My name is Jeff Regan. I get ten a day in expenses from a detective bureau run by a guy named Anthony J. Lyon. They call me the lion's eye. With Jack Webb as Jeff Regan investigators stand by for hard-boiled action and mystery and thrilling adventure in tonight's story of the man with the key. A block above Wilton on Hollywood Boulevard, there's a street they call Taft. It isn't very long. About 48 palm trees and a couple of bad sewers. It figures that the guy who laid it was near sighted. He didn't see the hill three blocks away. That kind of a tired look like an old lady who's been moving furniture. There's a dirty gray apartment house on the right hand side of the street. That's my place. 308. A low ceiling and a leaky faucet. A telephone that rings at the wrong time. It was last Monday night about 11 o'clock. I was in bed listening to the party next door when it rang. It was the lion. That's the way you sleep? You're gonna be busy. We've got a new client. Now tell me all about it in the morning. Special message. It came to my place 15 minutes ago with a seat note. Any good? It was from somebody named Dora King. Who's that? That's what you're going to find out. I can see better in the daytime. She's waiting for you right now. Oh yeah. At a place on La Brea called La Salana. Should I take my banjo? Don't be funny. She wants to talk to you so get over there. What does she want to talk about? How would I know? Well, don't you ever check into things? That's what I pay you for. All right. Where's last week's salary? You'll get it. When? As soon as I find out if your expenses will legit. Now get busy. That all? No. Call me right after you've seen it. Why? I want to know what's what. You mean you want to know if she can afford more than a seat note? You're getting out of line. That's what they told Gypsy Rose Lee. Well, I got over there about 1130. Turned out to be a small place. Long on the shadows and short on the whiskey.  I guess he'd been inside for a long time because he'd never been out for a music lesson. The bartender was the only other guy in the joint. His name couldn't have been Dora King. So I went to work on a straight shot and waited. Two drinks later a girl in a black dress walked in. She took in the piano player and the bartender and me. I won. She started toward me with a slow easy kind of a walk like a panther looking for breakfast. When she used onto the stool beside me a bartender got damp all over. The air conditioning wasn't doing him any good. What'll it mean, man? Make it the same as him. Okay, but then what? Got a match? Yeah. Got a cigarette? Got a name? Maybe. I'll bet it's Regan. All right, you got that much. My name's Dora King. I'm sorry I'm late. You ever on time when you meet a guy? No.  You can spend it any way you want. You're always this nice to customers. I don't get paid to be nice. What do you get paid for? You got a story? I haven't had my drink yet. Hey, yo. Coming up, coming up. I'm just propelled. Here you are, man. Hey, hot night, ain't it? You're waiting for the weather to change? That ain't gonna change in here, brother. What's your first name? Jeff. I don't like it. Neither do I.  All right, let's start calling. Have you got a license? Covers up a hole in my wall. Have you got something that says you're what you say you are? Here. The lion's eye. Six feet, 170. Brown eyes. You fit? Yeah, I got a mole on my left shoulder. Let me see you. You're past. Okay, you won the toss. Let's kick off. Well, this isn't where we play. We'll go in my car. Where? You'll find out when you get there. Maybe I won't like the field. You trust me, don't you? No. Good. Well, fill her up again. We're just leaving. Floor show starts in a couple of minutes. That piano player gonna be in it? Yeah, he's my brother. He's gonna play something he wrote himself. Any good? Stinks. Maybe a better go. Well, the bartender was pouring himself four fingers of rye and about a fingernail of water when we walked out of there.  Then we turned east past western down to Vermont and south to Marathon. All at once we were climbing a hill on a dark street that gave us a view of the city. 20 years ago, a real estate broker might have had something, but now it was just an old neighborhood with a sad look, like a toe dancer with a short leg. Nobody said anything. I was beginning to have a feeling that maybe she'd forgot her compass when she slowed the car down. She pointed to a two-story house in the middle of the block and I nodded. Then she shoved the car in second, spun around the corner and came to a stop. I got out and walked around to let her out. She didn't move. End of the line. Short fare. Time for you to go to work. What kind of work? The white place back there, 39-36. You saw it? It came through. It's a boarding house. I already got a room. On the second floor, number 10. Knocked twice. Prohibition's dead, lady. There's a man there. His name's Benda. Ben Benda. That'll wake him up. He's expecting you. You're quitting? My job's finished. You're the new help. Well, what do I do? He'll tell you. At all? One thing more. One more. To me. Part of my fee? That's extra. I don't generally get tipped. Just for luck. You act like I'm gonna need lots of it. You are. When do I see you again? You don't. Goodbye, gorgeous. I stood there and watched her drive away. And then I noticed it. Somebody in a black coop, coasted around the corner, kicked into high gear at the bottom of the hill. I kept watching, whoever it was hadn't read the traffic laws lately. He didn't use his lights for two blocks. Oh, it registered. He was on a tail job. And Dora was nice to tail. 39, 36 marathon. Inside it smelled like stale beer and rotting wood. Room number 10 was at the top of the stairs. But Dora was already open. Thin guy with a hungry look was sitting on the edge of the bed. It was all bones. He didn't get up when I came in.  All of a sudden he pulled a bandana out of his pocket and began coughing. You're sitting in a draft.  You rigged? A girl with warm lips said I'd find you here. Thanks for coming. Sit down. Hey, you just got back from a trip. Up north? Yeah. Sanitarium? States said I needed a cure. Did it take? What do you think? There's still coughing. The doctor said I could go. You can give me a going away present. Ten bucks and a suit of clothes. With a bum wrap. That's what they all say. Who I am? Ben Bender. Big Ben Bender. Does that mean anything to your pilgrim? Must have been before my time. Who do you think I am? I'm out of practice. You look 60. Then 45. That's what seven years in a sanitarium will do. You ought to get a specialist. Already got one. What's his name? You. No, I'm only an intern. You'll do. All right, what do you want? The guy goes up there and makes a lot of friends. And a lot of enemies. Sometimes you can't tell one from the other. Does it make any difference? Big Ben don't trust nobody. No, what about that girl? Dara? Forget her. Her job's done. That's what she said. See this key? Yeah. I wear it around my neck. I want it for seven years. You'll wear it for the next seven hours. Why? Them friends and enemies I was telling you about. What is the key fit? My safety deposit box at the American Security Bank. You meet me there. Tomorrow at 10. What if I oversleep?  I'll pay for the no-dose. Just be there. After that? And your job's finished. It's off. It's off this door. You over me. Look, when you kept this key seven years, why can't you keep it for seven more hours? My business. What's in the box? My business. Okay. Any of those friends or enemies drive a black coupe? White sidewalls? I don't know. Why? My business. I left him sitting there. He looked as happy as a sword swallower with a hiccups. Well, I put the key in my coat pocket, but it felt hot like a dynamite stick with a short fuse. If Big Ben had been holding it for so long, somebody else might have wanted.  But I went out the back entrance, walked down an alley, and doubled over five blocks to Vermont. I stopped the cab and I had him take me over to the lion's place. It was 2.30 in the morning when he opened the front door. He was wrapped in a bathrobe, big enough to keep all the silkworms working overtime. What are you wondering? Information. You been drinking? I've been working. What kind of work? I got a key. That all? That's what they say. Who's they? A con named Benda. Ben Benda? That's right. I thought he was doing a long while up in Quinton. Well, he's out now. Where does Dora King fit? Taxi service. She took me to Benda. He gave me the key. Let me see it. All right, here. Safety deposit box. That's right. Nurse made to a hunk of metal until tomorrow at 10. What then? Well, I meet him at the American Security Bank and turn it over to him. Well, do it. Now, look, Big Shot, this key's hot. What makes it hot? Whatever's in that box? What's that? How should I know? Find out. You got the key. You got the client. Now, just a minute. Somebody waves a green back at you and you think it's a rainbow. That's enough. Stop it, will you? It's another bum client and you know it. Let me worry about that. If Ben held that key for seven years and won't hold it now, he's scared. What's he going to be scared of? Somebody else who wants in on the play. So what? I'm holding the key. That makes me the Clay Pigeon. You're getting paid for it? Just be there tomorrow at 10. Alive. I left the line and went out to the street. Nobody was there.  Nobody was there. I opened the front door of my apartment. Nobody was there. I began to feel like a good bet for the Lonely Hearts Club. It was a good feeling. I sat up all that night waiting. Nothing happened. I felt about as popular as a bald-headed chorus girl. Nobody made a play. It was five minutes to 10 when I pulled into the parking lot next to the American Security Bank. The car next to me was a black coupe with white sidewalls. It could have been the same one that tailed us the night before. But then I figured there's a lot of cars in LA like that. But I leaned in and I looked at the registration. This one belonged to a guy named Al Spandy who lived in Van Nuys. I wrote the address down, walked into the bank. The guard in a blue uniform waved me downstairs to the safety deposit boxes. It was 10 and still nothing happened. I began to feel kind of relieved like a flagpole sitter when the wind died down. Big Ben hadn't showed yet. The only one there was a blonde sitting in a glass cage in front of the vault.  Good morning. May I help you? Yeah, I want to see if the rent on my box has been paid. Here's the key. 60B. Just a minute. I'll take a look. 60B. 60B is all paid for. Well, I guess my partner must have taken care of it. This isn't a joint box. You're the only one who can get into it, Mr. Bender. Would you like to go in now? No, I'm waiting for somebody. We're all waiting for somebody. I'm waiting for a man. So am I. Been waiting alone? Yes. Here? Yes. Better places to wait. The ones with money keep coming here. My name's Claire. I'll remember that. Will you remember this? Granite 3408. I'll try it on my phone. When?  I'll give you one. You'll run out of them that way. Uh-uh. That's why I work in a bank. Kind of hard on the depositors. You're friends late, isn't he? I can wait. Maybe he forgot. You should have tied a string around his finger. No, lady. He already had one around his neck. Well, she went back to copying nickels, and I sat down in one of the plus chairs and waited. 1030 came, 11 came, Bender didn't. He began to get an uneasy feeling like a bubble dancer with a slow leak. At 1110, I couldn't take any more waiting, so I left ahead for Bender's place. Outside the bank, a thin guy with a sharp head was hawking papers. I slipped him the nickel if a blonde had given me, and he handed me a daily news. I wanted to see what a horse named Larry R had done at Belmont. I didn't get beyond the first page. Bender's picture was there, right next to Governor Dewey's, only Ben wasn't running for office.   I took my car out of the lot and headed for home. I mixed myself with a tall one, and I was just getting to the bottom of it when a couple of guys kicked my door open. Regan? Yeah? I'm Lieutenant Anderson, homicide. This is Sergeant Penelli. I am. Don't you guys believe in knocking? My knuckles are sore. Nice stuff. Well, help yourself, it's out in the kitchen. Don't drink on a job. Penelli? Me neither.  I'd have called some girls. Not done a job. Penelli? I got a wife. All right, Regan, find your hat. What for? Well, you want to look nice. We're going downtown, you and me and Pete. Right, Pete? Right, Andy. No, it's too hot there. We thought of that. We'll give you a nice cool place, won't we, Pete? Sure will, Andy. You got a warrant? And no, we just figured you might want to tell us why you did it. Did what? Tell him, Pete.  You're out of your mind. Regan, we know you saw Bender last night. We know you got out of a car on the corner and walked up to his place. We know you were the last one to see him while he was still alive. You got a witness? 31, a girl told it.  If you were the last one to see him alive, you're the first one to see him dead. That's how we figured. Did you figure on a guy named Al Spandi, who drives a black coupe? I never heard of him. And how about a dozen other hoods who knew Bender? Now you're trying hard, Regan. You haven't even got a foundation. We got the whole building. It'll never stand up. We'll see. All right, you tell me why I did it. Your private eyes get folders on bank jobs. I get them from Charles Atlas, too. Bender was in on an $80,000 heist eight years ago. He went up for carrying a concealed weapon, but the money was never found. You know that the Imperial Bonding Company's offering $5,000 for the recovery of that door? The lion. Don't make any dates tonight. You're not going to be available. All right, the lion will tell you I was working on a case when I saw Bender. Oh, we already talked to the lion. But what did he say? He says he hasn't seen you for five days. You are listening to the Story of the Man with a Key tonight's adventure with Jeff Regan, Investigator. Commissions are still available in the Army Nurse Corps Reserve. If you were a graduate registered nurse between the ages of 21 and 45, you may be eligible for a commission in the Army Nurse Corps section of the Regular Officers Reserve. These commissions are still available, and those who meet the high standards and qualify may elect active or inactive status. Those who request inactive status will continue with their civilian nursing duties but stand ready to serve in time of emergency. Nurses who elect active duty become commissioned officers in the Regular Army. If you believe you qualify for a commission in the Army Nurse Corps Reserve, apply to the Adjutant General, Washington, D.C. And now back to the Story of the Man with a Key and Jeff Regan, Investigator. I had about as much chance as a violin player with no chin. Anderson and Penelli took me down and locked me in one of the rooms upstairs. They didn't ask any questions. I guess they figured they had enough answers. Oh, it was a real nice fix. A dame named Dora King takes me to a con named Ben Bender. He slips me a hot key and says, meet him in a bank at 10. I'm there on time, getting the phone number of a blonde named Claire. Only Ben doesn't show. Somebody burns his feet and fogs him before he can keep the date. And then there's that black coupe registered to a question mark named Al Spandi. And then the lion deals one from the bottom. Oh, it was a screwy picture and I was right in the middle of the frame. Well, I spent the next four hours taking in some free entertainment from the drunk in the next cell. Okay, Regan, on your feet. Bastille Day? You sprung. I was getting tired of the floor show anyway. Try and make it Saturday sometimes. That's our big night. Part of my bring a date. That guy ought to be at Syros. Where do you think we picked him up? Now, the patience with you. How many times have I told you to keep out of trouble? Why didn't you tell him I was working on a case? I went to a lot of trouble to get you out. And you went to a lot of trouble to get me in. That was easy. Still got that key to Ben's safety deposit box. I got it. Tomorrow morning at 10, you're at that bank getting into the box. Crazy. It's in Ben's name. I'll teach you how to spell it. I won't do it. Homicide might like to know you got that key. Now you listen to me and we'll both make dough. Where I'd be, I couldn't spend it. If the 80,000 bucks from the bank job Ben to pull happens to be in that box, like I think it is. Imperial bonding owes us five grand reward. I don't like it. You owe it to the company. Now listen, you. Ben to was knocked off for this key. Whoever wants it might make another try. Nobody knows you got it? Well, I'll give it to you and nobody will know you got it. Reagan, I'm giving you a chance to straighten yourself out. That's right. What do you mean? I feel stiff already. Well, it was a triple play. Homicide to the lion, to the black coupe. I went home to wash off some of the jailhouse lice all. When I walked in the front door, I had company. The gray flannel suit with a yellow tie was sitting on the edge of my bed. Both hands were full. The whiskey was mine. The gun was his. When he saw me set down the bottle and walked over and put the gun right against my neck, it felt cold and I got kind of nervous like a hula dancer in a forest fire. Hi, Reagan. Been waiting for you. You like my liquor? I'm a ride drinker myself. Well, bring your own next time. That ain't being sociable. You weren't invited. How could I have been? You don't even know me. You're Al Spandy.  What do I have for breakfast? Egg and it's all over your tie. You look hot, Reagan. You have to hold that gun there. Right there. The same one you used on Benda? That's the same. All right, now, give me, Reagan. I told you, I don't have any ride. Where's the key? I don't use one. My door's always open. I'm talking about that key you got from Benda. I don't have it. Do you hear any music? Yeah, but I'll sit the next one out. No, you won't. This is a men's cheat. I'll step on your toes. I don't mind. It's a pole gun. I want to do it with you. I thought it was a long dance, but Spandy didn't get tired. I knew I wasn't going to last the evening, huh? And then I saw Dora King standing in the doorway thinking it was Spandy.  She had a 25 on her hand, and she knew how to use it. Thanks for cutting in, lady. I had to do it. He was killing you. I'll take the gun, huh? You know I had to do it. Yeah. Here. Go on, drink it. Do you want to tell me all about it? Yes. I wanted to tell you at first, but Ben wouldn't let me. He's not around to stop you. Do you think Spandy heard him much before he killed him? I wasn't there. He was sick. He couldn't have taken much. Why'd you tip the cops on me? I thought you might have done it. Now I know different. Tell that to homicide. I will. You better. Spandy can't. I'm not going to do it. You better. Spandy can't. He's dead? That's right. You still don't trust me. No, I don't. I couldn't help myself once the gun went off. Big Ben was my father. Yeah. He didn't want anyone to know. All he wanted was to give me a break. Why'd he hire me? He was afraid. Yeah, that's what he said. Regan. Yeah? May I have the key? I haven't got it. You can get it. Maybe. You know what's in that box? I think so. Or why don't I turn it over to the police? That's my job. Like I told you. I'm Big Ben's daughter. Yeah, lady. You convinced Spandy. Well, I called Homicide and Anderson and Penelle handled it. We all wound up downtown. It didn't take them long to find out that the gun Spandy used on me was the same one that killed Big Ben. Dora gave Anderson her story. He said it would take some fixing, but he could keep her out of the papers. It was justifiable homicide. She wouldn't even be indicted, but they had to hold her overnight. Now it was almost daylight when I pulled to a stop in front of my apartment. I was beginning to feel a little better, but it didn't last long. When I walked into my place, it looked like the LA Dons had been having a scrimmage. Every corner had been going over. Oh, it didn't make sense. Benda was dead. Spandy was dead. Dora King was downtown, but somebody still wanted that key. Well, I crawled into what was left of my bed and set the alarm for 9.30. I didn't sleep much. I kept saying keys and faces and $80,000 bills. 10 o'clock the next morning, Granite 3408 was still sitting behind the same desk near the same safety deposit vault. She gave me the same look.  I spent the nickel. On a doctor? I'd like to get into my box. All right, Mr. Benda, so I'm here. All right, like part of the new freeway. One thing about a vault. It's quiet. So is a tomb. Live alone. Yeah. Well... All right, sunshine, open your eyes. My box number is 60B. Back and wait. I can't. Easy, baby. You'll set off the alarm. You and I can make a great team, Benda. You know my name's not Benda. What is it? Regan. You and I can make a great team, Regan. Got what you told Al Spandy? Well, I bring up a dead issue. What's your deal? You got Benda's key. I got the bank's key. You need both of them to open up the box. It's good so far. Go on. It's $80,000 there. Let's not let it get a waste. Big Ben waited seven years to open that box. Look what I have to him. I waited just as long as Ben, and seven years is harder on a girl. How'd you work it? Ben and I had a great plan. I was a cashier, Ben Heisted.  The real dough's in his box. Well, that's the safest way. Keep your money in a bank. Yeah.  That's the way it was supposed to work only.  Oh, you made real good partners. Nobody trusted anybody. I trust you. That's why you went through my place looking for the key last night? Girl's gotta use her head. Besides, you might have been home. Ben and Spandia are dead. We don't have to worry about either of them. The money's still here. We got the keys. It'll open the box. Can you add that? Yeah. What's the answer? About 20 years. What do you mean? That bonding company will see that you get the full load for grand larceny. You wouldn't turn me in. Don't make book on that. You and I'd make a great team, Regan. We can't lose. That's what USC thought. Well, I called Anderson and Finnelli and they came out and picked her up. I rode down as far as the office with him. That wrapped it up. When I told the lion what had happened, he was as happy as a college boy in a harem. He got on the phone right away and called up Imperial Bonding, told him to make out that reward check for 5G's to Anthony J. Lion. But he was real good about it. He took me for a ride in his new Nash convertible. Well, I guess he deserved it. He was really the patsy that had done all the heavy work ever since he bailed me out of jail. Because that's when I slipped Bendis Key in his pocket. Jack Webb is featured as Jeff Regan with her Butterfield as Anthony J. Lion. Jeff Regan, investigator, written by E. Jack Newman and Larry Roman, produced by Sterling Tracy, is heard each week at this time over CBS. Tonight's cast included Ken Christie, Yvonne Patey, Marvin Miller, Paul Freese, and June Martel. If you are a graduate registered nurse, please listen carefully to this important message. 29,000 nurses are needed to join the new Army Nurse Corps Officers Reserve. All nurses who receive reserve commissions will benefit from the opportunity for specialized training offered to them by the Army. Inactive reserve status will not interfere with the nurses' civilian life, but the educational opportunities offered her by the Army Medical Department will be of great advantage. For further information, drop a card to the Adjutant General, Washington, D.C. Original music for this program is by Dick Aront, Bob Stephenson speaking. This is CBS, the Columbia Broadcasting System.


In the early 2000s, many children across the United States eagerly awaited the weekends to catch their favorite shows on the kid's WB programming block. It was a time filled with animated adventures, colorful characters, and cherished memories. However, amidst the laughter and excitement, there exists a peculiar and chilling tale surrounding a mysterious event known as the CW anomaly. This creepy pasta delves into the inerving story behind the anomaly, and its connection to an enigmatic virtual analysis line. It was a typical Saturday morning when I settled down in front of the television, eagerly anticipating the start of the kid's WB block. The familiar characters from my favorite shows brought a sense of comfort and joy. However, this particular day would forever alter my perception of those cherished cartoons. As the clock struck 9am, the familiar kid's WB logo appeared on the screen. Yet, something was amiss. The colors seemed distorted, and there was an eerie hum emanating from the speakers. I dismissed it as a technical glitch at first, assuming that the signal would stabilize soon. Little did I know that a sinister force lurked behind the scenes. As I later discovered through online forums and whispered rumors, this anomaly was attributed to the virtual analysis line, Vell, a mysterious and little-known technology developed by an obscure research group. According to the Urban Legends, the Vell was an experimental program, designed to analyze viewers' reactions to specific scenes during kid's WB shows. It utilized cutting-edge virtual reality and neural interface technology, supposedly collecting data on the emotional responses of young viewers. However, the Vell's true purpose and the organization behind it remained shrouded in secrecy. The CW anomaly was said to have occurred during the airing of several specific episodes on kid's WB. Viewers reported strange occurrences, ranging from minor glitches to outright terrifying moments. These experiences included, one, visual distortions. The animation would warp and twist, characters' features morphing into grotesque shapes. Backgrounds became twisted and surreal, distorting the one's familiar landscapes. Two, sinister audio. The characters' voices turned distorted and unnaturally deep, their innocent laughter replaced with haunting, barely discernable whispers. The background music became dissonant and discordant, evoking a deep sense of a knees. Three, cryptic messages. Viewers claimed to have witnessed hidden messages and symbols flashing on the screen for brief moments. These messages were often cryptic and unsettling, leaving a lingering sense of dread. Four, unsettling scenes. Innocent storylines took disturbing turns, with characters engaging in horrifying actions or displaying disturbing behaviors. The comforting worlds of beloved cartoons became twisted nightmares. The CW anomaly did not go unnoticed. Parents began reporting concerns about their children's behavior after watching kid's WB shows. Dreamers, anxiety, and even claims of temporary memory loss were reported. Despite these reports, the Vell and its connection to the anomaly remained mere speculation, as no concrete evidence of its existence ever surfaced. The CW anomaly during the kid's WB block is a chilling creepypasta that delves into the eerie events that supposedly occurred during specific episodes of kid's WB programming from visual distortions.


Hi everybody it's Sam at Mixercraft, thank you for watching my tutorial today. I'm going to be showing you how to make these envelope boxes. So I make so many cards and some of them are quite 3D and they don't always fit into just a normal envelope so I make these box ones but what I'm finding is that when I am maybe making another tutorial and then I'm using for example this box I'm telling you guys to go and check out that tutorial and you've got to skip to certain parts of it and it's just it could be easier. So what I've decided to do is do this tutorial which is just going to be on how to make these envelope boxes. Now I'm making the six by six and the five by seven so you're going to see me make this one here and some of you might recognize this card I actually found it I totally forgot I still had this it's a beautiful card absolutely love this one thank you card and as you can see it's got a lot of dimension so that's why I needed to make this box so I'm going to make this one here with the lid but then I'm also going to make the six by six with the lid kind of opening from the top okay so you've got two versions of six by six and this is the other version that I was just saying so that's where it opens at the top so you're going to get a six by six in this and a six by six in this version and again the same you'll get a five by seven in this and then this five by seven version and it just means that you can just come to this tutorial rather than hunting through other videos and it'll be easier for me to use this as a reference as well. So first of all I'm going to make the separate lid boxes so this is a five by seven and the six by six so if you want to make a five by seven you need a piece of card stock that's seven and a quarter by nine and a quarter and then a piece of card stock that is six and three quarters by eight and three quarters this piece is for your lid okay so this smaller piece first of all you want to score let me show you get mine all correct three quarters of an inch and six inches and that's along the six and three quarter side okay then rotate it along the longer side and again you're going to score at three quarters of an inch and at eight okay so that's all you need to do for the lid then for the base so you've cut it to that size which was seven and a quarter by nine and a quarter but then you want to take a little slither off of two of the sides okay and this is the easiest way for you to make these boxes so that you get a really nice kind of closure now when I mean a slither I literally mean if you use one of your little markers on the the ruler part here it's just one of the little notches so I'm just going to line this up here and you can see there what I've cut off okay it's not quite one eighth of an inch it's probably just a little bit shy of that and again there you're just doing that off of two sides so it's easier for me to give you that simple measurement and then you cut off those little bits okay and then grab your scoreboard and you're going to score it one inch on all four sides and now by taking those little pieces off of the two sides it will allow this base to fit nicely underneath the lid so next you want to fold and burnish all of your score lines okay so I'm going to use the lid first this is the smaller of the two and your lid will have a three-quarter of an inch side whereas your base will have the one inch and that's going to give us that nice depth so that we can you know add lots of embellishments to our cards so I'm just going to bring in my other scissors here so along the short side here I'm just cutting up those two score lines just to that first one there and then rotate it and do the same again so you're just snipping up to that score line okay and then with the four squares in each corner just take a little wedge off of each one and that will just help you conceal those pieces so you haven't got anything overhanging okay so that's what you should now have for your lid for your base you're going to do exactly the same thing so again along the short side here I'm just going to cut up like so rotate the whole thing round and then again take little wedges off of all of those sides okay next we need to glue this all together so I'm just going to bring in some of my liquid glue here into each of the corners and then bring it down and around so you can bring the other side over okay just hold that there for a second and then go to the next one bring it down and under again just hold it there and then repeat on the other end okay so now we have our base we've got that tray and then for the lid you want to do exactly the same again so just add some glue to all of those tabs okay so that's the lid all done and now that should fit nice and snug over the top like so and because this one's shorter it allows you to be able to pull that off nice and easily now the finished size of this is five and a quarter by seven and a quarter I've done them slightly higher and wider because it allows you to have any kind of little detail overhanging on the card and also if anybody does do something slightly bigger than six then by five by seven it will fit nicely into this so that is your five by seven gif box envelope now I'm going to give you the measurements for the six by six and construct it in exactly the same way okay so for the six by six for your lid you want a piece that's seven and three quarters squared okay and for the base you want a piece that's eight and a quarter squared okay so for the lid you want to score which is that seven and three quarter squared piece you're going to score it three quarters of an inch on all four sides okay so because this is a square it's even easier than the other one oh gone off a little bit there there we go okay and then for the base you want to do the same thing again so we need to bring in our trimmer and we're just going to take that same kind of slither off of two of the sides again there's my pieces and then grab your scoreboard again and you want to score it one inch on all of the four sides okay again fold and burnish okay and then you're going to cut exactly the same way so you can choose any like opposite sides now it doesn't matter because they're all the same but you're just going to cut down and down and then rotate it all the way around and down and down do that on this one and then take the little wedges off of all of the squares as I did with that five by seven version okay so there I've cut all of those the same and then you're going to add your glue to the tops and fold them all in exactly the same way as I did for the five by seven okay so there's those you've done and again it will fit on nice and snug like so okay so now you have a six by six and a five by seven gift box envelope and so now any of my cards that I make so I always make my cards in either six by six or five by seven you know that you will have a nice size envelope for them so that's that style with the lid that's separate then I'll show you how to make the one with the kind of flip lid okay so to make the five by seven flip lid gift box or envelope box you'll need a piece of cardstock that's seven and a quarter by nine and a quarter and another piece that is seven and a quarter by nine and three quarters okay so with the smaller piece along the seven and a quarter side you want to score it one inch and again at six and a quarter so this will be one inch in depth just like the other ones then rotate your cardstock and again score at one inch and an eight and a quarter so what you should have is a one inch section on all four sides okay then with the slightly larger piece so again along the seven and a quarter side you want to score at one inch and at six and a quarter and then rotate and again score at one inch eight and a quarter but then nine and a quarter so you've got that extra score line and this piece here this half inch piece is going to be our little kind of tab to lock in that flip lid okay so that is the five by seven then you want to fold and burnish all of your score lines okay so I've got my two pieces now the one where you've got that extra half inch piece okay so it'd be the longer piece because they're both the same width that's going to be the back of the box so this is the front so we'll say this is the top I'm going to turn it around and you want to cut down those two score lines it doesn't matter what end you've chosen at this point because they're both the same okay but now we're going to remove this whole middle piece so if you just tuck down one of those I'm actually going to bring in my longest scissors now and then just cut really neatly because this will all be exposed right the way along to the very end there I need to sharpen my scissors there we go okay so that is now going to be the top when it goes in these are going to be our side pieces so now this is the base so again you just want to cut up like so and then you're going to take a little wedge off of both of those like so so that's what you should have for the front of this box then for the back so this half inch piece is the top and then you've got a one inch and a half inch like so the bottom you'll just have that one inch so you want to cut up both of these okay now because we've kept them on this one we need to remove them on this one so you just want to cut those squares out completely okay and then again along the very top here flip it around you've got your half inch line and then your one inch you're going to cut down both of them and again because we've kept them in here we want to remove it completely so now you can see what I've removed that whole square but also this top piece so again you can see it all here we're removing that and the square so just cut all the way down remove that completely okay so you have two pieces like this and this one will be slightly taller by half an inch because that's our little kind of bit that we're going to like I said seal the box up with so with that piece there you just want to take a very small sliver off of the edge not too much because if you take too much off it will pop pop out it won't lock in and again with these pieces here just take a very very small amount so not as much as you take off of those you just want to take a small bit and if you find it doesn't close properly it's too tight then you can just take some more off when we put it together so it's best to just take a little bit you can always take more off okay and then what's going to happen so the base so the piece that's got that half inch you're going to turn over and kind of fold up like that and then this will all fold in and we're going to glue it and kind of hug the one below okay and then those two pieces will go in and the box will close okay but like I said we'll do that when we get to it so what I would say first of all is glue the bottom pieces on the front piece and get them stuck down and then you can glue all the rest together so I'm just going to pop it underneath this one here okay and then you can go and add glue on all of these three sides here and I'm going to flip this one over and I'm going to pop it all inside if you want to do it bit by bit you can but I find if you just get it all in and then it's easy then to just go in with a ruler and you can just kind of push everything down smooth all the sides down and just line it all up okay so there you have your five by seven just fold those bits in a bit more what you might have to do is just take actually could have done with taking the little wedge off of the top pieces there I'll show you on the six by six because you'll get a bit of bulk like I've got here but you can just go in and just trim that but before you do it you see there where it's kind of gone over just bring it up and you can just trim that off okay and now those will fold in nicely okay so if you've got any bulk there just trim it off and now the lid will close and you want it to slot in you want it to be tight if you feel it's too tight then do trim a little bit more off but that is your five by seven flip top envelope box and again the final size of this is five and a quarter by seven and a quarter so now I'm just going to give you the measurements for the six by six okay so you're going to need one piece that's eight and a quarter by eight and a quarter and then one piece that's eight and a quarter by eight and three quarters again exactly the same process as before you've got that extra half inch piece so with your eight and a quarter by eight and a quarter piece you want to score on all four sides at one inch and then on the other piece you want to score along the eight and a quarter side at one inch and seven and a quarter then rotate and score at one inch seven and a quarter and eight and a quarter and that will give you that half inch piece here okay so that's all the scoring and again you want to fold and burnish all of those score lines okay so starting with the front piece so the smaller piece again exactly the same way as the five by seven you're going to cut up the two there and then rotate and cut down these ones here decide what's your top or your bottom because at this point obviously it doesn't matter because they're all the same so this is going to be the top so this whole piece here we're going to remove so like I did before fold that one down I'm just going to bring in my longer scissors you want to cut that whole piece out then you just want to take little wedges off of the bottom one so the one the bottom is the one with this piece still on okay the top is this one and again just take a very very small slithers off you don't need to take a lot slithers wedges I always name it different something different miter there we go okay so that's the front of our box then this piece which is the back that half an inch extra piece that you've got is the top okay so the bottom here you're going to cut up those two again at this time because we've kept the squares on that one again you want to remove them on this one okay so again now that's the bottom all done flip the whole thing around and you're going to remove both those sections from here like so and what I didn't do on that one and I had that little bit of buckling on the tops of these ones here just take a wedge off like so so we've got a slight angle now on these ones there's that half inch piece there's a slight angle there so that when this wraps over and folds in it won't catch on the top okay so next you just want to glue so this is that front piece with that piece cut out glue these pieces to each other first okay and then again I'm just going to add glue to all of these sides and just fold in all of those pieces and it will just sit in side that one and just with your ruler make sure all your sides are stuck down okay and then fold that down and lock in your lid there we go another nice six by six box envelope so there you have it two different styles and I think it's going to help out a lot of you because many people message me and say that you've made this card and you need an envelope that's going to be big enough so I think one inch is plenty I don't think I've ever made any card with dimension higher than an inch but um you know you can obviously adapt them if you need to but I love these ones here I think they're nice for real special occasion ones you can add ribbons and obviously decorate these you know as much as you want and then you've also got the ones there with the flip lid which are handy for if you're doing I would say like a gift card set so if you've got a box of you know cards that you want to give to someone you could put quite a few cards in there and again with the five by seven size but also just if you prefer to make that style yeah so I hope you find this video useful I hope you can use it now as a reference I will use this video a lot so when I'm making cards now I will always kind of use this one and direct you to it so that you can make the envelopes to obviously present and finish your cards off you know nicely so yeah until next time guys thanks for watching and I'll see you again soon bye


In today's video, we are going to talk about a cat that could possibly be the friendliest and most lovable cat breed out there. The Napoleon cat. If you dig deep into the history of the Napoleon, you'll discover that this dwarf kitty dates back to 1996. Their origin story involves a dog breeder by the name of Joe Smith, who decided to breed a cat based on the Munchkin and Persian breeds, after he saw a Wall Street Journal article about Munchkin cats. Later on, another breeder named Terry Harris helped to popularize the Napoleon. The Napoleon was officially acknowledged by the International Cat Association in 2011. The Napoleon is a small cat. As is always the case, exact size standards might vary. Most Napoleons weigh in at 5-9 pounds. That said, many may be smaller or larger than average. The Napoleon cat comes in a very large range of colors. In fact, pretty much any color and combination goes with this kitty. When it comes to grooming, it will depend on whether your Napoleon cat is long or short-haired. While a short-haired Napoleon will make do with weekly brushing sessions, a long-haired feline will need much more attention. Brushing a long-haired Napoleon four or five times a week will really help ward off the chances of mats forming. In terms of climate, most Napoleon cats are adaptable. You should also always make sure that there's enough shade and fresh water available during the hotter months. Hello! This video is sponsored by Beemix Pets. Are you looking for high-quality cat colors at an affordable cost? Check out BeemixPets.com. If you talk to the owner of a Napoleon cat, you'll very quickly hear them go on about just how loving and people-focused these felines are. In fact, when living with a Napoleon cat, you can expect the kitty to follow you around and want to snuggle up with you at any opportunity. They also do great with kids and will bond very easily with humans. Just remember that the Napoleon is such a sociable kitty, that they really need to be around people as much as possible, so consider another breed of cat if you're going to be away from the house for long periods of the day. Beyond being a total cuddle bug, the Napoleon also has a playful and curious side. They might not be the most athletic jumpers, mainly due to their short legs, but they are always up for a play session. It's best to add some interactive toys to the living environment, to keep your cat mentally stimulated. The Napoleon gets along great with young children. Just make sure that early socialization takes place and boundaries are properly set on both sides. Supervise early interactions between kids and cats. When it comes to other household pets, the good-natured Napoleon usually fares well with many domestic animals. But always supervise early interactions between the new cat and existing pets. Sometimes, these relationships are very much dependent on the individual pet's personalities. Ultimately, early socialization really pays off with this mixed breed. Make sure to reward your Napoleon for good behavior when you bring them home to your family. If you enjoyed this video, kindly press the like button as it greatly helps out the channel. Also don't forget to subscribe with notifications on for more videos like this. Thank you for watching.


My name is Christopher Brat. I was born in San Francisco and raised there and actually went to school there through San Francisco State University now, but college. And then through that whole time I was an apprentice carpenter as well. And finished that up and then went to work as a carpenter and spent most of my life carpendering, either there in the Bay area or in the Applegate. Did you specialize in fine woods? Not necessarily, no. I was mostly house building, some high-rise, but mostly house building. In fact, Vicky likes to remember that I right now only carpendered on the little houses on the hillside but sang the song about them too. So that was an old Malvina Reynolds song. Pete Seeger made the song famous, but I was really good at that part. And those houses, those two by fours were prime wood, right? Yeah, most of the housing, especially in the northwest, but even they like it in the east coast too. The studs made out of Douglas fir because the Douglas fir is such beautiful wood, stable as well. So it was good house building wood. I mean, no warpage, stuff like that. And so that's one of the impetus of getting here. So when did you come up here? 1976. But then it gets to the extension of what Paul was saying about the BLM. We have 160 acres here and we just put everything we had into that to buy it. It was very cheap in actuality. $125,000 with a house and it was in pretty good shape, I would say. And continued working on that when I first came here and brought my parents here for four years as well. So a place for them to live in their old age. But what amazed me was they sent out a flyer. The BLM said they were going to herbicide spray right around us. And I couldn't understand the reason why they were spraying anything in the forest. I had had enough experience. Now I was a Sierra Club member, I have to say, because we went on a lot of hikes with them, with kids and family, into the mountains many times. So I couldn't understand what the herbicides were about. So I contacted them and they said, oh, don't worry about it. This is what we're doing, it's called intensive forest management. And it means that what we do is sometimes before, but most of the time after we cut clear cut, we spray the ground and put seedlings in and that kills all the unwanted vegetation.  And he said, yeah, that's what we do. And I said, well, that's kind of crazy. But so we got involved there and one night the young woman knocked on our door. She traveled up to our place and said, I introduced yourself and said, did you know that the BLM was going to be spraying right close by you here? And we're forming a little group to maybe protest this sale because we don't think there's a good. And my mother was sitting at the, we were just finished dinner sitting at the table. And she said, oh, Christopher, you better do something about that. I said, okay, mama. I did. Yeah. And so they. What was that? It was his mom. Who was the young woman who came to the door? Oh, I don't remember her name now, but she. She was local. She was local. And she died in an automobile accident about two months after that. You know, it's strange right on 238. Didn't make the turn, one of those turns and went into a cedar tree or something. The Volkswagen bus. Kind of a sad story. But that, she gave me a flyer that had a meeting date on it. And so I went over to the Rouge country store there. It's off highway 238 a little bit. And it was run by a young couple there. And we went upstairs to a meeting room and there were about, I'd say 15, 20 people there. And they started telling about what was happening. And of course they said, well, what are we going to do about it? And a couple of people said, well, we should get organized. And I thought that was a pretty good idea. And they said, well, why don't you be the chairperson? I said, well, I got lots to do. I don't know if I can devote all the time. And I don't know if Paul said, well, I'll help.  And there we were, you know. There we were. Was he in the Forest Service at the time? He worked part-time, I think, at the Forest Service during the season as the fire person. So that's a controversial position to have taken. Well, the BLM and Forest Service are not the same. The Forest Service was spraying all right, but not to the degree that the BLM was. And so it was not, and they're two different organizations, so his job wasn't jeopardized at all. And so I think it was wintertime or cold anyway. And I think I was working on that place for my parents this day, you know, continued working on that. And so we had Paul and I had to go to the barn and work. And I kind of closed it all in a part. And we started our first protest of the BLM timber sale. And we realized that once you made a protest of a timber sale, they would not do the sale until they got some. In Washington, D.C., they have an administrative court. And it had to go to that court for the judges, administrative judges, not federal judges. And they would decide whether it was a good protest or not and stop the sale or not. And we finally realized that they took a whole year to get around to all the protests that had been going on around the country. So that sale didn't go through. And so at the same time, they were starting the spraying of this place around us.  And they said, oh, don't worry. We'll come around and take her to the movies. They were going to bring a van around. They said they would bring a van around and take her to the movies the day they were going to spray. And I said, well, don't worry about that. It's okay. And that's what one of the real impotences of doing the protest of the spraying. But then as soon as Paul and I found about the, and this was over a period of six months now maybe, that the timber sale we protested took so long never to be justified or rectified either way. We decided we'd do the whole program, the whole BLM program, every timber sale they put forward. So we did. And Medford District. It's a huge area. Yeah. You know, huge. Oh, 900,000 acres, I think something like that.  What I was hoping, and we wrote, we did a lot of different things in these protests. And one was to write, we wrote to the BLM employees and asking them to, you know, take on some of these issues. You know. To try and change. You know, that they needed a union. And they don't, they still don't have one. I don't know they may have some organization, but they... Why did a union have been the answer? Because the answer would... Well, there are a lot of standard practices that contractors do that the union doesn't like. You know, and so we say, hey, you know, this is dangerous or that's not good or we want a pension, you know, we want all the, you know, and those are the things that we have to work for. With a collective voice. Collect voice, yeah. Otherwise you have no voice. You know. And of course, you know, the protests, we weren't trying to put anybody out of work. As a matter of fact, we wanted them to do it manually. You know, in fact, that's one of the things that the BLM did try, was to come to the community and said, oh, you don't like herbicide spray? Well, you know, why don't you get in there and get rid of these trees for us? You know, free. Yeah, do it, volunteer. Well, we even tried it, but you can understand that it's... That's all I do in my whole life. You know, just take care of that. So it was a very, it's a complicated question, for sure. And that meant that the workers then had to, they weren't, they were getting sprayed on, as a matter of fact, you know, the workers, they weren't doing the spraying. It was done either aerially, or they had a crew come out with a backpack and do it. No one took them to the movies. Took them to the movies, yeah. Well, it took them to the doctor, probably. Yeah. You know, in the long run, at any rate. So this was in the 70s? In the 70s and 80s, yeah. And so then... And they were in a clear-cut mode, see? So then, you know, we realized that the heart of this thing was in their mode. You know, if they didn't spray, they had to cut in a different way. The clear-cutting was not, then they were using the clear-cutting as the method of getting the trees off. And of course, that then brought more community members into opposition, because nobody even wants to see it, let alone get sprayed on. Because there was this drift and everything, you know, when they did spray. So, and then one of... If there's one thing that I'm proud of is that they haven't sprayed in Applegate, or mainly on the federal lands for the last 20 years, for 15 years, at any rate, you know, because of our protest. They just have gone back to different kind of method in the forest. Clear-cutting is not done very much at all. Still done on the private lands. And you can still... You can still hear and see the cases of that happening in various parts of Oregon. We're in a very dry forest here, and the further north you go, you get into much more damp weather and the coast too, the same sort of thing. You know, there's different ecosystems for sure. And we're probably in the driest one in Oregon for sure, you know. And what bothered me the most was because these forests are so beautiful and so botanically, you know, unique.   And so that's what... And they just meant the weed tree. They called them weed trees at that time. And that's madrone. And that's oak, you know. And the most... Yeah, anything that was not Douglas fir or pine, you know, was burned up. You know, they cut it, cut it all down, laid it on the ground and burned it up and then sprayed it. So it would never come back, you know. Well, there's a lot done on the ground here because, you know, these are... Most of their units are not so big and to put a helicopter in there over a certain place where an airplane coming in and swooping down to do it aerially is much more difficult. They did use helicopters a lot. But they would burn it mostly on the ground and there was nothing there because they chopped it all down and just made piles or just burned it in ground-based burning. So what do you... Where are we now? Well, so what happened was in terms of Chris's story, the headwaters was an environmental group that actually started out here. Yeah, we really got organized.  I like to talk about a woman by the name of Phyllis Cribby who was a nurse in Vietnam and so she saw a lot there that she did not only didn't like but she was an amazing woman and we started out in a little place in Grants Pass. The tower, the tallest building in Grants Pass, you know, that one that used to be a hotel and we had a little room up there and there were four or five of us operating out of this little room and she wrote a protest based on that they did not take a long-range view of what these herbicides were going to do. Phyllis wrote a brief, really, for a lawyer to look at and say, was it worthwhile taking this on, spraying on in a legal way that they... And I forgot the terminology they use now for what they were doing. It was a long-term view that they were supposed to be looking at and they weren't doing it what herbicides were doing to the long-term basis and she wrote this thing up and she got a young lawyer and we kind of all interviewed him and he said, yeah, I'll take it on. I'm kind of new, but I don't know much... There weren't many environmental lawyers at that time either that knew the rules and regulations of the BLM. I don't know if you've ever seen any of those. They got a manual that big and then they got the Endangered Species Act, which is that big and they got all these different things that they're supposed to live by. Well, at any rate, they went all the way to the Supreme Court and we won. And so they stopped doing it all right. They couldn't do it so they had to get rid of it so they just wrote it out of all their documents. But what it led to was no more spraying. So you haven't seen any spraying in the last 10 or 15 years for sure on federal lands. Private lands still you can. So it's the checkerboard over here. Well, those are the BLM lands. They're left over from lands that were supposed to go to be sold for homesteads. So they're... And that's why they got that. And they gave every other square, square mile to the railroads to build the railroads to get in here and to go north and south as well. The Applegate Partnership was founded probably now 22 years ago from... It was in 82. Yeah, something like that. And by this time, a number of environmental groups had formed and headwaters was won. And so we just put these kind of small groups like one in Applegate, one in Grants Pass, one in Selma. You know, they were all around and didn't want the spray in their backyard, you know. I think there were like 15 of them. Yeah, we had quite a... They were watershed-based groups most of the time. And so headwaters became the lead group. In fact, that was an interesting... The name was interesting because we got it from a group in Selma who called it the name of their group was Headwaters. And they wrote an original federal suit against the BLM for not writing their overall plan, resource management plan. They were supposed to do it five years before this group was formed and they hadn't done it. And they started to cut near this couple, Art and Paula Downing was their name. And they had to cross over their land, I believe, Art and Paula's to get to this unit, to the units they were going to cut. And well, they asked to see their plan. Well, they didn't have a plan. And so they filed suit and they won again. They went all the way to the... I don't know whether it went to the Supreme Court, but at least to the appellate court in San Francisco. And they won. And so everything stopped. Everything. Until they wrote their first resource management plan. So we were responsible for that when I say we, Southern Oregon. So that was... So then that was a justification for the herbicide spray, that first book. I mean, they called it the... not the chemical, but the... Yeah, it's basically a chemical approval, you know, to do this kind of clear-cutting use of herbicides in the forest. And so that was the basis for mainly all the protests thereafter. So... I had no idea. Yeah, it's a wonderful story and wonderful happening.  And that she was. If you saw her walking down the street, she had polio when she was young. So she walked with a, you know, a limp and everything. And she was kind of a hoarder, you know. She salvaged everything and recycled everything, you know. So she was always gathering stuff, you know, to take care of everything. But here she is up in that room, you know, typing away, you know, on her, for one of the first computers, I think. You know, to help this lawyer plead her case. And one, I mean, it's an amazing story in itself. She died very, well, I'd say recently, you know, like three years ago, something like that. Yeah. But I think that the story, but I think that one... What happened to her, you say? She was on her deathbed when she gave me a telephone call. Said, have you, you know, she was always trying, did you get that protest out on such a sale? And I said, well, I think I knew about that there was, and it was about herbicides, of course. They were thinking about using them again or something. And they were trying to, they wrote a special, just a special unit on herbicide use for the BLM. But did you protest that and take care of it? I said, well, I think I did answer it, but I don't know if I took it any further than that. She was, yeah, she was really on her death, but she was living with her sister in Portland. So she took it. Yeah, she was really in bed, you know. She had a fall or something, I think, to get there. I saw her once when she was there. She was in pretty good shape at that time, but she just kind of went downhill, you know, very quickly. Environmental mission, or were there others before that? From my perspective, one of the most amazing, not only women, but people I've ever met in my life.  I mean, she knew more.  So, you know, you've got to come prepared to meet her, you know. Whatever you knew about, she knew plenty more. She'd clip out something for me about poetry, you know, and say, hey, you know, have you seen this?  You're one of the first board members of the Applegate Partnership. That's right. So how did you move from that mode of protest? Well, you didn't really move from it. You held on to that, but how did the partnership become important to you? Well, that was interesting too. I was building a house down in, right in Applegate, right in the town of Applegate, and Jack Shipley, who I didn't know at the time, he came by a helicopter guy who was I don't know whether he had a company or he worked for the company. I don't remember exactly his relation, but he seemed to have a power of position in whatever he was doing. And he said, they're getting together a bunch of people, you know, community people and agency people, BLM and Forest Service, and environmental group people, and we heard that you were, I was maybe Vice President of Headwaters at that time or something. Would you be interested in sitting in on these things? Because we're trying to work something out here in the Applegate, working together. This was before the Applegate Adaptive Management Area was ever formed by the Northwest Forest Plan originally. It was formed because of the Applegate Party. That's right, because we were already had taken this step, I have to give Jack Shipley a lot of credit. I don't know if you've ever met Jack or anything, but he's still at it, he's still there. I think he's pretty disappointed that the failure of the agencies to really follow through at this point, and of course I am too, because I thought it was the only way to solve the problem. And that is, for instance, to have the people buying the wood like the timber companies at the table giving an idea of what they needed from, let's say, from the Applegate. Because we have we were special kind of drainage and group and everything, people very interested in their futures and futures for their families and stuff. And the agencies were supposed to be working with the communities and they really weren't at that time. In fact, they were going to alienate it from them because of the spraying and some other things. So we're bringing all these people together and at that time the agencies really went for it. Because they thought it was going to make their road a lot easier. And of course the community said, well, it's going to make the road a lot easier because they have an idea of what they want to do here and we can be involved in that. And then, of course, the people that were cutting the wood, loggers as well as the mill owners were saying they wanted some stability. Well, how do you get stability? You put all these people together to make it work. And it was very exciting to me because in the background of carpentry I started out in San Francisco where they drop a load of wood, a big load of timber and you're building these hundreds of houses and you just never thought about where the wood came from. It's kind of unending when it comes to in that form. And you just don't say, oh yeah, another load of lumber. So we need that. And of course, personally I felt that it was building houses for people that needed living in a house and I was working in the Carpenters Union trying to help get it organized as I should have as a union carpenter and stuff. So it was kind of the second nature then to come into this organization of the partnership. And it was jolly. It was good and it was got jolly. It was jolly because there was a sense of hope. That's right. Not stopping someone like the protest but a sense of a new beginning and a new future that everybody was crafting together. So if it is really sustainability that they want we want sustainability too. And of course, if you're in a timber company that wants to hang around a while you better have some stability as well as sustainability. And so the problem there is as I've envisioned it with people came in, let's say Medco Lumber which owned beautiful part of the Cascades and well in the Applegate they owned land too. And they were cutting it on a sustainable basis basically.  And they made money at each venture. And they left this high and dry. They're gone. There's not a mill in Medford that really can take raw logs. And what I thought would happen was that we would sustain this so there would be work for everybody and we'd build up the develop sustainably a place like the Applegate. So you didn't have a job now and then the crash would come and there was no need of the wood so you're on relief for some other thing. Some kind. Very strange time not only nationally but internationally. The world is making some realizations about if we're going to live we better start thinking about how we want to live. Can we live with war? Can we live with hating each other? Can we live with nationalism to the degree we have it? I don't know. My experience says no that we have to do it a different way. And you have to do it like the partnership sitting it sitting down at the table getting rid of your animosities what they did in South Africa I think is a good example where the people that were killing people and holding them down got together with the same people and told the stories and got it off their chest and the deaths and everything and start anew. My parents were very strong decent people with very good educations I mean both of them my mother was a college graduate and one of the first women at the school of agriculture architecture actually was one of the first two women graduates from that school and so I came to school with an education really we had everything we were poor we didn't have anything they both were on the WPA works project administration 50 bucks a month that's what we got to live on from the work they were doing and they couldn't both work simultaneously we could only have one person an household working for the WPA at a time so my father who was an actor he came off being an actor in New York and when they landed in San Francisco I was born the day after they arrived there by the way so he would work in a federal theater project he would act or direct or something like that and then that would end my mother would go to work as a nutritionist and going around visiting people that were poorer than us you know showing them how to cook and take care of the kids all this kind of stuff so it was a very varied background and very six we were kicked out on the street one time too couldn't pay the rent the attitude was the other says told them when they wanted to give them one month's rent for one month for the family he said you better make that too because that's not fair to the homeowner not fair to the owner of the property have anything to do with us so was that kind of a background where were you in the family four number four yeah boys don't usually rise don't they well I don't know what where I've risen to I mean I've had a good life you know I mean I was the carpentry I did was at a period of big building throughout after world war 2 you know and then I got pretty good at it and been successful you know there had great partners good women my life mother and sister and two wives so good kids right paradise let me tell you really paradise yeah and it gave me a chance really to experiment was what I besides the partnership which I was very supportive all the way through I was the fact that and the reason we moved here one was not only because the kids were getting our kids were getting bigger and wanted more space and they liked being in all kinds of things that we could do here easily the gave me an opportunity to experiment with the forest you know the other side of carpentry you know what could this wood do for how could we make it because there are some problems here with the wood there's very small diameter very slow growing but very beautiful as far here is probably the most beautiful building wood there is in the world and they were cutting it down and burning it they didn't want anything that small they wanted all the big trees well what do you do when all the big trees are gone you know you got small trees right and then they don't they want them to grow fast too so they gotta get rid of all the unwanted vegetation that means they get rid of all the trees they don't want so I mean it's a big story and it's a big view it's a big view of how you want to live do you want a forest I mean if you look to Europe you'll see that they cut almost all of it down I mean they got little patches here and there you know but it's this we have them magnificent forests in this country in fact we cut two-thirds of them down already you know the Midwest was the best old deciduous forest in the world and it's gone basically you know patches here and there so you know I don't know I did my figuring about it was that we should maintain more of that let's go home to the sea I don't want you to weep after me because when I'm on my journey don't you weep after me when I'm on my journey don't you weep after me when I'm on my journey don't you weep after me I don't want you to weep after me that was a great story