Brian, you've been on the record for a few weeks now saying, need pitching, going to try and add pitching. Deadline passes, you didn't add any pitching. What happened in that regard? Wasn't for lack of effort. We engaged all teams. Some players, obviously, we didn't match up for. Other circumstances, those players weren't really available, even though they're widely talked about in the public setting. Some of them, obviously, had some, whether it was contract status issues or medical issues. So it was just a lot of different individual circumstances that basically put us in a position to not be able to complete anything. As my job, obviously, is constantly trying to improve this club. And we're doing it for a long time. And just in terms of the circumstance, we didn't get close to anything. But we certainly knocked on all doors, had a lot of ideas and exchange of ideas with clubs and in our effort to improve. But the fallback has always been, we know we have a good club already. And the job is to, obviously, look under every rock to see if you can turn up something to add to what we already have. And just didn't get that done. I feel comfortable with walking away from everything that was in front of me, because those weren't real opportunities as far as my conversations are going. So the fallback is to look in that room and the players we have and feel really good about those guys. Hope that the ones we have that are coming off the DL at some point come back and join the party and keep the scene rolling. But in the meantime, obviously, with the trade deadline, certainly wanted to do more. If we could have done more to improve this club, we've been doing it across the course of the season, whether we were running into a Maybin or an N'Knarcyon along the way amongst others. But obviously, through this 31st, we're unable to add to that from what we've already done. Eric. Cash, given what one of your main competitors or what is assumed to be one of your main competitors in the postseason did in Houston, do you feel like they created a significant gap between where the two clubs are? Well, let's find out. We've got to play the season out. We've got to take care of our own business to put ourselves in a position to be one of those fortunate teams to play in October and then take our roster up against whoever and see where it takes us. Cash, would you characterize yourself as disappointed with how this worked out? I would say disappointed that I can't add to what I already have, which I feel good about and strong about. And the intent and interest is obviously, can I add to it? Can I add to it? And me and my staff worked extremely hard to have no regrets in terms of the effort in trying to match up with others. But again, the various reasons, it didn't work out. So certainly disappointed that you'd like to have more if you could. But I didn't have any realistic chance in my mind, based on the dialogue, to do so. Certainly not something that when the beginning of the month we line up and say, oh, I look forward to being on this day and I've done this enough where you present the various new options that come your way. And here we are. And we're going to augment our roster with these new players and see how it works. But this was a unique deadline. It felt different. What the reasons for that are to explain other than the fact that I'd say almost everything was out of reach based on my dialogues. But we stayed at it and tried to see if the prices were going to change. And then I think I've been fairly public. I met with a number of you up in Fenway Park by last, but we're in front of you. It's saying essentially that we're going to be disciplined and walk through this process. And I can't share obviously the dialogues and the options that were in front of me. But I feel strongly that the decisions that were made were the benefit of the franchise. And despite obviously wanting to add to the roster. So trust me, we're in alignment from top to bottom, sharing everything with ownership all the way through about what the realistic shop options were, sharing the price tags associated with how it puts pressure point, whether it's on the payroll, whether it's the medical risk if you went this way, the payroll risk if you went that way, or the prospect value if you matched up this way. And there was nothing that lined up to the point where we were a go on.  And it can compete we feel with anybody in the game. You always want to reinforce for the stretch drive because of injuries that could happen. And you like the more the merrier. But because of how it shaked out, we're going to basically look to hopefully add from our disable list, which we have some pretty star studded guys sitting there waiting in the wings. And hopefully their rehabs finally finish off properly. And they can join this club and reinforce us and make us the best we can possibly be. Did you have any serious discussions with the Mets in regards to Wheeler and or Cindergarten? I talked to Brody quite a lot. As I did with almost every team, except for obviously, I think I told you in Fenway, we weren't engaged with Boston at all. But I was engaging everybody. So yeah, I talked to the Mets. James to the right. Kesh, you said some of the prices were just weren't realistic. And what specifically do you mean by that? Like financially, prospect-wise, and at that point, like obviously a contending team, the idea that you guys are close and to add, I guess, would have to quote unquote overpay at some point. Was that just beyond a comfort zone for you, the way some other teams maybe add and just essentially have to give up top prospects to do so? You know, I think they're all individually answered, the overpay, as a buyer, for the most part, it has to hurt. I get that, you know, but I was not willing to do what was available and what was being presented. And clearly, my counterparts were unwilling to do what I was willing to do in my offers. So maybe my counterparts felt my offers were underwhelming, and I certainly felt their offers were overwhelming. We just never matched up. And again, as I said, there's a lot of players that were allegedly available in the marketplace that really weren't. As you see, they weren't moved. We had the conversations, regardless, and knocked on the doors. And then some of the players that were available in the marketplace, we didn't really value, especially for them. But we'd knock on the door. Maybe they have a different role for us, be a long man or something like that. But those prices weren't really good. So listen, we tried to look at different ways to navigate, see if we can match up and add to, again, what we have. But, you know, and I fall back. We have a very strong position group, you know, obviously a very deep bullpen. You know, the rotations, obviously, was a focus. And if it wasn't the rotation, you know, we could fall back into the bullpen. We navigated all of that. But we still came away with the best play was we did nothing.  And that's with understanding as a buyer, you have to step up and overpay. But these were prices that I felt were making things way out of reach. So way out of reach and way out of line. So, you know, that's why we're here today talking about the decision to do what we did, which was stand pat, fall back on that current roster of guys we have in there. And then obviously wait for some of the people that we have on the disabled list to come back. Pete, Ryan, with the situation with Voight now and with some of the other position player injuries you're dealing with that have you in other markets, other than the pitching market today? We talked about it briefly, you know, obviously the unfortunate thing.  But, you know, we got a very, as of this day, you know, a very deep roster of talent and options and it goes right into AAA. So we kicked around, do I need to get another bat?  Not that we want it, we want Voigt back, but did I feel we needed to go to marketplace to get a bat after that dialogue we felt no, we felt like we would, you know, double down on the bats we already have and continue to focus on the pitching. Yeah. Boone said that Voigt, it might be a six-week thing if he has surgery. Are you confident that if that's the case he will be a player for you down the stretch? Well, I don't know if anybody's determined surgery is required just yet. I'm not confident he'll be back in six weeks if he has a surgery. I think the standard doctor evaluation from the specialist would be like, yeah, six weeks and stuff, but then you got to factor in baseball activities and baseball game ready and all that stuff which usually adds on to that timeframe. So hopefully it's not something that comes across his table for the playing season, but if it does, and I just kind of spoke to the fact that, you know, we have other ways we can play this thing because, you know, that the importance of the Incanarsion acquisition earlier in the season. And do you think there might be a correlation between the abdominal injury he had in London and this one? Yeah, I would say so.  And so that's, I think, why we called it a core injury back in London. So yeah, I think it's all related. Is that disappointing then? I mean, to have him go through the protocol of going back and then suffering a similar injury? No, I think it happens. I mean, it's disappointing you have an injury, but it's not, when we're in London, we knew that there could be potential problems moving forward. It's, hey, it looks like this is an area that let's see how he responds to rest and recovery. And if he does, you know, then you're okay and you can start to forget about it. If obviously he doesn't, then, you know, we've got some more issues to be dealing with, which we are dealing with now. So, you know, I was getting to the point where I was forgetting he had the London injury till this occurred, so, but it's occurred. So it's either gonna have to be dealt with or they'll treat it more aggressively with an injection and hopefully he responds well to that and then we get back into that forgetting it ever happened mode. Sometimes I've been around the block here long enough. We've had this stuff before where players get through the season with some aggressive treatment, so to speak.  That's occurred, you know, and with a number of our players, I don't wanna name who in the past and so, but for the ones that it's declared itself that's unreasonable, you have to go ahead and deal with a surgical intervention and then, you know, the downtime comes with it. So hopefully that's not the case because there's no guaranteed get back in the timeframe we want, but I guess first things first we'll see how he reacts to the conservative, the more aggressive of conservative protocols. Brendan, to the right. Does not adding a starter today over to your right side? All the way to the right, Cash. Does not adding a starter today make it any more important that Severino comes back as a starter, you'd mention that it's possible you'd maybe use him as a reliever? No, not necessarily, I mean, certainly optimally we'd love to have him back as a starter and I know optimally that's what he wants to because he is a starter and a very good one. You know, so listen, Loisica just started off on a good setting yesterday with his two winnings on his rehab assignment and then he'll go three innings, his next one out, Seve and Patanzas will progress along their lines and ultimately all of them will have a chance to play a role yet to be determined in the future of this roster. So we just got to wait on them. But no, me not getting a starter wasn't necessarily that we shouldn't have any impact on whatever Seve can do. So we just want to get him back, get him healthy and have him be a legitimate choice for a boonie and then we'll determine, you know, in terms of how many pitches that choice realistically can be. But we'll kick that can down the road till we get closer to seeing the light at the end of the tunnel on that. To the left, Brian. Cash, why did you make the trade you did today with the Rockies? Well, obviously part of the roster cleanup, so to speak, in anticipation of healthy return to play guys coming off the 60, it's gonna start knocking things, picking people off. And as you know, as you start with these major league contracts with the New World Order with August and September, you know, you start designating guys for assignment, you can't trade them now. You know, it's really a waiver claim scenario. So it's trying to get ahead of the roster crunch that you see that could very well play its way in season in 2019, as well as in anticipation of the rule five issues in the future. So that's why. Randy, you mentioned that there were some players that weren't moved that were reportedly available. Did you have any serious talks with the Giants? Did you, were you ever optimistic that you could get a deal done with them? I think I've been reinforcing for many people about my lack of optimism about getting deals done with anybody based on the price tags out there. I have talked as I said, everybody, but they're Red Sox. So, you know, I had several conversations with all teams, not in Red Sox and, but have nothing to show for those talks other than, you know, talks. Christie. Just first with boy, is it just to be clear, is it inevitable that he will have to have surgery on this maybe in the out season? It's not been determined either way. Obviously, if he responds to the more aggressive treatment on it, which includes an injection, then it does, I can't rule out that he won't have any issued as he moves forward to deal with. But those are the things they're going to have to determine here in the near term. With Severino and Betances, they've had setbacks so many times.  I mean, outside of them returning, they're returning from injuries that they should resolve in a certain time frame, unless there's something new that pops up that's unrelated. The full expectation and hope would be that they would return to who they were in a proper time frame before the season's over. Last one, Lindsey. With what was ultimately available at this deadline, how do you reflect back on not meeting the asking price for guys like Corbin, Keichel, where you wouldn't have had to give up that prospect depth? I mean, they're all related. If obviously, if you turn the clock back to the Corbin, then there's a lot of guys currently sitting in that locker room that wouldn't be here, because again, all that money would have gone in one direction, and which therefore takes away from other directions. So it's all interrelated. So we certainly had a lot of good, healthy dialogue with the agent on him, and I'm not sure if you mentioned anybody else, but it depends. Obviously, the bigger the payroll ticket item, the more impact and domino effects it has elsewhere. So we repackaged that money and produced various assets, like DJ LaMeilleux and Ottavino, amongst others in there, that might not have materialized if we went all in on one particular player. So again, it's all interrelated. So OK. Thanks, Cash. Thanks, everybody. See you.


Sometimes I think manufacturers don't realize that there's a huge opportunity to influence the professional community as well as the homeowner community. So you can kind of get both a push push and pull that happens with with good marketing. Welcome to the Smarter Building Materials Marketing Podcast, helping you find better ways to grow leads, sales and outperform your competition. All right, everybody. Welcome to Smarter Building Materials Marketing, where we believe your online presence should be your best salesperson. I am Zach Williams, alongside my co-host, Beth Pompey-Glove. And today, we're going to be talking about House. House for Manufacturers, specifically. We get a ton of questions about this, and so we are excited about today's show. We are really excited to welcome Liza Hausman. She is the Vice President of Industry Marketing at House. We have so many questions for you, Liza. And I know all of the ears of our listeners are perked up because we are probably asked about how to get the most out of House or hear even great case studies about how manufacturers are winning business through House, genuinely on a weekly basis. So with a giant welcome, would you please introduce yourself? Tell us a bit about who you are and what you do with House. Absolutely. And thank you guys, both of you, for having me today. It's really fun to be here. I'm excited to share a little bit more about House with your audience. So yes, I'm Liza Hausman. I have been with House for about nine and a half years now. So kind of seeing the growth and work have worked very early on with basically our entire trade community. And that includes all of the kind of hundred categories of professionals, construction and design professionals we have, the architects, the home builders, the general contractors, kitchen and bathroom modelers, as well as all the brands and manufacturers that also participate in our ecosystem. Very cool. And I think you and I first met a couple of years ago, I think through Heery, I believe, is that correct? Yes, yes. We've been pretty involved for a few years. It's been a lot of fun to work together. So I want to hear about House, but I want to first start by just hearing what you all are seeing in the industry as a whole. You know, like we've seen a lot of shifts and we talk about this a lot on the show. It feels like it's almost every episode. But like the changes that have happened over the last two years or so have been pretty dramatic. And so, you know, from a macro perspective, I'd love to hear what you're seeing in the marketplace and how the different audiences that a lot of manufacturers market to, so like pros, contractors, interior designers, architects, how you see things are changing from their standpoint of how they do the projects that they might undertake, as well as how they're finding and sourcing materials, right? Yep, absolutely. So it has been a very interesting year plus for the industry. I think, you know, the good news for everybody is that things are booming, right? Homeowners are looking at their homes and saying to themselves, you know, there are a lot of changes I need to make to make this home work better for me. We have more than 65 million homeowners using house worldwide and 90% of our users are homeowners. So we really have kind of that intense and high intent user who really is focused on improving their home and that lets us gather a lot of really interesting data. You know, both pros and brands and manufacturers come to house for the homeowner insights that we do have. We do a lot of proprietary research that we make available to everyone free of charge. Every year we do a kitchen trend study, a bath trend study, our house and home study, which is the largest survey of residential or modeling building and decorating activity that's out there. It kind of covers a wide range of projects and a lot of quantitative data. And we also do a survey of our professional community that's actually super interesting to manufacturers because it talks about how, what's the sentiment in the industry? You know, our architects and designers and contractors bullish or bearish on what things are happening. So all of those are great insights. But in terms of what's happening over the last year, yes, absolutely, industry is booming. That's put some new and interesting pressures on the whole trade community from pros to brands and manufacturers. One is, you know, how folks are gathering information. That's a big one, right? A lot more is digital, right? Folks aren't as able to go to showrooms or go and meet directly with folks in person. So we're seeing a lot of changes in terms of digital and online collaboration, online meetings, online sourcing. You know, a huge shift kind of across the board in the industry around finding pros and finding products. Out of curiosity, you know, we have our phones here, right? You know, I sometimes think about like Instagram and Facebook and other platforms. And if I got a chance to look at the data, you know, if I was like someone in their organization, you probably would judge people because amount of time they spend on a platform and go, oh my gosh, this person has a problem. Like, I'm very curious, and I mean, not to put you on the spot, but like I'm very curious, like, do you ever get a chance to like look at the data and go, my goodness, like this person, like, house is great, yes, but like you need, like you need to go find something else in your life? Do you ever? I mean, I'm not advocating to not use house, but it's like, I'm very curious if like you ever get a chance to see like that kind of data out there. Absolutely. And the fun thing is in the reviews we get, you know, the app store and you can go look at them. People, people, you know, admit that they're, they're, they're an addict. And so that's kind of fun because people will say upfront, you know, they're wherever they are, they're in line at the grocery store doesn't matter. They're, they're on house and, you know, looking, looking for ideas and help them. That's pretty neat. I know that we're not in the trade show world right now, but the majority of trade shows we've been to in the industry house usually has a presence there. And we just have to talk about how beautiful your boots are. And I think he will do one of the best jobs that actually manufacturers could learn from. You have really knowledgeable people on the floor. You're grabbing people off of the trade show floor as they're going by introducing you to house. It would be difficult to be at IBS and not encounter the house booth in some manner. And that's saying something for a trade show that large. So let's imagine we're in trade show world. You are on the floor. A manufacturer is walking by and they want to know either how do I get the best use out of house or what, you know, what should or could house do for me has a large manufacturer. What would you say to them would be the best place to start to get a return on their time investment? I guess is how I would say that. Yeah. Well, there's a few different things that I that I recommend that I like to talk about. One is to, you know, really embrace the fact that houses a great place to influence the entire buyer journey kind of from start to finish for both pro and homeowner. And so sometimes I think manufacturers don't realize that there's a huge opportunity to influence the professional community as well as the homeowner community. So you can kind of get both a push push and pull that happens with with good marketing. So kind of on the on the branding side, there's, you know, a really great opportunity, you know, simply to create a free profile and make sure that you can be found and that you are uploading, you know, as many photos as you can of your of your products in a lifestyle setting, since that's how homeowners browse photos on house. I think that's one of the one of the key things. And I think manufacturers certainly have gotten better at this, but making sure that they don't just have e-commerce product shots, but that they really are taking photos of their products in a lifestyle situation. So homeowners can really envision what that product's going to look like in their home when it's done. So there's, you know, all kinds of ways like that just to kind of get into the ecosystem and again and start getting exposure to homeowners. And then of course we have, you know, a number of options we have a dedicated brand team that works with brands and manufacturers to help them figure out where to make investments in their presence on house. And again, that can be everything from getting more exposure for their photos for a project for a product launch. We have, you know, opportunities for native content. So we can write articles that really help explain the benefits of a product or help introduce it to a customer. And these types of things can reach both pros and homeowners. So we have, we have the opportunity to do both. And then, you know, even on the channel side, so for brand and manufacturer, you know, is focused on a particular channel. We actually have kind of a local dealer program where the manufacturer, for example, has co-op funds and wants to support a part of their dealer network. We can actually help them use that to drive people to their dealers and put that product in front of more of their potential customers. Is there anyone from a manufacturer standpoint that's doing this really well? And when a manufacturer is getting started, your brand team maybe points them and says, like, take a look at these profiles to get some inspiration. Can I, can I ask, can I add a little asterisk to that, too? Because I wanted to, I wanted to ask that question as well. But like, what manufacturers have I never heard of?  Of course, they might be doing a great job.  So some examples of, you know, brands or manufacturers that might surprise you are like Train and Lennox. But we have, you know, window manufacturers, door manufacturers. I think one interesting story that might be great to talk about is our Benjamin Moore relationship. So one of the things we haven't talked about yet, kind of with the new challenges that professionals are facing, we've actually expanded our platform for professionals. We launched a product called House Pro, and that really has taken what was originally just a local advertising program and expanded it to provide project management, lead management, project management software to the design and construction community. We have tailored tools for both groups. And one of the neat parts about it is that it includes a floor planning tool where you can design in 2D and then actually tour your clients in 3D. And we have a relationship with Benjamin Moore where we've actually integrated them into those tools. And you can now choose Benjamin Moore colors and put them on your walls.  But it's really a very interesting relationship. And so we're always open to having those types of discussions with brands and manufacturers. Windows and doors is a great example where when pros are creating these floor plans or doing these models for homeowners, to be able to put in a branded product is definitely something we know our pro community is looking for. It's really, really cool. Who is Hal is right for and who is it not right for, Liza? If I look at platforms, not every platform is right for every manufacturer. And so I'm curious to get your perspective on the types of categories or manufacturers that Hal's performs really well for. And ones that you're like, this might not be the best fit for you. Honestly, if you work in residential and your products go into homes, you're probably a fit for Hal's. If you're just doing commercial products, probably not a fit for Hal's. I think it's probably more obvious that products that you can see in a finished space are easier to market on Hal's because the photo stream is such a big piece of it and we're such a visual platform. So if you manufacture just insulation might be a little bit harder to drive drive interest. But if you're, you know, if you're anything the front of the walls on the walls floors, any surface that's visible. There's absolutely a huge opportunity. And again, we still also are very successful with more of the infrastructure companies because it's still a challenge that homeowners are looking to solve. And because we have such a great editorial arm and incredible discussion boards and, you know, homeowners are on there looking for, you know, challenges to HVAC as well as their design problems. There really is still an opportunity for both. Yeah, that was giving my question is, you know, if I have a visually appealing, you know, product or my practice scene with the eye, of course, like, yes, it's a no brainer because it's a very, as you said, it's a very visually appealing platform. But then you mentioned insulation like that's exactly what I was wondering is like, how do companies and we hear this all like, how do I market my product if I can't see it? Or if people can't see it in the home. But it's interesting to hear you even find manufacturers who maybe aren't seen in the space, you know, are finding ways to be successful. I think insulation is a great example of that or like, gosh, under flooring, you know, things you don't think about during the design process. But, you know, one thing I've seen and I get to be curious to get your take on this is, especially with like interior designers and architects is we'll see like a bleed over from like residential to commercial when it comes to inspiration. And so you mentioned like, hey, you know, tend to focus on products that are more residentially focused. Are you seeing any kind of like translation or seeing any kind of bleed over, as I said, into, you know, people that are in commercial that are using houses like maybe an inspiration platform for commercial projects. Are you seeing any that or is like, there's no data around that currently. We have a lot of data on that because, you know, to again, most of our audience and that folks are trying to reach our, you know, focused on the residential space. Certainly quite a lot of our pros work on both, you know, commercial and residential projects. And so they do use house that way. I think, you know, typically in the industry it goes the other direction. So when you think about and primarily from hospitality right so you get there is a lot of inspiration that comes out of you know people go and stay in an incredible hotel or they eat in an incredible restaurant. And that, you know, that becomes inspiration. That's why we now have LED lighting right in our homes and not just in these commercial spaces. Because people are like, well, why can't I have that experience I just had at this bar at this club in my own living room or in my shower. And so you see a lot of that kind of coming, I think, from commercial into residential. If I can go back to thinking about manufacturers building their profiles getting started. One thing that we talk to our clients about a lot on any given project is the importance of measuring KPIs and goals. We always ask the question what does success look like. So from a manufacturer standpoint, whether I'm brand new or revising or investing in my house profile. What kind of results should I expect or what would you say success would look like. And I can know okay I'm doing a good. I'm using air quotes for people listening. Good job with my house profile. Sure. That's a great question. And you know I think for the house profile looking just that you know photo saves or questions that you're getting on your photos is a good one. Because how is you know we have more than 23 million photos on house now. And it's the reason why most brands and manufacturers actually you know invest money and advertise on house and take advantage of all of the native advertising opportunities that we have so that they can actually drive metrics that's really, I think an important message to take away is that, you know, we're 10 years in, just having an organic profile it's hard to really move the needle. And it's hard to, you know, really focus and target. And so those are the capabilities that we provide with our different, you know, advertising and sponsorship programs and they really are very tailored to what that brand or manufacturers or KPIs are so you know if you're doing a product launch and you want to make sure people understand how your product is differentiated then you know views and reads of you know an article that we have, you know that we written for you might be the key thing right if you're trying to just drive awareness of a new design line that it might be that we're driving saves or likes of photos in our photo stream for you. So it could be you know people visiting your dealers if it's part of a co-op program or engaging with dealer profiles so it really depends on those KPIs that the manufacturer has and we absolutely you know advise folks to work backwards from what they're trying to achieve. You know the nerd in me is like, I hear you say 23 million photos and I'm like what is the cost of your server per month like I want to ask her. Like that isn't that so it's so bad but I'm curious without you you know without getting you to disclose information you're not allowed to Eliza I'm curious to know you know within the platform we encourage people to try to be early in platforms because you know you get prioritized you get momentum like we've seen we've seen this happen with companies like within Pinterest you know companies that were early on in Pinterest saw huge waves of traffic hit their site. I'm curious to know with that in mind where do you see how's evolving long term and like what you're allowed to share like what can manufacturers who get on board expect years down the road that you're hoping how's will evolve into eventually. Sure, you know I think what we're doing with house pro is a key part of that so I think you know there's going to be an even greater opportunity to get products integrated into you know those early stages where pros are working directly with homeowner so you know those points of influence where you know pros are building their estimates or they're working on idea books together for where they're going with the products to be able to insert your brand your products and your ideas using our you know planning tools using our design tools I think that's where things are going to get super exciting. Further down the road we're not quite there yet. But you know even now you know the opportunity really to be part of the plot the only platform out there that you know reaches both pros and homeowners in that collaboration process is really unique. That's that completely vertically integrated idea you know if I can get into in front of a let's say a contractor and a homeowner and you have data and insight on what project they're planning. That's pretty compelling if you can do that I mean frankly that'd be a huge disruptor you know if that process you know if if you're moving towards that I think that's really exciting. We've bombarded you with questions Liza and I really appreciate you I'm using us you know I'm sure you get a lot of these questions from manufacturers too because you know we wholeheartedly like we get asked all the time you know should we be on house and I'm curious to know you know what haven't we asked you that we should ask you like what information and we've asked you everything from the cost of servers to what can people expect from a KPI standpoint but what But what information do you think we valuable for our audience to know. Around house. Yeah. Well so there's a few things one kind of going back to you asked a question earlier about just how the industry is working differently. And I talked a little bit about kind of the virtual consults one of the things that we're actually seeing brands do in their advertising on house is switching to you know call outs driving to virtual consultations. I think that's really interesting so instead of driving someone to find the showroom they're actually we're actually seeing brands and manufacturers push for these virtual consultations online. I think the other thing that's interesting to know with house pros that you know we're really you know just just as we attract homeowners who you know on the higher end of intent and are working on projects right they're on house because they're looking to make a change in their home. For pros we're reaching pros and attracting pros who are really investing in building their business. And so you're kind of reaching the movers and shakers in the world and I think that's that's an interesting thing to understand. You asked you know just in terms of the opportunities for brands. We've introduced a number of new things this year additional tracking the ability to do retargeting within house we have video ads. Again we have these sponsored sponsored content stories so that we're actually writing really engaging content that's performing really well for brands and manufacturers to really get them to get homeowners to spend time and pros to spend time with that content and not just see a photo. Other things to know you know a lot of brands and manufacturers are global or you know multinational and houses available in every country around the world and we have localized platforms and more than 10 countries across North America Europe Asia and Australia. So folks are looking to be able to you know do global product launches or have an easy turnkey way to reach pros and homeowners in multiple countries for a unique way to do that as well. That's great. Eliza thank you so much for coming on the show if somebody wants to get in contact with house if they're interested what's the best way for them to do that. Sure I think for brands and manufacturers we have a dedicated email that goes to our brand team that be happy to answer questions it's just brands with an S V R A N D S at house.com. And anyone is always welcome to reach out to me directly as well it's just L I Z A at house.com. Wonderful. Thank you again so much for coming on the show and for our listeners if you want more great content like this go to nvio.com slash podcast until next time I'm Zach Williams alongside Beth Popney Glove. Thanks everybody.


Well, you know, the law is considered worthy if it evolves continually with the changing needs of the society. You would have noticed that last few years have seen a surge in the economic wrongdoers fleeing the country and taking refuge in the secure, you know, foreign settings. In the given circumstances, what Indian authorities could do was to pursue their extradition. But that depended on, you know, several challenging factors. For instance, you know, some countries where these offenders took shelter had no extradition or cooperation treaties with India, or even if they had one, you know, one was required to follow a due process of law, then the process, I would say, or in other words, you know, a merry-go-round of the courts of law with a pylon of, you know, economic offenders escaping the rule of law in India and the Indian citizenry getting exasperated. The lawmakers worked out, I would say, a pressure tactic in the form of a new law called the Fugitive Economic Offender's Law. It has, you know, already been applied to a couple of cases, you know, since its passage. The new law, you know, appears to be the only possible solution in the current scenario, where the, you know, fugitives are taking the Indian legal system and the public monies for a long, duplicitous ride.  This was never the case in India, or for that matter, entire South Asia. In the past couple of years, Indian law framers have shown their sincere intention to consider economic offenses as heinous, as culpable physical offenses. And, you know, fugitive economic offenders, for that matter, are no less than robbers and decorates and motherless. If one was to go through the new law, I mean, it demonstrates that they are as bad as robbers. And this new law, you know, as applicable to the fugitive economic offenders, is highly severe, as you know, and it applies to all, even those who are connected with fugitives in question. It comprehensively provides for a process to down fugitive economic offenders from eluding the course of law in India. And some of the provisions of the fugitive law are patently punitive. And apparently, you know, these would be challenged as being violative of some constitutional provisions, including even the fundamental rights enshrined in the Constitution of India. But I would say that the lawmakers had no choice but to make the said law, which was all-inclusive. Well, you know, the time is a great credible witness to the occurrences, events, and experiences. Hence, it is only the time which will tell that whether this law met the desired results or fell flat on its face. Be as it may, you know, one object is apparent that the current establishment, the government is taking earnest and committed steps to bring criminals to the gallows of law. Thank you. Thank you so much. Thank you so much.


you have to find out what does your soul your soul you not the group not the wife not the husband not the kids not the family you what does your soul love to do because your soul needs you to do more of it


Thank you everyone. All right. All right a little bit of energy. I was asked to talk about blockchain getting the bingo out and they get the stuff now. But we're talking about a little different variant of it. We're not talking about ICOs, talking about all those kinds of things. Okay so change health care and we'll talk a little bit about change health care in a minute now. But really what I want to start with is sorry about all the echoes is how we've gotten here right and we're all familiar with the history here of technology, computers, networks, mobility, automation and change health care feels blockchain has another piece in this and we're building on the shoulders of giants as they say. Why is blockchain interesting to us? I'm going with this. Okay. We all want a future where information is available. It's complete. It's accurate. We all know the issues where you have to go to another party and find out if you have access to the information, if the information is accurate. We see the issues with the credit bureaus. We see the issues in health care all over the place. So these are attributes that blockchain technology brings to bear that make it a really interesting compelling technology for change health care. Who's changed health care? I'd be surprised if many people in the room here had heard of us. We're improving our marketing and who we are. We actually sit in a very interesting place in health care. We're the infrastructure. We're the company that connects the epics, the cerners. We connect the University of Chicago's, Northwestern's, Kaiser Permanente's, the Optums. All of those names you know of, they're supplying health care, they're paying for your health care, but the way they communicate are through networks, financial networks, medical networks, pharmacy networks, and that's what we provide. It's a company that has been put together over several decades and we just went through a big merger last year. About 15,000 employees, two out of three claims in the U.S. are moving through our networks, 800,000 providers over 2,100 payers. So you can see we have an opportunity to be looking at technology and to be looking at the health care system in the U.S. in a very different way, which we think we have. Hyperledger, a Linux Foundation project in change health care. As we were looking at blockchain technology over the last few years, we did a lot of internal discussions about it. We did internal proof of concepts. We started talking to vendors and they wanted to do proof of concepts with us. But what we really believe in is that blockchain requires a network, a network of participants. And what we saw was that all these pieces were either coming together or had already started being sorted out by different groups and in different ways. And so participating in the Hyperledger project really made a lot of sense for us. Protocol governance, consensus mechanisms, smart contracts, identity. When you think about health care, these are all very important topics and very important pieces of the puzzle that we have to put together. Trust is different in health care than it is in financial applications. I spent a chunk of my career building derivatives platforms globally and I understand those networks in that kind of scale. Health care, especially in the U.S., is very fragmented. What is identity? Who has the right to see a record? What portions of the record can you see? Individuals in the U.S. can segment their health care record and only give providers particular access to particular information. Patients in the U.S. can deny their insurance company access to their medical records or even some procedures and some services. It's quite a mix. And as you look through what blockchain has begun to put together and the pieces that have been built on top of blockchain, you start seeing different pieces of that puzzle appearing on the board that you can put together. When we think about smart contracts up here, it's an important piece between the providers and the payers. The provider executing a standard service and should get paid right away. Are they executing that service in a way that the payer makes sense to them? So why do we choose fabric? Had a lot of great points to it. I'm not going to drain the slide here. But one of the big pieces was we wanted something that was more than just finance and had been applied in other areas. We do have a financial network as well as a health care network. So it was important us to have some variety there. And the consensus model was another piece. We're not looking at a public blockchain in health care yet. What we wanted to do and I'll talk a little more about how we've used this technology in production, we wanted to start creating the space in the room to have that conversation. What is public blockchain in health care in the U.S. notably look like? And so our consensus model could be very lightweight where we started private, removing a permission with our customers. But we know who's in the game. We don't have a mining aspect of it either. So it's very simple. We're using blockchain for what it was built to do. Store information and store security and store it everywhere. Multi-chain gives us some privacy. We also have another interesting aspect given the position we sit in in health care. We have many competitors working with us. So imagine if we rolled out one blockchain network where all things were visible and all the different insurers in the U.S. could suddenly see each other's behavior and everything they were doing on it. What they were paying, what they were not paying, how fast they were processing, who they were processing with. These types of things, we wanted to create space to work through those conversations. And Hyperledger Fabric gave us some nice channel, some subledgers on there that we could use to create that space, like we are with the public and public blockchain and the PHI questions. Keep taking this forward here. So another thing that we really liked about Hyperledger Fabric is we built out our nodes and started running our test networks. We were able to run at a really high volume. The amount of claims that we process every day is the highest in the United States. And to take a blockchain solution that can do two transactions a second wouldn't serve. It would be a really nice prototype. We'd probably get a little bit of press out of it, but it wouldn't actually work. We wanted to put this in a production. So as we ran it, we were able to run it 50 million transactions a day, 550 per second. That actually takes care of U.S. health care and U.S. claims. And there's slow growth in claims in health care today. It's actually population size is flattened out, level of care is flattening out, and then you're looking at bundled payments is becoming a greater aspect of that mix as well. So these volumes, especially knowing that technology always is going to give us more in the future, worked out really well for us and are substantially higher than what you may see in other applications of blockchain, depending on the level of trust and the consensus model. So a little bit of why this is interesting to us. We're building an intelligent health care platform out of all of our different solutions. We've acquired a lot of siloed solutions over the years. We have some great teams that are building serverless, building container, moving very quickly, bringing all these solutions together so our customers have a greater experience with us, improve, they can do their jobs faster. And blockchain brought us a lot of the pieces, claims network, data rights management that really helped us with this mission. So we took one of our products, you can hear, yeah, assurance reimbursement manager recently renamed. And you can see a claims network here where there's a payer, an insurance company, there's a claim submission, a provider, your physician sitting there. And claims are moving through the network. And what change health care does is we don't simply just store and forward a claim. We had a lot of value on top of that. Both providers and payers are making edits to those claims. They're approving some of them quicker than others. They're doing revenue cycle management on top of those claims. So there's that claim processing workflow that's happening inside, also has many other products on top of it so that organizations in health care can run more effectively. And when you think about why that's valuable, the less your doctor spends on their back office, the more they can spend with you, the more time they can spend with you, the more their resources they can put towards your care. And that's what we're trying to enable. So we brought in hyper ledger fabric, made it part of our claims network. And what we started doing was driving the events out of the claims network into that blockchain. And again, we're using hyper ledger fabric. We have channels enabled. And what the graph is also showing here is we're starting to take events that are occurring on the blockchain and having it drive our network. One of the other important aspects of what we're doing is we're not building from scratch. We're not a startup saying, hey, I've got this really great idea for a health care network that's built on blockchain. We're actually already processing two out of three of the claims like I mentioned earlier. We don't want to stop that and start all over again. We want to take that volume and evolve that network and evolve all the capabilities built on top that network, leveraging the strengths of blockchain. So we we've wedded them together. We put those capabilities into production. And it's been a really good experience internally. It took a couple of months. Didn't take man years. And working with hyper ledger fabric was was really easy and really direct. One of the reasons we thought this was an important step to take is we think blockchain technology can really change how healthcare operates, the business models operate. Hyper ledger was nice enough to put a little blog I wrote up a couple of weeks ago about how you have to really use the technology to start examining the different business models that can be created from it. And with the when you look out at the the variety of discussions that happen around blockchain and healthcare, there's a lot of hypothesis. There's a lot of possible uses. There's a lot of this is a great idea. Someone should do it. And we wanted to step, step the conversation forward. And by really putting in production, really putting it into production on a massive amount of data and assets and volume and activity, we're able to sit down with our customers who are thinking about using blockchain who have people who are thinking about how that would change their organizations operationally and with their technology, and really sit down and say, All right, let's, let's do something let's take it will give you a node, right? You'll be permissioned. And we'll take it forward with you and build these new models. What does a claim look like when the flow isn't linear, right? When the provider isn't handing it off to us when we're performing our services on top of it, we hand it off to the payer and back and forth and everyone's looking at the same claim at the same time. It's a simple example, but it changes a lot of paradigms. It changes a lot of expectations. So we wanted to bring data. We wanted to bring real activity. And we brought it together in a way where our customers continue to use their existing systems and services to interact with us, whether it's through APIs, UIs, etc. And they can start working with blockchain as well. And they're all working with one flow. They don't have to change how they are handling their patients today or handling their members on the insurance side. This is showing the different, different pieces of it, medical review, eligibility. I've talked about a lot of what this slide is trying to relate already. And it's really the power of hooking all of this together as a network. A one off blockchain proof of concept is simply an exercise, right? There's a lot of health care revenue cycle, blockchain exercises out there. There's blockchain networks out there without any volume on them that people are trying to figure out how to use them. And we wanted to basically contribute our volume, contribute our data and really push those conversations forward. We think adoption will continue. And we think it'll come in phases. So what we've started with is at the very beginning, right? Node management. We're working on smart contracts I mentioned earlier. If you break your arm, and there's a standard procedure for breaking your arm, and if the payer and the provider both agree on what that is, there's no reason they shouldn't be paying that immediately. Moving that money, approving that claim, patient could literally walk out knowing how much they have to pay rather than the bills and the chasing that goes on. Taking it up to exchanging clinical data, fraud detection, transaction auditing, all the way through to payments, et cetera. We see a really nice path of using blockchain in health care. And again, we think this is something that's important to be open sourced. We looked at a lot of different private protocols, and they all had pros and cons. But when we thought about the broadness that we were looking for in adoption, just in the U.S., right? You recall those numbers from before. 2,100 payers, over 800,000 providers are just hooked into our network alone. Convincing them all to buy the same vendors protocol stack would be very challenging. Sticking with open source not only leverages the great work that hundreds and thousands of people are doing, but also makes that adoption easier, really improving the outcomes for the patients at the end of the day. So I'll end here. These are the types of solutions we're looking at, change health care, again with blockchain. Hyperledger Fabric continues to show its strength and how we're using it. Integrated applications, a path, right? I spoke earlier about how we're acknowledging that having a public blockchain for health care in the U.S. is a long road to get there. And rather than sitting down and having everyone try to figure out what that looks like and then build it, we want to start using blockchain and health care today. We have started using it today and create a space to have that conversation. What does PHI look like on the blockchain in a public sense? What is a pointer to where the PHI is stored on a public blockchain look like? How do you control access? What's identity look like? Project Indy and some of these other pieces that are coming into play as well. Consumer application. This is a really interesting topic in blockchain. I'm not going to drill deep on it here. I don't know of any consumers who like interacting with blockchain technology. I don't know of any moms, dads, sisters, brothers, cousins, friends who have an application that really interacts well with blockchain technology and lets them know what's going on. So we've pushed it into our infrastructure. We'll expose it as time goes on and as it evolves and the tool evolves. But we think there's going to be something there, whether it's individuals choosing to use wallets, individuals using it for identity, lots of opportunities there. And then lastly, keeping it open. The consensus models will evolve over time and we think the best pool of activity is happening in the open source community, smart contracts, etc. There's a lot of other organizations out there that are creating opportunities are creating conversations. Some of them were hoping will come into this tent. Some of them, you know, will continue to talk with but there's really a strength in open source. We really appreciate it. And you know, one of the things that change healthcare really is focused on the next 18 months is how do we contribute more back to the open source community? We've really been focused this last year on bringing this entire organization together. And we're really looking forward going forward permanently and contributing back to open source and really letting people see and understand the great technology we've created and the great technology we're using from organizations like Hyperledger. So with that I'll say thank you very much. Appreciate the time.


Let's take that question. Let's take that question. Very good question. Let's do this question. So, Aditya, GIF is very important. Are you able to solve any complicated problems? I would also add GeoFix. That's one question. Second question is, please plot the graph. I know you know the assignment of the answer. I'm very happy to help you out. Redefining means trying to write it without using those very brackets. Just in simple terms. I'll give you an example. If I do redefine it, I would say GeoFix or I would say the fraction part of X whole cube will just behave as X cube when your X is all in between. Zero and one. Agreed or not? Ashish, Shomik, Trippan, Agreed or not? Krishna? See, sure. When you are between zero and one, there is no difference between X and the fraction part of X cube. So, the cube of the fraction part of X is as good as the cube of X cube. So, same thing remains. Aditya, is that clear? When you have, what will happen to the fraction part of X? Just go back to the definition of the fraction part of X. Anybody still confused about? Yeah, good name. Is that fine? This is the only time when you get to study it. That's why we have included it in the bridge question. Try to understand the seriousness of the situation. Jai loves graphs. They'll give you such questions, if you don't apply a graphical method of solving it, you'll never be able to solve it. I'm sure nobody has any iota of doubt also in redefining it. Can I plot it now? Let's do that. X cube, you know? X cube, you know? Like this, correct? I don't need you. Now, this part, check out the response if you have. That Z and paste, paste, paste, paste, paste. Unless you know. And you'll know. Bottom part? Zero to one point. So, one final verdict. I'm not going to repeat this again in my life again. Let's go step by step. Some of them need my help. It's important. Had it not been your produce so much? Clear? Read it first. Because Ananya and specially Anjali, this is clear. When X is between? Zero. That means when X is also protection of these two. When something is already between zero and one. What will fraction part do? Nothing to it. Fraction part will not change it at all. Because something is already between. So fraction part of something which is already between zero and one will be the same now. X cube is between one and two, not X. X cube is between one and two. Yes or no? If X cube is, what will be the fractional part of X cube then? Something, let's say a number. What will be your point? One point three. What will be the fraction part of one point three? Point three. Point three. How did you get that point three? Subtracting one from your answer. If X cube is Shushant, it seems to be very quiet today. After Aditya left you. To the next step. Come on, it's very easy. When? What is this? Greater than equal to? Aditya, yes or no? Brilliant. Are you getting the feel of the problem that came from there? Now if X cube is between two, this is alright. No. In light of this, if you have to plot this graph, you can keep on going, I don't want waste time repeating the same stuff. So if I have to do this, how would I do this graph? Let's say again as a request, please take notes from somewhere about all the standard graphs and the transformations which we have done. I understand this class will feel problem, next class will be calculus which is a fresh term. Don't worry about it. Yes, tell me. So between 0 and 1, can I say this graph? Shhh, I'm just shading it. By the way, it will match with your, this one will be cube root of 2. So when you are between 1 and cube root of 2, you have to draw X cube minus 1. So this part of the graph Y equal to 3. So this part will be dropping by understood. What will happen on this side? So this side, the part which in this one, what will happen? What will happen to it? Seriously. Miral image. Maybe I've drawn a bit more far, so it will be something like this. So this part will move up like this. Is that funny? Which part? Can I redefine it? Something which is like between minus 1 and 0, take an example. Minus 0.5. If I say what is the, what will you say? What is that? 0.5 only? Yes or no? Guys, come on. What is the minus 0.5? 0.20. By how many minutes? So this arrow got a push up of 1 minutes. Is that funny? Now will you be able to manage when I'm just fractioning when I'm just putting curly curly brackets around the whole function? Both of them can be managed. I'll just give a very simple example for that.


From Hollywood, it's time now for John Lund as Johnny Dollar. Ken Rolst and Johnny. Oh hi, Ken. How's Kansas City? I don't take my word in Hollywood, it's better. Oh? You always liked Hollywood, didn't you, Johnny? You want me to? There's a man there named Phil Gardner. It's up to here and Starlett. And what? Starlett, young girls with big careers in front of him. Phil Gardner's an agent for him. So he needs me? Oh, we do, Johnny, Twin State Insurance. Gardner's been calling me every half hour. It's like this, Johnny. Gardner's insured a few of these Starlets with us. One in particular for 50 grand. So? So, mostly Gardner's been babbling. He says this Starlet in particular might not live. Babble, somebody wants her dead any second. You like Hollywood, Johnny? Commission? Fat. Real fat. Hollywood. I like it. John Lund in a transcribed adventure of the man with the action-packed expense account. America's fabulous freelance insurance investigator. Here's truly Johnny Dollar. Pense account, submitted by special investigator Johnny Dollar, two Twin State Insurance Company, Kansas City, Missouri. The following is an accounting of expenditures during my investigation of the Starlet matter. Expense account, item one, $227.70, airfare round-trip on coach out of LaGuardia Flight 601, flying west. 3,000 bumpy miles later, the plane circled Los Angeles and a part of the Pacific Ocean, taxi down the runway at International Airport. It was 3.20 of a dirty afternoon. Expense account, item two, $4.40, cab fare to Sunset Rockstone Hotel, my home away from home in Hollywood. Where I checked in, renewed old acquaintances with Judy, the telephone girl, put my pale cheek against her suntan and told her I'd see her later. Expense account, item three, $2 even, to Beverly Hills Office of Phil Gardner, agent. He was not in. The receptionist and silver hair pointed a silver fingertip across the street and said that's where. Shea Scotties, restaurant. And Mr. Gardner would be dressed with two vents in the back, a tattersall vest and blue suede sandals. And you know, he was. So you're the boy they sent from KC, huh? Wait, I'll scooch over a little, you can sit down. Huh, thanks. What's your name? Dollar, Johnny Dollar. You want to see a picture, Johnny? Here, take a look. That's Toby. Toby? Toby Drake, you've seen her in pictures? I have. You're living? You must have seen her in pictures.  Well, I'm happy for both of you.   It shouldn't happen to her to die from these anonymous threats. Look, why don't you give it to your press agent? Johnny, believe me, on my knees, I tell you, if I want publicity, I give it to the cops. I'm not kidding, Johnny. The kid's scared. She's in a lot of trouble. Well, call for you, Mr. Gardner. I'll plug it in here. Oh, thanks, Johnny. Right this week. Gardner speaking, snap it out. I'm busy. Huh? No. Yeah, huh? No. Yeah. I just called you, Skip. What's that mean? Toby's dead. Her boyfriend called. I should be the first to know. I'm sorry. Look, I'll drive you over there. You'll want to see for insurance purposes, huh? I'll use the Jag. I'll put the top down. Sure.  And Beverly Hills Oriental knickknacks cluttering the grub. I walked over to the three-piece sectional. Toby Drake was lying there, her hand trailing down to the floor.  Somebody wrapped that black silk stocking too tight around her neck. You wrapped the stocking? Look, Buster, a call came to headquarters and said, get here because there was a dead girl named Toby Drake. There is. And all of a sudden, you're here. Why? Something they have around here. An agent. He's Toby's. Agent? Well, talk to me, agent. Sure, Lieutenant. Just Detective Koska, Lieutenant I'll never make. Go ahead. Well, it was like this. Johnny and me sit there at Scotty's Jew and Fatten. The phone was brought over, and the man on the other end says it's Mr. Fulton. And he says his girlfriend's dead. Honestly, I'm broken up about this, sir. Well, you wrapped the stocking, agent? Johnny, he's Johnny Dollar. He's from the insurance. Well, well, well, you've been hired, Dollar. Yeah, Twin City Insurance. And for me too, Johnny. All the way. Find out for me who killed Toby. All right, these guys employ you.  You carry a gun, too. Well, well, well, well, well, well, well, well. Well, well, well, well, well. Yeah. Where's her boyfriend? In the bedroom. Named Roy Fulton. Hardly says a word to me. Go talk to him, Dollar. Don't tell him it's okay. Johnny Dollar. I'm an insurance investigator. Toby said. He was murdered, Mr. Fulton. I'm trying to find out who did it. We had a date. I came here. I saw her. I didn't lose my head. I called her agent and I called the police. Did you kill her? No, no, but you should have been more careful. Girls like her. What kind of girl did you think she was? Very pretty. She's beautiful. Now the more Toby does, beautiful Toby. Mr. Fulton. Mr. Fulton. Mr. Fulton. Mr. Fulton. Don't hurt Toby, beautiful Toby. I couldn't get through to him anymore. I gave him back to Koska and I got out of there. A few thoughts on Toby Drake. Toby, a kid who'd once maybe won a beauty contest. Expenses paid to Hollywood, shake hands with the stars. A nice kid. On her way, now dead. I bought a paper and went back to my hotel. The lobby desk came first. Any calls from me, Judy?  Why don't you come over here and give it to me, Judy?  I'm taller. The message came in 10 minutes ago. You want to reach for it? Shall I read it to you? Read it. Go like this. First Toby, then Stella Martin. You can't stop a dollar. First Toby, then Stella Martin. You had living this, Judy? Yes, right here. Who left the message? I took the call. The man said it in her left. What's Stella Martin's mean, Mr. Dallas? I wish I knew, baby. You think maybe the star of Stella Martin used to be a starlet? She's not around much anymore. Starlet, huh? How would I get in touch with a starlet, Judy? Oh, I know. Hand me that phone book. Come on, come on. Who are you calling? A man who knows Starlet's past and present. Agent Phil Gardner. Why don't you try Hollywood casting with the dollar? They'd know. Yeah, yeah. Thanks a lot. But it must be an address where you're done to. 2001, Magnolia Avenue, Westchester. Investigations. You got a card that says that? Let's go inside, huh? Just you get a card. Just show me. Miss Martin here? No card, huh? Suppose I say yes, she's here. And what happens? I sit inside. Brad, you did that, Sonny. Now I got a reason. Now cut it out. I just want it to be smaller than your little trimmings. It's gone. I got to my feet, fell down, then finally made it over to the hallway, where there should have been a bathroom and a towel and some water. The thing that stopped me was the girl in the negligee. She was sitting on the floor against the wall. She was blonde and her head was turned to one side. As if she was wondering about me. There was a stocking tied around her throat, and she was dead. Turn to yours truly, Johnny Dollar, in just a moment.  In the jungle picture, spliced between the main feature in the newsreel, the girl in the South Sea apron that gets chased by the gorilla. I stopped trying to convince myself it wasn't real. It was real, all right. I didn't need the pounding on the door to knock it into my head. I didn't need Detective Koska either. What is this, Dollar? You want a rampage? You want to know what happened or you want to be a big man? Just be gentle with me. That's all I want you to do. 15 minutes ago I was in a warm bed. I'll just be gentle. I got slugged. A man seven feet tall in a black leather jacket. I spent five hours questioning Roy Fulton about the murder of this girlfriend of his, Toby. Nothing. I let him go. Then I climbed into this warm bed and I was sleeping fine. Then Sergeant Hurd called. Seems someone phoned in this address to Sergeant Hurd. You were saying what, Dollar? She's in the hallway propped against the wall. Show me. I saw a deep sigh about the warm bed, Koska. She's young and she strangled. And her name's Stella Martin. You want to clear it up for me? I got word about her. I came here and a guy clobbered me. I woke up a few minutes ago. Nobody gives me words, Stella. Why you? I don't know why. If I knew why, I'd know who. You want to listen about a guy in a black leather jacket? Seven feet tall, huh? Yeah, about. Brown felt hat. Find him.  Ah, don't be sour on me, darling. You took some lump and be this kid. What? Eh, read it, Johnny. Read what it says. There'll be another one tomorrow. Tell another one tomorrow, darling. Well, what makes me so popular, Koska? Why doesn't it say your name? Because it says dollar. Because it says the name of a guy I stumble over when I get out of a warm bed. What am I going to do with you? Take you downtown and swatch it? Get out of here, darling. Get out. Then back into the rose-centered air and the suburban lawn now littered with friends and neighbors. And under the bright neon of the corner cut-rate drugs and sundries, the night-blooming hackstand. I took a cab to my hotel. No more messages, so I went to sleep. In the next morning, the sound of the telephone screaming the name of Phil Gardner, agent. Get here, it said. So I got there. Girls drop like flies where you walk, dollar. I read the papers this morning, and you were there in another one, drop. Now, what's the matter, Phil? Only yesterday we were in love, you and I. Now, don't ask me, can't we even be friends? It's a tired line from a tired guy. I don't like tired. Let me tell you something, Phil. I'm glad you called. You were going to be my first stop.   Well, like I said, stinkaroo. On your feet, Phil. Now, keep away from me, Johnny. On your feet. Now, now we talk. I'm talking, I'm talking.  Toby was on her way, maybe a star soon. Also with insurance, $50,000, beneficiary, you. My God. And why you killed her? Good, Johnny. And all this big talk on the phone this morning, get down here, cover up, dog, Phil. And we'll try the name Stella Martin. A little bit. Just let go of my arm. Stella Martin, a three months ago pick up from Dorcas Drive-In on Santa Monica. A guy gets lonesome for a car hop like Stella. A friendly pick up, so help me. You did lovely, Phil. Now, one thing more.  Somebody help me. I got a madman loose. Goodbye, Phil. You've made the morning even worse. I got to the drive-in on Santa Monica. A cowgirl with a menu and a pair of heavy duty sheer dungarees threw a card on my windshield that said Phyllis on it. Dorcas, she asked back. Well, that's old Melv over that a way. I moseyed on over to old Melv. Yeah, howdy. Johnny Dollar, insurance investigations. Well, then, Dorcas, shout out a fella. Howdy. Howdy. You the manager of this place, Melv? Yep, top hand. What else? Huh? Oh, a tender foot talk.  I need some information, Melv. No big gravel kicker, son. Speak up. What's on your mind? No, a girl named Toby Drake, Melv. No, there. Used to work here. One named Stella Mark. Yeah. Do the work this evening. She ain't gonna make it, though. She's dead. She and Toby. Choked. Seen it in the gazette. I need your help, Melv. Depitize me. Yeah, I don't know. Just don't know. If you don't help, there's libel to be another dead girl. Peggy. Well, snazzy, son. He got the monkeys' new ears. I said, Peggy. Peggy, Brian. And I counted them three girls. We're thickin' the bobcats' teal. You tell. Yeah, thicker than that even. Peggy used to work here, too. Proved to work in office. Toby's auto. You know where I can find Peggy? In Hollywood, she lives in. Yeah, you're way to big, though. Bigger for address. You want to eat, son, or you gotta be right in on? I'll wait, Melv. Listen to me, Miss Brian. I've come to help you. Let you go. It's nothing to be scared of. I'm here to help you, to keep it from happening, like it did to Stella and Toby. You understand what I'm saying, Peggy? Toby, there it is. And now it'll be me. Why does it have to be you, Peggy? You don't know. You don't know why. Try to understand. I'm an insurance investigator.  Sometimes I get there sooner. Now help me. Help me, Peggy, so I can help you. That way will save us both a lot of pain.  I know why. I think I know. Well, tell me, Peggy. A woman was killed. We killed her. Tell me about it. It was three years ago. Toby, Stella and I. We had a little car. We used to take trips. We found it all. We took a trip to Oregon. One day. One day what? This woman we crashed into was her fault. Honestly, it was her fault. And she was killed? Married woman. Young and pretty. And married. Said it wasn't our fault. And let us go. Only me. Why else would anyone want it, Dad? It's Saturday, Peggy. What do you do with yourself on Saturday? I shop. For groceries. A new dress, sometimes. We'll go buy a new one. You and me. And tonight. What do we do tonight? You mean you're asking me for a date? Uh-huh. What do we do tonight? Saturday nights, I usually go to Ocean Park. Ride with people. It's fun. Sure it is. Saturday night, Ocean Park. We'll have fun. I made a lot of phone calls. To my hotel, to tell Judy I was going to Ocean Park with a girl named Peggy Bryan. In case anyone inquired. And I called Agent Phil Gardner and let him know where I was going. Finally, I called Roy Fulton. Toby's boyfriend. And let him know all about my plans for the evening. And then I went shopping with Peggy Bryan and then took her to Ocean Park. Peggy Bryan. Pigeon. Let's just walk for a while, Johnny. Whatever you say. You hungry, Peggy? Uh-uh. Why? Just stand still for a while. Do you see anybody you know? No. I know what you're doing, Johnny. I'm sure. I'm on a Saturday night date with a nice girl. You think you'll find me here, Johnny? You want me to level, don't you?  I'm going to try to stop him, Peggy. Come on, let's eat. Stay close to me, Johnny. A girl can get lost in the fun house. Johnny. What's the matter, Peggy? Nothing. I'm having such a good time. Ever been through that spinning barrel? Oh, I always fall down. I'll hold your hand. Johnny. What? That man. That man over there. He watched us buy our tickets. Which man? The tall one. Yeah. I see him. Peggy, walk through that spinning barrel. Fall down if you have to, but get right up and get out on the other side. Is he the one? Go on. I'm right in the back of you. Following it. Get out of this thing fast. I'm staying. And you're shameless. I've been waiting. So how are you crazy, shameless? Talk. You think I killed her?  She was dead when I got there. I swear she was dead. Yeah, yeah. Sure she was. And you came in. I went crazy. I wanted to kill something to get even. And why are you following me?  If you get to the killer, I want a piece of him.  I was in love with him. You got to believe me. You got to. Boyfriend of Toby. Long and thin as if he'd been squeezed together. Which included the gun he was holding. Peggy down on the floor with me and grabbed for my gun. Turned in the front of his shirt. But he kept coming. Then the something caught up with him. Count item four, 1995. To dress a pigeon named Peggy Bryant. Item five, one hundred and twelve dollars miscellaneous. Hotels, meals, roller coaster ride, funhouse, etc. Expense account total, three hundred and sixty-six dollars and five cents. Remarks, pay Phil Gardner, agent, face value of fifty thousand dollar policy on Toby Drake. Well, all in all, from your point of view, my trip to Hollywood was a failure. From my point of view, I kept one girl out of three alive. And I was lucky at that. luckier than you usually get in Hollywood. Yours truly, Johnny Dollar. Morton Fine and David Friedkin with music by Eddie Dunsteader. John Lund can currently be seen in the Universal International Picture just across the street. Featured in tonight's cast were Raymond Burr, Dick Ryan, John McIntyre, Sydney Miller, Victor Perrin, Virginia Greg and Jeanette Nolan. Yours truly, Johnny Dollar is transcribed in Hollywood by Jaime Delvalle. This is Dan Cumberley inviting you to join us next week at this time when John Lund returns as yours truly, Johnny Dollar. Yes, radio, another true crime story, naming names and places, giving complete details on the operations of a ruthless criminal gang, showing you how the cops after a bitter manhunt put them out of business. Every Saturday night on most of these same stations here gangbusters, the program that gives criminals wanted descriptions that help the public enforce the law and often collect rewards for their good citizenship. Gangbusters, Saturday nights on CBS Radio. And remember, you'll find Western adventure and music with Gene Autry. Saturday evenings on the CBS Radio Network.


Welcome to Moments with Melinda, and I'm your host, Melinda Moulton, and my guest today is Bob Stannard. Hey, Bob, how you doing? I'm Melinda. I'm having a moment with Melinda. Yes, you are having a moment with Melinda. I'm really excited about the next 30 minutes, because I have known you for most of my adult life, and so I wanted to have you on my show because you've had an illustrious career. We're still friends. Yes, we are. I think we're closer than ever, quite frankly. Yes, I think so. I think we've grown up together, and it's been wonderful. So let's get going, because I only have a half an hour, and you have a lot of life to talk about. I have a lot of life. Yes, you do. So let's talk about who are you? I don't have much left, but I have a lot behind me. Yes, you do. But I want to know who are you? Where do you come from? What was your childhood like? Who was your inspiration? Tell us a little bit about Bob Stannard and Bob Stannard's life. So I was born in South Dorset to a plumber, Jim Stannard, who had the musical ability of a ray candle. My mother, Tara Cecilia Maria Urk Jr., was born in New York City. Her father died when she was four. She was an only child raised by a single mom. They had to move to New Jersey where it was cheaper to live. Short story is my grandmother was a nanny mostly and would do odd jobs and whatever she could do to support her daughter, and ended up coming to a summer camp in Dorset Hollow where she coincidentally met my grandmother on my father's side. And one thing led to another. It turns out my grandmother, my mother's mother, couldn't really afford to keep her. So the Stannard family brought my mom into their house when she was like nine, 10 years old. As a result, my father, who was one of five kids, had quite an eye for my mom and the short story is they got married. But when my mom was a teenager, she was an opera singer and she's a classically trained or was, I should say, classically trained pianist. She auditioned at Carnegie Hall at the age of 14 years old. And she was very talented. She had the voice of an angel. The only regret that I'll take to my grave is that nobody ever got it on tape. They didn't have that back then. And she used to sing in the church choir when she married this plumber from Dorset. Her life was ruined, of course. She had no choice but to live in Vermont, and there's not a lot of, you know, piano playing opportunities and singing opportunities. So she sang in the church. She was a ticket. She was half Swedish, half German, big flaming red hair, which is where my old red beard came from. And she was a hoot.  My dad was a very outspoken person. He was on the select board in Dorset. And my dad and I had a funny relationship. We would argue about everything. We never fought about anything, but we would argue. I mean, if he said the sun came up, I'd say, no, it's going down. And we would argue about everything. And I had no idea, as a child growing up, that arguing with my dad would have paid off in later life, because I argued with everybody about everything. And so when I ended up in the lecture... You never argued with me. Well, there's some people... Well, we'll have to do... I learned to pick my battles, honey. Well, I don't know. I think maybe you and I should have... We should think about that and have a... Oh, we could have an argument. We could have an argument sometime. Pick a subject and pick a side, and I'll argue the other side. All right. We'll do this after the recording. So continue on about your extraordinary family. I'm so... I've got a wonderful family.  A man by the name of Marlon Hennet, who's now 40 years old and lives in Maine, but we took him in when he was 14. Long story, but let's just say we took in this kid. He's from Newark, New Jersey, and he's an African-American, and it was always fun to go out for dinner. People would stare at us, and I would actually walk over to a table that would be staring at us, and I'd say, I know what you're thinking. He looks just like his mom. Anyway, so he's happily living in Maine. He has a little boy who's incredibly bright, and my son, Wes, married a wonderful woman from Burma of all places, and they have two absolutely adorable children, just the most precious things in the world. My son and daughter-in-law started a restaurant in Manchester called Moonwink, which has received great notoriety around the state and around the region. It's the only authentic Burmese restaurant in New England because, hello, she's from Burma, and she happens to be a phenomenal cook, so they're doing great. My daughter was a Meredith, was a preschool teacher. She went down to Corillier's preschool in New York City, and her second day on the job was 9-11, and the school was on 14th Street, which if you were watching the news that night, that's where the yellow ribbon was cordoned off.  What would you do if you signed a contract? Would you walk out on a contract? And I said, I would if I was you, get home. And she said, I've signed the contract. I'm here for the year, and she stayed. She stayed. Bless her heart. At the end of that year, came back to Vermont, worked at the little preschool up by Vermont Teddy Bear for a year, and then went back to work at the Trinity Church preschool, and then ended up at the Episcopal School on the Upper East Side, topped there for 10 or 11 years, and moved to Beacon, New York, and she bought a preschool for no money. The lady that had it for 25 years just gave it to my daughter, and she's now expanded that program. She's a girl's on the move. She is a hustler, and she's going to be starting another school in Newburgh. And anyways, it's great to grow old and watch your kids actually amount to something way more than you ever did. Well, let's talk about what you've accomplished. No, God, I got out of bed. Because this is about you, Bob, standard. I got out of bed. And you're an icon in this state, and you have a lot of people who love you for so many reasons. But let's talk a little bit about your legislative work. And I know that you and I knew each other and met each other over rail. It was a rail day that I think it was down in, I think it was down Manchester Way, was it? And your band played for rail day. And that was the rail day. Remember when the train didn't run and they had to bring the buses in to move everybody? I mean, it was one of those days where Brian Searles was like, oh my God, and Charlie Miller and they brought, but you played at the tracks and it was down in the Manchester area. I forgot all about that. I'll never forget that day because that was the day that I met you.  So talk a little bit about your work in the legislature. You were there in the Vermont legislative from 82 to 88. Talk a little bit about your work, your governmental work. Well, briefly, I started off two years on the House Judiciary Committee in four years on the House Appropriations Committee where I really got to learn a lot about state government being on that committee, as you might imagine. It was a lot of fun, but it wasn't that much fun. I was a struggling Republican at the time and I ended up changing parties after my election on my third term. I was always on the ballot as an R and a D and I just changed it the other way, which didn't make some people very happy. And not by design, I had no idea that this was happening, but when I did change, I created the first Democratic majority in the history of the state of Vermont, the Vermont House. So it turned out to be slightly more significant than I had anticipated, but it was what it was and it was something I felt I had to do. I was having a great deal of difficulty relating to the party that I found myself in, so I left. And that actually cost me my seat, so and that was fine. I left the legislature and I actually went to work for a garbage company, East Mountain Transport. I started the first recycling facility in Bennington County.  I got paid more, so that was kind of the running joke of my life. And I did that for a number of years, about five years. And then I was actually asked to attend a meeting on a Sunday morning where I heard about H517, which was a statewide property tax on so-called gold towns for education. And I'm from what's known as the Gold Town and my beef with that bill was that it was still relying on property taxes. If you had a lot of property, you were deemed to be rich and could pay more taxes. And that is fundamentally not true. So I coalesced the gold towns and went to work as a lobbyist. I had no desire, intentions or knowledge of being a lobbyist, but I was and from there I launched a bit of a career. I've got many years in that building. I got 30-some ideas in the State House. And after working for the gold towns, I represented a citizens group in Charlotte that was fighting a developer who made a promise and broke his promise and about a large farm idea. And so I did that. And the last bill I helped to get past with a team of people was the patient's choice bill, the death with dignity, right to die, whatever you want to call it. I'm probably more noted for having agreed to work for Citizens Awareness Network and shutting down the Vernon nuclear power plant. And when they came to me, I just said, you people are crazy.   And seven years later, we shut down Vermont's only nuclear power plant. It was time for that plant to close anyways, but it didn't, it made me feel good to actually push it over the cliff. That was mammoth. It was absolutely mammoth. Yeah, it was a lot of work, you know, I mean, it was a deviant life. I'm a one-man band. I never had a secretary. I never had anybody doing research for me. I had to do all my own work, write all my own briefs, do all my own stuff. And I'm up against Entergy, which is one of the hugest companies around. And there was some sort of satisfaction of, you know, being Davey and the Davey and Goliath relationship. So yeah, that was fun. I retired in 2013. I got very fortunate and I was able to retire. I've been retired for nine years. I have relegated myself to writing political column, which I've done for the Bennington banner. I think this is going into my 19th year of writing a bi-monthly column.  My heavens. Well, I've been doing this TV show for 12, 22 years. I've been doing my TV show. So we can find all that trash. Well, I did that too. I actually hosted Q&A Live on G&A TV for eight years. And when I retired in 2013, I quit that show. The only thing I didn't quit was writing my column because I actually enjoy writing. I've written two Vermont humor books. One was called How to Survive the Recession of Vermont Perspectives. And three years later, I wrote a sequel, How to Survive the Recovery of Vermont Perspectives. And my dear friend and just amazing human being, Jeff Danezinger, helped me with the artwork on that book. And I'll never be able to say enough cool stuff about Jeff Danezinger, just a champion of a human being. And it was just a thrill of my life to be able to partner with him on two books. I also co-wrote a book with Bobby Zappa called Frankie and Bobby Growing Up Zappa. It's about the early life of Frank Zappa. And that probably threw me into the more of a national realm as a writer. And that was fun. And it's a good book. It's about Frank Zappa from the time he was seven to 18, a story that only his brother could tell. And I helped the brother co-write that book and get that story out. It was a lot of fun. It was really interesting. I was not much of a Zappa fan, but I did get to be one when I wrote this book. Music. So my mom insisted I play piano at the age of six.  And as the middle child, I was chosen. And I learned to hate the piano because all my friends were out playing softball and doing cool stuff.  After playing piano from six to 11, I said I've had enough of that. And I got a set of drums.  And so I banged on drums until I was 18, heavily influenced by the Beatles. I was, and still am today, a worshiper of four guys from England who just wrote the most amazing music of my lifetime. And that's what I listened to as an early kid, mostly Beatles and rock and roll and all that stuff. I was into Led Zeppelin, all that great music. There was just so much amazing music when I was growing up. It's an embarrassment of riches. Anyways, I brought my drums to Castleton College, set them up in the dorm and played once, and the dorm parent raced upstairs and asked me what I was doing, and I thought it was self-evident. I'm playing drums for God's sakes. I can't believe you couldn't hear them. And he said, if you play them one more time, you and your drums are going to Vietnam. Now, this was 1969 and I didn't really want to go to Vietnam. That's why I was at Castleton College. So I brought my drums home and I said, well, I got to play something. And I went to Reeves Music Store in Rutland, Vermont, where I bought all my drums here, and I'm looking around. I didn't know what to play. And I cooked up a marine band, which this is not, in the key of C. Now, in 1969, there were no harmonica teachers. There was no YouTube. There was no nothing.  And it took me a lot longer than it should have to learn how to play. I would meet, I literally, I met a bum in the street who played a note that I didn't know how to play and I grabbed this poor drunken person and I said, show me how to do that. And he's like, whatever. And so I would pick up little pieces along the way. And it wasn't till I'd been playing for 35 years. And I actually thought it was pretty good that I met Jerry Portnoy in a bar down in Hyannis. And Jerry Portnoy, for those of you who don't know, was Muddy Waters' last harmonica player. He followed James Cotton. And we'll go down in the blues history as one of the top 10 finest harmonica players who ever lived. And I talked to him into giving me lessons. And I got to go to his house. He was born on Maxwell Street in Chicago and he's a very tough guy. And lessons with him were very tough. He's a very, very tough guy.   No, you don't. And Bob, we're coming. We're coming to the end of the show. We only have a few more minutes left.  So you're playing with her and you'll never retire because we all want to hear you. I would love it if you could play a little ditty, a quick little ditty. We have about maybe 10 minutes left, a little lesson at a show if you could let me just let me just correct you a little bit. I retired on November 6, which would have been my father's 100th birthday. I was planning on retiring last year, but COVID screwed me out of all my gigs. So I went on a farewell tour of this in last year. And Gina Coleman, when I saw that she was playing at my retirement house, said, Hey, you're there with me. So I was a surprise guest. I wasn't out in the audience. Nobody knew I was there. And I walked out and did four songs with her at the end of her gig. And it was really nice. Nice to be back on that stage. Before I do anything, though, I do want to say that I have come out of retirement after nine years to represent a group of people who are extremely upset at the Lake Balmousine Association's efforts to spray the Vermont's number one fishery and Vermont's cleanest lake with a toxic chemical to kill milk oil, which of course destroys the fish habitat. And so that's my I had no intentions of coming out of retirement. I'm happy just to fish in my my own business. But now I am back in the throes of things fighting what I think to be an important issue. And it's not just about Lake Balmousine. I've decided that this really needs to be a statewide issue. We need to stop trying to poison our way out of things that we perceive to be a problem that may not really be a problem. I don't think anybody I've ever known has died from milk oil, but I know people who have become sick and died from chemicals. So we got to change our focus statewide. We got to live differently. We got to do different things. So that's the latest effort I'm doing. There's just no end to me as I'm on it really. You know, I agree with you and I feel that same way about Roundup and all the stuff that people put on their lawns to kill dandelions.  You and I agree on so many things when it comes to these issues. And I love your commentaries.    And so at the end of the day, thank you for that. And I would love it if you could play just a little bit of your heart music, and then we'll come back. And then we're going to have to close the show. So to my viewer. Take your pick. You want something slow and depressing? Oh, I don't know. Whatever you want to do. But to my viewers, this is Bob Standard, activist, lobbyist, columnist, writer, musician, and a Vermont icon.  So here you go. All right. Because you didn't answer my question, I'll do both. We're going to see you back on stage. I do. I just know I know you're going to be back. I know you're retired. But at the end of the day, you know, basically just just for the record, I retired my band. And for anybody who ever saw my band, Jeff Salisbury on drums, Kenny V on bass, Brad Morgan on keyboards, Johnny Falk on guitar, and the great Joe Moron saxophone.  There was no anger split or any of that. I decided at 70 years old that it's a good time to quit. I didn't want to be Willie Nelson or John Mayo out there at 105 years old looking like some old geezer stumbling around on stage. I didn't want that to happen. Tell people the name of your band. Bob Standard and those dangerous blues men. And boy, those guys are dangerous. But I got to tell you when you walked out on stage Saturday night with Gina Coleman.  There was, there was no old man out there, my friend. You were, you were moving with the best. And well, there's very few people that can actually drag me out of retirement. Gina Coleman and I met years ago when we were doing a reenactment of the band, The Last Waltz in Dorset, Vermont. And she's saying, I am woman ahead of me at the soundcheck. And I remember sitting in the wings going, man, Bobby, you've got to pick up your game. This girl is amazing. So I've known her now for, oh God, 10, 12 years. And I've always brought her on my show. When she heard that I was retiring at the Virginia soccer house, she called me from William Soundmask and said, I'm coming up to that show and I'm singing. And I said, sweetie, that's two and a half. I'm not two and a half hour drive for you. She said, I don't care. And she came up to that show, as you know, we were there and, and blew the doors off the place. And I told her, I said, you've got to get yourself booked here. She did. And then I called her, I said, hey, good for you. And she said, yeah, you're joining.  It was a demand. So tell my viewers the name of the, the, it's a CD that she had, but they can download it on, tell them the name of. Oh, please. Yeah. It's called One Louder. And if you ever saw the movie Spinal Tap, there's a dialogue in there where the guy is talking about increasing the volume on the amp. And he says, they only go to 10, but this one goes to 11. And they said, why 11? And he goes, I might as one louder. So one louder is the name of this album. Now on this album, I should say she has big Lou Johnson, who was the voice of B.D. King's Bluesville Radio, who was on my last album on my 65th birthday, my 65th birthday. She has Joe Lewis Walker on this album. And on the song that I did, how the blues feels, which is a tremendous song she wrote. Big Lou was on singing it with her. So I'm back on a, on a recording with Big Lou, who I just talked to yesterday. I'm sending in some maple syrup because he's a good guy. Anyway, so I'm very fortunate. Listen, I'm the luckiest person you'll ever meet. I've had, I've had a great life. I've had some tragedies in my life. I lost both brothers. I've lost my parents. I'm the last man standing in my family. Every life has tragedies. You got to get through it. And I will assure you that this little Mississippi saxophone has helped me, you know, when I'm sitting here watching the news of people being blown up and bombed and, and hospitals been and being destroyed in Ukraine. I sit down and play this while I'm watching TV at the misery that I'm seeing around the world.  It's carried me through since 1969. And if, if I would encourage your viewers to ever do anything, pick up a harmonica and see if you can figure out how to play it. It's good for your soul. Thank you, Bob. It's also good for your lungs. Thank you, Bob.  And I really treasure our friendship. And to my viewers, I want to thank you for joining us today for what was way too short, an interview with the extraordinary Bob. This is the least amount I've ever talked to anybody. I know, but you said a lot, my friend, in a half an hour. And I'm going to say goodbye to my viewers.  So thank you, my viewers, for being with us moments with Melinda and Bob Stanner. And we will, we will see you soon.