into it, you shouldn't see any moisture when you bend if you do You need to go a little bit longer and when you tear into the jerky You should see these little white fibers like you see here Again, no moisture should be there Fully cooked and then like I mentioned earlier if you're extra nervous about this being chicken You can you know throw this into an oven at 275 to make sure you're fully cooked You want to make sure your jerky cools to room temperature before you package it up Oxygen and moisture are the enemy of shelf life here I'll link to a blog post in the description below with more tips on storing your jerky


And four men arrested under terrorism laws following a bomb explosion outside a Liverpool women's hospital on Sunday have been released without charge. It comes after police named Ahmad al-Sulmin as the man who died when a homemade device blew up in the back of a taxi. It is understood that the 32-year-old was an asylum seeker from the Middle East who converted to Christianity in 2017. Police say important evidence has been found at an address he rented. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


Good morning, distinguished guests. In welcoming Commissioner Crane Bull to Dublin, it gives us a good chance to convey again the deep appreciation of the Irish people for the work of UNRWA. We try to express this appreciation through our financial support, but also through our political support in the region and in the UN system. UNRWA are still dealing with the provision of essential services to five million registered Palestinian refugees in Syria, Jordan, Lebanon, the West Bank and Gaza. That's a seven-fold increase on when the agency was first founded. So it gives an idea of the scale of the work that they do. And they've managed to do that with incredible impartiality down through the years, and I think it's important that we pay homage to those UNRWA staff who've lost their lives in the course of their work and who've been injured, and pay homage to the agency for the impartiality and the professionalism of which it's done its job. The Commissioner has a busy day today. He's meeting the Minister for Foreign Affairs. He's going to meet the Minister of State, Kiran Kannon, later in the day. I told him earlier that he has to tread carefully. They've all had a very fraught political week. And indeed, later on in the day, he's going to go to Aras Anuthran to meet the President. We're really pleased that he's given us the time and his busy schedule to come and speak to us about the work of UNRWA. So, Commissioner, over to you. Thanks very much. In the meantime, Mike is going to sit down and listen, and I'm going to be chairing in case there's any rouse or anything. So you can go to the podium, but I just want to remind people to turn off the phones if they could, please, or certainly put them on silent because they do distract. And the speeches on the record and the questions and answers will be off the record or non-contributable. That's the normal rules here. For any of you who haven't come to a meeting here in the Institute, you're all very welcome. So, Pierre, over to you. Thank you so much, Nora Michael. Thank you for the invitation. Thanks for the opportunity and delighted to be in Ireland. It's a long due visit to simply also come and say thank you for the support, thank you for the trust. It means a great deal to feel the strong links that exist between Ireland and UNRWA, and, of course, also a lot of appreciation and recognition for the important role that Ireland played last year in a very important process in New York that led to the New York Declaration on Refugees and Migrants, something that was very significant at the last General Assembly and has carried, of course, a lot of work into this year and into next year. So we very much look forward to continuing to work actively with Ireland on all these issues. Thanks again for the opportunity. It's really a moment just to share a few thoughts with you on both the situation in the Middle East, on the situation of Palestine refugees themselves, a few observations on UNRWA's work and the challenges that we face. And I think I wanted to start with one of the key observations about the situation currently in the West Bank and in the Gaza Strip. When I think about the situation there, one of the biggest worries right now is the total absence of a horizon for Palestine refugees, for Palestinians in general, but for Palestine refugees in particular, and even if I want to be more specific, particularly for young Palestinians and young Palestine refugees. If you think of it in the following terms, every young Palestinian below the age of 24 was born after the Oslo peace agreement. And these are young people who are told by their own leadership, but certainly very actively by the international community, that if they embraced moderation, if they believed in political processes, if they supported diplomacy, there would be a solution at the end of the road. And of course, 24 years on, they've seen that there has been no solution, that their horizon is defined and their daily lives defined in every aspect possible by the existence and the realities of occupation, of blockade, conflict and violence, by a lack of opportunity in personal terms, because the horizon is not only closed in political terms because there is no identifiable political process underway that they can relate to, it's also closed in personal terms in the sense of lack of opportunity, lack of prospects to develop oneself beyond a certain number of years of education received. Now, why is it that we are in a situation like this, with this closed political horizon? I will come back to some of the consequences and the realities that people experience on the ground in these different areas in a few minutes. But I did want to point to the fact that I'm struck, and this is also related to the many years that I've worked in conflict zones before working with UNRWA, with the International Committee of the Red Cross. There's a real feeling that over the last two decades or so, if we want to just simplify it now to the extreme, at least since the 9-11 attacks and events, that the international community has approached conflicts, in particular in the Middle East, but not exclusively, from two particular angles. It has pursued two particular strategies and has applied two particular methods to addressing conflict environments, one being military strategies. In other words, intervene militarily in these contexts. We've seen it in Afghanistan. We clearly saw it in Iraq and Libya, and now also in Syria, of course. And the point about this is that these military strategies really have shown very little evidence of bringing stability to the context in which they have taken place. It really isn't very strong material that one can use to point to any positive impact that these interventions may have had in the context where they took place. And yet, this is the method that is still being used very frequently, and the temptation seems to be, at times, almost irresistible to continue to pursue that path. The other strategy that has been applied is one that I should be advocating for, and I do with passion, which is the humanitarian response. So, of course, the international community has supported humanitarian action in many environments, and I think that's very necessary in times of crisis, but of course it's also very clear that humanitarian action has never led to addressing the root causes of any of the situations in which humanitarian action takes place. The whole idea of humanitarian action being to address consequences of conflict but not to address the fundamentals in political terms. And so what we have is we have the international community focusing on two strategies that don't contribute to the longer-term solution. And so we cannot be surprised that we are dealing, in a very large sense, with conflicts that tend to be characterized not only by their fragmentation, but also by their very long duration. Think of most of the conflicts that come to your mind. Actually, the paradox being that the Syrian conflict is one of the youngest conflicts. It's one of the shortest that you can think of when you list most of the big armed conflicts in the world still today. Think of Afghanistan, Somalia, Congo, not to mention Israel-Palestine. Until recently, one would have added Colombia. And all these contexts, you know, they are being managed somehow and we have seen, and you can go to endless workshops where people will focus on conflict management. Focus on conflict management and you get 70 years of UNRWA. Focus on conflict resolution and you might actually open the path for something different for people. And this is, I think, in some of the paradigms that are being used by the international community, a rethink is absolutely necessary. I'm encouraged personally to see the Secretary-General focus so much on conflict prevention and on focusing on renewed emphasis and sort of a surge in mediation and conflict resolution. That is, I think, very much necessary. Because the thing is if, now just come to think of it in these terms, in the Middle East of today, you have young people growing up who think that if you embrace moderation, diplomacy, and politics, you don't have a solution. And in today's very unstable Middle East, that's a very poor message to give young people. That politics actually does not work. Diplomacy does not lead to progress in your situation. That is a very bad message to convey to young people growing up today in the Middle East. So there needs to be a re-engagement. We need to recreate a much more identifiable, robust set of approaches in conflict resolution and recreating horizons. Right now, there's nothing more important in the Middle East and there's nothing more important in the dynamics between Israel and Palestine. And of course, when we'll always run into a lot of skeptical attitudes, I meet those and encounter them all the time. People saying, you know, on the one hand, reconfirming their sort of pledging renewed allegiance to the two-state solution, but then not necessarily doing actively something about it. So I can be in favor of the two-state solution, but unless I actually do something to push this forward, there won't necessarily be specific results associated with it. So this first theme, for me, very important is the lack of a political horizon being a very big liability for everyone in this region. And it's particularly important to think about it, because it then has many very specific consequences for people. Because one thing is to look at the political paradigms and others, how does that play out for people? Because there's another topic and theme that you hear about a lot when you think about the situation of Palestinians and Israelis. It is the status quo. You heard it after the Gaza conflict. Let us not allow the situation to return to the preexisting status quo. Status quo is something where you think things are essentially stable and the parameters are known. But for the people in the region, nothing is stable, because you have lived now for 50 years under occupation. There is conflict between Israel and Palestinians. Your lives are being defined by all these parameters. So nothing is stable in human terms. Think of Gaza, for example. What you currently have is, since the war in 2014, you have a cumulative impact on the community that is creating what our health colleagues call a continuously expanding and worsening psychosocial epidemic. And what it means is that you have people who have, because they have no prospect in life, because there is no future on the horizon, because young people grow up and have gone through three wars in their young lives. And today, of the 270,000 students that UNRWA has in Gaza alone, over 90% have never left the Gaza Strip in their lives. That's the reality that they deal with. And so suicide rates are on the increase. 65% of young people will never find a job. So they go through education and come out well-trained, well-equipped for life, well-equipped to contribute, but they will never find a job in that context. And of course, in the West Bank, it is defined by settlement expansion, by lack of freedom of movement, and these different parameters. So it has very measurable and identifiable human consequences. So there is nothing static. It's a worsening human development. And that is something that, again, I cannot reconcile anything that I see in Gaza, for example, with the security or dignity of anyone in the region, whether Israelis, Palestinians, Egyptians, or others. So those matters have to be tackled. And of course, one of the challenges that we confront in the region is that currently levels of attention are strongly directed to Syria, to Yemen, to Iraq, to Libya, now, of course, also to other places in the world, Myanmar and Bangladesh. And for very good reasons, so it's not a complaint. It's just a factual observation that the levels of attention have shifted to other regions. And this is something that, of course, may be another impediment or something of a barrier in attaining a solution between Israelis and Palestinians. Now, Palestine refugees, of course, don't live only, and that was mentioned earlier in the West Bank or in Gaza. They also live in Syria, Jordan, and Lebanon. And to talk briefly about the situation, also, of Palestine refugees in the Syrian context, there were 560,000 Palestine refugees in Syria before the war. About 120,000 have fled the country, alongside many Syrians, obviously. And they find themselves now for about 30,000 of them in Lebanon, 16,000, 17,000 in Jordan, several thousand in Turkey and in Egypt. But then also, a number have or did join the flow of Syrians who came out in 2015 and made their way to Europe. So you had about 50,000, that's our assumption, Palestine refugees from Syria who ended up in Europe. When you go to Syria, as I do on a regular basis, the Palestinians, I think what you would find is, of course, that they have been exposed to the same levels of violence and tragedy as millions of Syrians. But there is one difference for Palestinians is that you will find that it's a renewed trauma. It's another generation of Palestinians that have endured now the trauma of displacement, loss of home, loss of livelihood, of friends, relatives, neighbors. And so for the younger generation, who had heard the stories of 1948, who had heard the stories of 1967, they now understand what it's all about and what wars do to communities, how they tear them apart, how they postpone the possibility of renewed dignity, self-reliance, and other parameters of that nature. So UNRWA, in the middle of all this, was tasked in 1949, and it was indeed, as we discussed earlier initially, of course, considered as a temporary solution after 700,000 Palestinians were driven from or fled their homes and then mandated Palestine and went into what are now Syria, Jordan, Lebanon, the West Bank, and Gaza, and they found themselves, of course, waiting for a solution. The idea was the very young United Nations established a specific agency, UNRWA, to assist them and to provide a measure of relief while waiting for a solution. That expanded then, of course, over time into something that has become an agency that delivers quasi-state-like services. So for example, we run an education system that in the United States would be the third largest after that of New York and Los Angeles, for example. So we have 500,000 students, boys and girls, in our schools, and these are 700 schools across the Middle East. So it's not only what you would come to think of in terms of an aid agency that drives into a village, distributes food, and then goes on. We are in a certain sense part of the institutional landscape of the Middle East. With 700 schools, we employ 22,000 education staff. These are school principals, teachers, education specialists, and they are all, very few exceptions, Palestine refugees themselves. So they serve their own community, they're engaged in it, and this has, of course, been a huge contribution to regional development. Over two million Palestinians have graduated from UNRWA schools since the 1950s, so you see them and find them around the world, of course, very much in the region as well. They have developed skills. And I think one of the key questions that I'm often confronted with is, is UNRWA part of the problem, in a way, because you have somehow created dependency among this community, and that is a risk for every humanitarian organization. There is a part of the work that risks creating dependency by distributing food year in, year out. But actually, when you invest in education, you're doing something else. And that was my biggest discovery coming from the International Committee of the Red Cross. When I joined UNRWA was the education part of the work, because when you invest in education, you don't look at the person, and particularly as the young boy, the young girl, from the perspective of a victim. You look at the person as an actor of his or her own destiny, with her own capacities and skills, and one of the students, a 16-year-old Palestine refugee girl from Jordan that accompanied me to the General Assembly in September at a half, expressed it in very beautiful terms. She says, we are victims of an historic injustice. We know it. We are refugees. We know it. But we don't want the world to see us only as that. We want the world to recognize us for our individual skills, our capacities, our motivation, our determination to contribute. And so in a sense, while these young people are not yet full citizens of a state of their own, nobody can deny them the fact of being citizens of the world and wanting to be part of and engage in. And I think to underestimate the huge contribution that UNRWA has made, and particularly also Palestinians in UNRWA have made to the education, keeping opportunities alive and further developing the skills and capabilities of young people in this very unstable Middle East is a huge contribution to personal dignity, regional stability, and I think that's something that needs to be and thankfully is also deeply recognized and supported. Now, we, of course, also do a lot of other work in primary health care and microfinance and camp improvement and others. And of course, while we do that, we run to quite a number of challenges. One is certainly a challenge of access and security of staff. And it was kindly mentioned. Thank you for that because it's true that we lost 11 colleagues during the 50-day war in Gaza in 2014. We have lost now over 20 colleagues in Syria since the beginning of the war and have 25 who are missing. That is a very, very high price for any humanitarian organization. And when I went to Aleppo earlier this year, and really the main reason to go to Aleppo was to thank the 239 Palestinian colleagues who kept all of our installations open throughout the war, unbelievable. And the price that is being paid for that type of risk is also something that I think no one should take for granted, that colleagues are able and willing and ready to stand on those difficult front lines at this very challenging time in the history of the Middle East. So all of these things are very important to us. And I wanted to give you a sense of the work that is being done. The challenges, of course, expand beyond security. They also go into issues related to the very intense polarization in the region. Of course, when you deal with any topic that relates to Israel and Palestine, you are on a highly emotional front line. You are an environment that's deeply polarized where anything that you say or don't say, do or don't do is scrutinized, analyzed, criticized, sometimes complemented. Also, that's encouraging. But it is a very tough environment to work in. It's also a very rewarding one for a whole range of reasons we can come back to during the discussion as well. So nobody, in that sense, is complaining. We face immense funding challenges, partly because of the issues we deal with, partly because the world has so many other crises also to focus on. So I think it's a necessity for us also to constantly think about how do we speak about an issue that is now 70 years old? How do you continue to interest the world in the human dimensions of a crisis that began in 1948? It's really, it is a challenge. And I'm deeply convinced that one way of doing that is to focus on the human dimensions to have, for example, our students being able also to convey what it means for them, what are their expectations. And here, of course, one of the hopes for them is to be able to branch from being a student in UNRWA schools and to obtaining possibilities for further education, high school scholarships, professional training, and others. This is how they hope to be able to preserve the opportunities for their own future. And so to conclude, just to share with you one final thought and story, the community of Palestine refugees is an incredibly fragmented one because of the dynamics of conflict occupation in the region. And two years ago, I visited one of our schools in Calculia in the West Bank. And I asked students whether they were often in contact with fellow students in the Gaza Strip, for example, or in Jordan and Lebanon and Syria. And of course, the answer was never. And that was a very clear indication that with all the work that we had done in education, something was missing, that we were not creating links between these students to stay in contact, to share experiences, to think about joint initiatives in arts, science, literature, or whatever else. And we created an institution that was based on something that came out of our human rights curriculum, which are student parliaments. They had been built up in the different schools where students are elected to represent and advocate for the interests and the rights of their fellow students with the teachers and school principals. But we now created, and it met last week for the first time ever, a central student parliament for all students in New York. And 22 members were elected from Syria, Jordan, Lebanon, the West Bank, and Gaza, and have now come together to start to build, first of all, a sense of a collective set of initiatives that they may bring forward and influence also the way in which UNRWA thinks about education when we design schools, for example. Do we design them well? When we think about the role of youth in the communities, are we supportive enough, and what other initiatives they may take? Two of these students yesterday addressed the League of Arab States meeting in Cairo. And we think that it's very important that their voices be heard in different ways, because you can read, and UNRWA, like most other agencies, has a phenomenal capacity of producing long reports, which then, of course, people with very specialized interests would be interested in reading, but mostly to be able to connect and communicate with the human dimension of it, our students with the refugees themselves, and to hear what this means for them is the most important part of our work, and that's a part of our work we are incredibly proud of. And very nice to share that with you. Thank you so much for the opportunity.