Hey guys, it's coach Ben from soccer entrepreneur and welcome to the video. So I'm gonna dig straight into this and I think this is really important for me to create a video about this topic so back in 2010 when I was first starting to get going with my training a lot of people out there wanted to give me advice and these were people who did not have a business that Thought they could give me advice about what I should be doing to grow my business here and Unfortunately because I was kind of naive I would listen to advice from people who never walked the walk And what I mean by that is I was taking an advice and implementing what people were telling me Based on just what their thoughts were without them actually ever proving that that's gonna work or not and so time and time again, I got advice from people who Were not in business. They just had good ideas. They were either friends or you know family members, whatever And it got to a point where I started taking people's advice and just doing whatever they said without Understanding that okay, this person actually knows what they're talking about. They've actually run a business before They're actually in business right now and they're doing something that's kind of similar to what I want to do and The people that I was listening to at the beginning did not need any of those three Qualities and once I started to hang around and be around Other trainers or other people who were in business that could actually give me sound advice That's when everything changed and that's why I want to create this video because I know right now There's a lot of people out there who have asked me they said hey Ben I've gotten a lot of advice from these people this marketing agency or you know people who are not involved in soccer What should I do and my answer is always turn and run the other way That's why I've created this channel is to actually give you advice because I've personally gone through all of these stages that I would say 100% of trainers have either gone through or they're about to go through and I've gone through all the ups and downs I've gone through so many failures with my business at the beginning because I didn't understand the Business I did not understand how anything worked I didn't understand how to market myself and I don't want to keep repeating about how I didn't understand anything in the beginning But I do that my videos because I want you to know that you know, I had zero knowledge about anything at the start and the biggest advantage I ever had was learning through other people who were actually in My arena people that were in sports marketing or sports business Specifically and it's a lot easier to learn from someone like that who has actually trained someone who's actually run a business Then learn from someone who's never done anything like that in their life and getting bad advice is the worst thing That can happen to you because then you're following something you're following a road map That's gonna get you more and more lost and for me personally when I started soccer entrepreneur I knew that I could genuinely help anybody who's looking to create anything soccer related because I've already done that and If I hadn't done that before then there's no way I would ever want to have an advice channel like this Or create our program programs or have our one-on-one consulting I wouldn't feel comfortable doing any of that and Unfortunately, there's people out there who do that they do that bull crap where they sell something that they've never done and I don't like that And I hope you never run into someone like that because they're going to basically just manipulate your thoughts and your actions and for me personally I Want to really just bring the truth to what it takes to build a successful soccer academy and yes, it's not easy It takes time. It's not gonna happen overnight. I mean, I've been doing this for almost nine years now And I'm still learning. I'm still figuring out stuff This this isn't something that I just figured out and then you know, I don't have to learn anymore I still learn it every single day and because I've had the experience it makes me feel way more confident and comfortable helping those who actually get help with that and This is why when it comes down to something when when trainers ask me something that I've never personally experienced I will tell them. Hey, I don't know you might need to go ask somebody else I'm not gonna make up something and give them an answer just to make them feel good that oh Ben told me this I don't I don't like that. That's not my philosophy and I feel like I needed to make this video Just so I'm very clear about that the way that I learn is through people who are At where I want to be in a year or two years or ten years from now these are people who have gone through similar things that I want to do and Why would I want to learn from anyone else and if I'm trying to learn from someone else that? Hasn't done what I want to do. What's the point? And that's why I feel like for me. I find so much enjoyment Helping trainers who really want to do this because I know that our visions are aligned They want the same thing that I've already done So it's easy for me to teach someone that and so this video. I'm gonna end it very simply if you know You need help with building your training academy. You want to do training full-time, maybe you're sick of your job and You know that you have a passion to help others with soccer if that's you I want you to contact me Below there's gonna be a link where you can apply to get on the phone with me I've never really offered this on any of our YouTube videos. This is only really reserved for people who go through our programs But I'm gonna give you opportunity where we can jump on the on the phone together I'm gonna have you fill out a short application form where you're gonna fill out some answers this way I can be very prepared on our phone call, but I want to help out five people So this is only for the first five people who take action And I want to make sure that I'm doing everything possible to help you out on our phone call So all you have to do is go in the first link in the description It's going to take you to a page where you just fill out a short Questionnaire you submit that and then you're gonna go to the next page where you're gonna pick the time where we're gonna talk And then I will schedule to call you and we're gonna talk for at least 45 minutes About how I can help you out Any questions you have I want to answer them I want to I want to help five people five serious coaches who really want to do this as a full-time thing So if that's you go ahead click on that button below. I would love to be your mentor I would love to give you advice about how you can do this I've already helped hundreds of other coaches So I'm gonna extend this to five coaches right now So click on that first link in the description and that'll take you to that page And we can schedule our call within the next 24 hours. All right. I'll see you next time


Lux presents Hollywood. The Lux Radio Theatre brings you Alice Faye, Edward Arnold and Victor Mature in Lillian Russell. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood ladies and gentlemen. Tonight we turn back from the nervous world of the 1940s to those gay and glamorous years at the end of the last century. Back to those years when a certain very beautiful woman was the toast of America. Her name was Lillian Russell and that name is the title of tonight's play. We present Lillian Russell not as a shadowy legend but as a woman who lived and loved and had the world at her feet. She comes to life again in the person of Miss Alice Faye who has a considerable portion of the world at her feet right now. You'll hear her singing the same song hits that Lillian Russell made famous. Songs that carry me back to the gay 90s for I knew Lillian and Diamond Jim Brady both and that makes the characters of this play very real to me. Lillian Russell was one of Alice Faye's biggest hits at 20th Century Fox and those who saw it on the screen will also remember Edward Arnold's great performance as Diamond Jim Brady. He's here tonight to repeat the same part in our production and Victor Mature plays Alexander Moore. This drama of a woman noted for beauty is brought to you by a product dedicated to beauty. Lux Toilet soap. The millions of women who use our product are responsible for its good name. They trust their own beauty to Lux Toilet soap and that trust vindicated so many times is the best guarantee of quality I know. This coming week I'll see many of you in person because tonight I'm leaving for the Chicago premiere of my new picture Northwest Mounted Police. I'll have several stars with me. Stars you've heard on the Lux Radio Theater. But now we meet a star of another day. We raise the curtain on the first act of Lillian Russell starring Alice Faye as Lillian Russell, Edward Arnold as Diamond Jim Brady and Victor Mature as Alexander Moore. In 1861 a baby girl was born to a Mr. and Mrs. Leonard of Clinton, Iowa. This squirming little red-faced bundle was Helen Leonard later to become world famous as the beautiful Lillian Russell. Throughout her first night in this world young Helen screamed lustily.  Well young lady I'll say one thing for you. You've got a good voice. 18 years later in New York City a man named Leopold Damrosh used almost the same words this time after listening to Helen sing. Dear young lady you have a good voice. A very good voice but not for Grand Opera. No no no I'm sorry to say it my dear but you cannot sing opera. Grandma did you hear? Now now don't let it upset you Helen. Oh Grandma. Stop it stop it at once. What is the matter? Grand Opera was our ambition Mr. Damrosh. We moved all the way from Clinton, Iowa to New York just so. What do you mean me? Are you single too? I can remember having rather a nice voice when I was young. Of course everybody remembers having a good voice when they were young. Well it was good. Oh please Grandma she's just excited Mr. Damrosh. No I know she's like all Grandma Marsh.  Oh no Mr. Damrosh. Why is she not with you? Well she happens to be very busy right now. You see mothers in politics. Oh suffragettes. She's just been nominated to run for mayor of New York City. Mayor of New York? A woman?  On the contrary Mr. Damrosh. I believe a woman's place is in the home. You are right. And I'm right about Helen too. Just great talent Mr. Damrosh whether you think so or not. Ladies the interview has ended good afternoon please. Very well come Helen. There are many teachers in the world. And too many grandmothers. Young lady you will come back tomorrow at three please. At three? For your first lesson. Oh Mr. Damrosh are you really going to teach me? I am. I like you very much and I am sorry for you. Sorry for me. Why do you say that? Because you are beautiful and even though you might have great success you will most likely be very unhappy. Beautiful women generally are. But why Mr. Damrosh? Why? Because so many men will fall in love with your beauty. You may never know which one really loves you. Three o'clock tomorrow yes? Three Mr. Damrosh. Go right across 14th Street Coltman. Yes ma'am. Oh Helen isn't it wonderful. A pupil of the great Leopold Damrosh. And he is great my dear. Why he was famous in Europe long before he came to America. The old buzzard. Oh Ginger. Oh Teddy. Coltman what's the matter? That band music. The horses don't like it. Well turn off the street. Oh look Grandma. It's a supper deperate. Equal rights for women. Votes for women. They ought to be home taking care of their kids. Easy boy easy. Hold. Hold there. Helen they're running away. Sit down then. Stop them. Stop the carrying. Did you see? That young man stopped us. He ran right into the street in front of the coach. Young man come here please. Yes ma'am. Is there anyone hurt? No. No we just wanted to say thank you. I saw what you did running in front of the horses that way. Oh that's alright. I'm glad you weren't hurt. Hurt? Young man if it weren't for you we'd have been killed. Oh I just happened to be in the way that's all. You're very brave. And if you don't mind my saying it you're very beautiful. Thank you again young man. Come along Helen. Goodbye. Goodbye. Very brave fellow. Thank you. Young lady. She's very lovely. What's her name? I don't know. You saved her life and don't know her name?  What's your name? Moore. Alexander Moore. I should hate to save such a beautiful creature. Never know who she was. Well I'll find out someday perhaps. Bravo. When you do tell me please. So I can invite you both to my theater. Tony Paster's theater. Well sure thank you. Horrible mother. You've been terribly hurt haven't you? Not really hurt dear. Humiliated a little. But you were crying. I've often cried but I was never caught at it before and I don't want you to tattle either. Oh I won't.  Very well if you promise me you'll forget all the stage talk I've been hearing lately. But mother. I talked to Leopold Damrosh about you yesterday. What did he say? Well he feels you have a great career. He thinks you're beautiful. Yes. Yes he told me that too. Did he tell you to be afraid of it? But I'm not. I'm not because I don't think I'm beautiful. You're going to find yourself very attractive to men Helen. I won't mind that mother. I don't dislike men. Anyway I've never seen anyone I thought I could love except. Except whom? Oh I don't even know his name and I'll probably never see him again. So you see mother you don't have to worry about me. What was that? Someone threw a stone at the window. Father father what's the matter? Cynthia. Cynthia there's a crowd outside the house. What do they want? I'll go down and speak to them. Mother I wouldn't if I were you.  They're drunk. I'll send them away. No father please please let me go. Helen Helen come back. Gentlemen my mother's very tired. Do you all mind going home please? Why don't you run for something lady? I vote ten times for you. Yes you did it all right. They're leaving. Oh hello. Do you remember me? Well I should don't you think? What are you doing here? Oh I just happened along with the crowd. I tried to stop them but it wasn't much use. This is the second time you happened along when I was in trouble. What's your name? Alexander Moore. I'm glad to know you Mr. Moore. Thanks. You were sort of brave facing that crowd all alone. I knew they were only celebrating but it won't do them a bit of good. The women will win someday. Do you believe in equal rights for women Mr. Moore? Well yes I guess I do sort of. What do you mean sort of? Well I think a woman has the right to everything a man can give her. Don't you think she's also entitled to her own success? Well that all depends on what she calls success. What's your ambition? Well first of all I want everybody to love me and yet I want to love one person so madly that nobody else matters. That's selfishness isn't it? No you don't understand. I want everybody to love my work on the stage I mean. Oh are you an actress? Well I hope to be someday. What's your ambition? A job. What kind of a job? What kind right now? I'm trying to get on a New York paper. Maybe my father could help you. He used to own a newspaper in Clinton Iowa. I hope to own one myself someday. I bet you will too. Thanks. But if I don't I won't mind. Just so long as I don't get hurt too much trying. And that's what I'm hoping for you too. Well let's make a pact. If you get on a newspaper before I get on the stage you take me out and we'll celebrate. And if you get on the stage before I get on a paper. I'll take you out isn't that fair? Well not exactly. I have to do my best to beat you to a job. I hope you do. But if you don't I'll expect you to keep our pact just the same. Good night Mr Moore. Good night. That was fine Helen. Who's that? Sounds like someone in the yard. Let's go see. Bravo. Well there he is that man coming through the gate. Good evening. Pardon the intrusion please but I was dining at the café next door and I couldn't resist the sound of your voice. I'm Tony Paster. Paster? You're not Tony Paster's theatre. No I'm not the theatre. The theatre belongs to me. Young lady I should like to see you at noon tomorrow. That is if you're interested in going on the stage. Yes I am. Interested? Well we've been playing theatre for years. Tomorrow at noon then. I'll be there Mr Paster. Good. I'd like to hear you sing once in the theatre. And then maybe we can talk of business. Good night. Good night Mr Paster. Father I'm going to sing for him. I'm going to sing for Tony Paster. Sit down please. Thank you. Did you like it Mr Paster? I liked it very much Miss Helen Leonard. Oh yes. I don't like your name. Let's see. What shall we call you? What's your favorite flower? The rose. Rose? No no I don't care for that either. Rose, Godinia, Pansy, Chamelea, Lily, Lillian. Yes I like that. And Lillian what? Lillian... I have it. I can see it as plainly as if a hand were writing it for me. Tony Paster presents the great English ballad singer Lillian Russell. From now on that's your name and something tells me it'll be a very important name. Will it? Don't you like Lillian Russell my dear? Yes. Yes of course I do Mr Paster. But somehow I already feel lonesome for Helen Leonard. Lillian Russell the English songbird appearing this week. Who's Lillian Russell? Now there's a picture on that poster. They say you can't buy a seat at Paster's. She's lovely isn't she? No seats available sir. Standing Ramona. This is alright. Good evening Mr Paster. Can't you get a seat either? I always watch the show from here Mr. Moore wasn't it? Yes. She's wonderful isn't she? Wonderful. She's the greatest success I've ever had. A star in a little more than three weeks. Would you like to come a meter after the show? Oh no thanks. But I imagine she's pretty busy these days. I'd rather not bother her. Aren't they wonderful? And weren't you wonderful? Look, even more flowers than last night. And the same basket of roses again. I hope there's a card with them this time. I'd like to know who sends them. I don't see any card. Just a package. A package? Let me see. Not just a minute. Don't get so excited. Here we are. Well, look at that. It's a necklace. Rubies. Oh grandma isn't it beautiful?  Try it on. Whoever sent that must be a millionaire. I'll come in. What Mr. Paster? Yes. Come in Mr. Paster. My dear, you were wonderful again tonight. How does it feel to be a success? Are you still afraid of it? I was never afraid of it Mr. Paster. My mother was. And how does she feel about it now? She doesn't know. But it's almost a month. Doesn't she suspect? No. She thinks I take my lesson every night. But I'll never give it up now Mr. Paster. You can't my dear. You can't give it up. Even when you grow tired you'll still go on.  Remember him? She's been expecting him ever since her first day here. He was here tonight? Well, didn't he ask to see me? No. As a matter of fact, he left before the show was over. Oh. Good night my dear. Good night Mr. Paster. Good night Grandma. Good night. You see Grandma, he does know I'm on the stage and he's forgotten our pact. Very well. I'll forget him. That may be easier said than done Helen. I think you fell in love with that young man.  I scarcely know him. Why should I love him? That's because he stopped our horses. Any gentleman would have done the same. Besides, maybe he'll come back again tomorrow night. Helen, come in mother. I was just hoping you were awake dear. I wanted to say good night. Well, you were in home when I came in mother. I know.  Did you take your lesson tonight? Yes. Yes I did mother. Good. Has Mr. Damrush said anything about your voice lately? Well, he thinks I'm improving I think. Helen, look at me. Now smile. Yes, it's true. You do look like Lillian Russell. Mother, have you seen her? Almost every night for the past three weeks from the same little seat in the gallery.  Mother, you're wonderful dear. Helen, who gave you this? What? This necklace. I don't know mother. I got it tonight in a basket of flowers. There wasn't a note or card or anything. I see. Good night darling. Mother, aren't you going to kiss me? You're not angry because I've gone on the stage. No dear, we're going to miss you though. But mother, I'm not leaving you. You've already left yourself dear. You're Lillian Russell now. Someday you'll forget you have a new Helen Leonard. I'd rather forget Lillian Russell first. You can't forget her now. Her name is in lights. In the newspapers and on thousands of lips. Millions of new faces will take the place of the old ones. Men will offer fortunes just to stand in the shadow of her glamorous career. Women will envy but copy her and even kings may applaud her. Mother, do you really think I'll be that successful? I'm afraid you will dear. Good night my darling. Good night mother. Millions of new faces. Men will offer fortunes and women will copy her. Oh, I hope I like you, Lillian Russell. In just a moment, Mr. DeMille and our stars Alice Faye, Edward Arnold and Victor Mature will bring you act two of Lillian Russell. Oh Sally, did you say you had something to tell the ladies in our audience? Yes, Mr. Ruick. I've got a helpe that I think is a dandy. A helpe? What's that? Well, you just listen. Now every housekeeper knows that it spoils the appearance of a bathroom.  Well, the mirrors get clouded and the guest towels get limp. Well, I have discovered a way to avoid all that. Well, tell us about it. Well, here's what you do. Now first before you run any hot water at all, you run the cold water for a while. Then you add as much hot water as you like. And the bathroom doesn't get all steamed up? Well, that's a very good household hint. And now I see what you mean by helpe. It's a hint that helps, isn't it? Yes, Mr. Ruick. And this particular hint is especially good when you're expecting company. So the bath you take just before the guests come doesn't spoil the spick and span look of the bathroom. Oh, I see.  Yes, sir. That luck soap beauty bath that thousands of women take every day. Not only because it peps them up, but because it makes them sure about daintiness. Sure of skin that's really fresh and sweet. That's where luck soap's active lather comes in. And it's nice, delicate perfume. Yes, Sally. It's costly perfume. But luck's toilet soap sells for only a trifle because so many millions of people buy it and use it every day. Volume production brings the price down, you know. And of course, the screen stars out here and women everywhere find that luck's toilet soap is a wonderful aid to complexion beauty. Actually, nine out of ten screen stars, lovely women everywhere, use gentle, white luck's toilet soap. Now, our producer, Mr. DeMille. Act two of Lillian Russell, starring Alice Faye as Lillian Russell, Edward Arnold as Diamond Jim Brady, and Victor Mathur as Alexander Moore. In the few years that followed, the marquee Lights of New York told the story of a girl's rise to glory. Lillian Russell in Pinafore, Lillian Russell in Olivet, the Pirates of Penzance, the Grand Duchess, show after show, hit after hit, until her name shone like a brilliant star over the world of the theater. Through all this time, mysterious gifts of flowers and diamonds continued to arrive at her dressing room door. And now in the fashionable jewelry shop, another gift is chosen by her anonymous admirer, Diamond Jim Brady. Look at this pendant, Jim. The center stone is 12 carats. It's all right. It was part of the Chadwick collection, originally set in the crown of Louis XVI of France. I suppose he lost it when he lost his head, huh? How much? Well, I... And remember, this is Jim Brady talking and not Louis XVI. To you, $15,000. Sold. Jim, you certainly are a gallant. It's been a long time now since we sent the first jewelry to Lillian Russell for you. And still, you say you don't know her. Oh, I don't, but I will one of these days. And it's worth looking forward to. I don't like to discourage you, Jim, but I hear she's going to be married soon. Well, who to? Well, she's been seen a lot lately with Jesse Lewisen. Well, she couldn't find a nicer fellow. You know, Jesse is a great friend of mine. By the way, send that pendant to the casino theater. She's opening there tonight. Without a card, as usual? Without a card, but in the usual basket of roses. The second acts as good as the first. This is Lillian's greatest triumph. Well, she's done it again. That girl is marvelous. You like her, don't you, Jim? Well, don't you, Edna? Yes, but I'm a little jealous of the way you look at her. Oh, don't be silly. I don't even know her. You will. Hello, Jim. I was just looking at you. Hello, Jesse. Oh, I beg your pardon. That's all right. Dear, this is the famous Jesse Lewisen. Jesse meet Miss Edna McCawley. How do you do? How do you do? Famous for what, Jim? A great friend of the Lillian Russell, for one thing? Well, that reminds me. Would you like to see something very interesting? He would, if it's Lillian Russell. Well, it is. He's going to sing over the long-distance telephone for President Cleveland during the intermission. You mean she's going to sing here and the president is going to listen in Washington? Exactly. After the show, we're all going to Rectus. We'll expect you both. Rectus? I'll be there. Oh, by the way, Edward Solomon's coming along. Solomon? Yes, the young fellow who writes us songs. He's rather jealous of Lillian and inclined to be a little hot-headed. Don't pay too much attention to it. Small lobster, Mr. Brady. Put it down, put it down. What's so funny, Mr. Brady? I was just thinking of President Cleveland at the other end of the telephone wire, listening to Lillian Russell when all the time he was really singing to me. Well, I was very nervous and you were very encouraging. Yes, I don't think you could have done it without him, Lillian. Teddy. Oh, now, Mr. Solomon, I didn't say that, by the way. You were very good tonight, Mr. Solomon.  You flatter me, Mr. Brady. Oh, no, no, not at all. I've been an admirer of yours for some time. I know a lot of your compositions. Well, thank you. You know, you should write all of Miss Russell's songs. Someday, I hope to write at least one that's worthy of her. Oh, that's sweet of you, Teddy. Say, look, Mr. Solomon, would you do something for me?  You know our weakness, Mr. Brady. Musician can't resist the opportunity of showing off. Excuse me, Lillian. Thanks. Well, we seem to be alone, don't we? Oh, aren't you surprised, Mr. Brady? No, not very much. I rather enjoyed watching you work it out. Is that how you planned your steel railroad cars and all that sort of thing? What do you know about steel railroad cars? Nothing. But I know all about Diamond Jim Brady.  Well, how much do they say?  Three torrents of mock turtle soup, five steaks. Well, wait a minute. It's a lie. It's a libel. I never ate over three dozen oysters and four steaks in every one time in my life. Oh. Well, do you enjoy eating? Well, I like good food. Well, so do I. Johnby, what's your favorite of all food? Corn on the cob. No. Well, that's mine, too. How many years can you eat? Oh, when I've been really very hungry, I've eaten two or three, maybe. Oh.  Well, we'll try it sometime. Well, listen, Teddy's playing his piece for you. Would you sing it for me, Miss Russell? Well, I couldn't hear. It's just quietly just for me. Adored one. My wonderful adored one. So lovely. So charming and divine. Just like a melody. You seem to haunt me. To haunt me. Don't let me free. Adored one. You're smiling when you haunt me. Please grant me the right to call you mom. That's the most beautiful thing I ever heard in all my life. Thank you. But what are you laughing at now? Oh, not myself. You know, I've been waiting years for the night just to be alone with you. And all I could talk about was corn on the cob. What are you doing out here in the storm? Oh, I like storms.  I've had some of my best ideas walking in the rain. Did you have a good one tonight? Well, yes, Jesse, I did. That's why I'm waiting for Lillian. Are you mine? Well, I haven't exactly the right to mine yet. But I'm going to be honest with you. I love Lillian, Jim. I'm glad you told me, Jesse. And I'm going to be just as honest with you. I love her, too. All right, Jim, let the best man win. Yeah, and we'll let the loser be the best man at the wedding, eh? Stand back, please. Harry, pull up that carriage. Quick. What's the excitement, Joe? The company just found out about the folks getting married today. Somebody in the show getting married? Who? Didn't you know, sir, Mr. Solomon and Miss Russell, they got married this morning. Good luck, Mr. Solomon. I never figured on him. Well, Jim, it's still raining. Got another idea? No. I guess that was my last one. Miss Lillian Russell sailed today for England to appear in an opera runner by Gilbert and Sullivan. Sailing with her was her husband, the composer, Edward Sullivan. I'm not hungry. Aren't you feeling well, Mum? I'm tired, that's all. I thought perhaps London didn't agree with you, Mum. Oh, no, Marie. I love London. I'm glad you stayed away from rehearsal today, Mum. You were in the theatre all day yesterday. I don't blame Mr. Solomon for wanting you to rest. I never get tired of the theatre, Marie. Oh, I'll go. It's probably Teddy. Hello, darling. How did everything go? Oh, fine. I was completely successful. Not only did I get you out of the rehearsal, I got you out of the show. Stop joking, Teddy. What happened? I told you you're fired. Simply because I missed rehearsal? You started the argument. Oh, now you didn't lose your temper again, did you? No, he will crawl to your London tramp if you want to. Get on your knees to Mr. Gilbert and apologize. I don't care. I can even tell you exactly what he'll say.   That's what he'll say to you. Unfortunately, it's the truth, every word of it. I can't help myself, Lily, and that's how I feel about you. I want to write you the greatest operetta of your career. And I can do it if you like faith in me. I'll start tonight, this very minute. Teddy, darling, sit down beside me. I know what you want to do for me, and I love you for it. And someday you will do it. You have faith in me? You have? Yes, Teddy. And if I'm out of this show, I don't care, because I know how good yours will be. Oh, Lily, and I'm a very selfish person. I'm willing to risk your career as if it belonged to me, and it doesn't. I belong to you, Teddy. It may mean months and months. I'd be working, nothing coming in. We couldn't live like this, darling. Then we'll move to a less expensive place, and we'll be just as happy as we are now. Lily and me. Now take me in your arms. Hold me tight, and never let me go, darling. Give Mr. Solomon his eggnog. Yes, Mom. Did he drink it? No, Mom. He doesn't look well, Miss Russell. Oh, he's tired, Marie. He's overworking himself. He says it's going to be the greatest role of your career, Mom. I hope so for his sake. Good night. Good night, Mom. Oh, Marie, what about our visitor? Isn't he coming tonight? Visitor, Mom? Yes, the American newspaper man.  I completely forgot, Mom. Oh, Marie, how could you possibly forget when you know he's bringing us money? Oh, I'm sorry, Mom. I'll show him in as soon as he comes. Wait. What did you say his name was? I have it right here, Mom. Alexander Moore. Alexander Moore? Isn't it strange? I seem to remember that name so well. Alexander Moore. Now, this is the agreement, Miss Russell. It gives our paper the exclusive right to publish your story. You'll have to sign words as accepted, and this is your check. Tell me, why did you break our pack, Mr. Moore? Our pack? I didn't think you even remembered me, Miss Russell. Oh, that doesn't answer my question, Mr. Moore. I don't think I can answer it without quibbling a little. You see, I made my pack with a girl named Helen Leonard. When I found out she was Lillian Russell, well, I got scared, I guess. It seems a long time ago, doesn't it? Now, I can see it all as if it were yesterday. We had just left Professor Damosh's house, and all at once it happened. You seemed to leap from nowhere, and I thought you were going to be killed. Oh, I was afraid you were. And here we are, years later, signing a contract for my life story. It would have been a very short one if you hadn't been so brave. Maybe it wasn't bravery. Maybe it was just a newspaper man saving a good story. You see, my paper sort of considers you one of the finest women that ever lived. Not only because of your success, but on account of the way you carried it. I guess maybe you didn't realize it, but everybody in America loves you. Everybody? Well, they just can't help themselves, I guess. You've got a way of making people love you. I mean, well, that's how my paper feels about you, Miss Russell. Well, it's very sweet of you to tell me, Mr. Moore. That's beautiful music. Isn't it lovely? Mr. Solomon is writing it for me.  Oh, yes, very. We haven't had such an easy time of it lately. This check is more than welcome, but we have been very happy. What was that? Well, that's what you call artistic temperament. Whenever Teddy becomes dissatisfied or annoyed with his work, he slaps the poor piano as if it were all its fault. Now, tell me something about yourself. When are you going to own a newspaper? Well, I don't know yet. I didn't get on very well in New York, so I went back home to Pittsburgh. I've been there ever since. Married? No. No girls? No. Well, yes, there is a girl I sort of grew up with. What's her name? Lucille. Lucille? Oh, I like that name. Why don't you marry her? Well, I just never thought of it, I guess. Maybe she wouldn't have me if I did. Well, I'll have to leave. I'd like to begin our work tomorrow if we can, Miss Russell. Tomorrow, then. And you will keep our pack this time, won't you? You can depend on it. Good night. Good night, Mr. Moore. Will there be anything else, ma'am? No, Marie. But you might see if there's anything Mr. Solomon wants. Yes, ma'am. Mr. Solomon? Mr. Solomon, sir. He seems very quiet, Miss Russell. Perhaps he's asleep. Open the door. Yes, ma'am. He's still at the piano, ma'am. Keep her away and see if he's asleep. Yes, ma'am. Marie, Marie, what is it? Oh, Miss Russell, Miss Russell, come quickly. Come quickly. What is it? Is there anything else? Oh, Mr. Solomon, there's something the matter. Oh, Miss Russell, Miss Russell. Lillian Russell's husband dies in London. The composer Edward Solomon was stricken with a heart attack last night while working on an operetta for his wife. Aren't they beautiful? Yes, lovely. Is there a card with them, ma'am? Read it for me, Marie. Dear Miss Russell, I'm so sorry. Alexander Moore. Mr. Moore phoned to say goodbye, ma'am. He's leaving for Paris today. But he said if you wanted to reach him before he sailed for America, you... America. Oh, it seems so long since I've seen America. Yes, ma'am. Oh, and that producer gentleman also called early this morning. He... he hadn't heard about Mr. Solomon? He... he wanted to speak to you about a new play. A new play? Yes, ma'am. I told him you might call him next week. I won't be here next week. I'm going back to America. To America? Without a London success, ma'am. Oh, you can't. What do you mean, Marie? Mr. Solomon, ma'am. He wanted it so much. I heard him say it time and time again. We'll bring London to your feet, he'd say. That's why he works so hard, ma'am, writing his music for you. His music? Yes. I owe it to him. At least I can get him there. We'll stay in London, Marie. We'll do that show. It wasn't meant for your fate to wait. Singing, it seems that love birds die. They liked your music. In just a moment, Mr. DeMille and our stars Alice Faye, Edward Arnold and Victor Mature will bring you Act 3 of Lillian Russell. And now, here's Libby Collins, our Hollywood news reporter. She went over to 20th Century Fox a while ago to see what was going on over there. And if I know Libby, that gleam in her eye means she came back with a real story. Well, Mr. Ruick, I know that when it comes to stories, you're from Missouri. But this story is true. And it's about a young lady who really is from Missouri, Brenda Joyce. Brenda Joyce? Why, she's one of the most promising young starlets over at 20th Century Fox. I'll never forget the way she played the part of Fern Simon in The Rain's Game. Wait until you see her in her new picture, Public Deb No. 1. I've watched her working in a few scenes over at the studio. She's terrific. And did you notice her lovely complexion, Libby? I certainly did, Mr. Ruick. Brenda follows the lead of nine out of ten famous stars. She uses luxe toilet soap, too. Smart girl, Brenda. But tell us, Libby, what's she like? How'd she get in pictures? Well, Brenda's blonde, five feet four inches tall and weighs 112 pounds. And she's every bit sheer glamour. She's been living right here in Hollywood since she was five years old, you know. Eventually she went to work as a photographer's model. And all the local photographers called Brenda when they wanted a typical American girl type. And then one day the usual talent scout noticed her? Right. But the rest of the story is unusual. Her screen test was so extraordinarily successful that she was assigned that first part of her spurn and the rains came. And guess what she says about luxe toilet soap, Mr. Ruick?  Let's hear it. Brenda says she uses luxe toilet soap every day. She never neglects her daily, active, lather facials because they really work. She says they're the right care for her skin. Oh, thank you, Libby. And say thank you to Brenda Joyce for me next time you're here. And now, for those of you who haven't already tried it, here's the way to take the luxe toilet soap active, lather facial, famous Hollywood stars use every day. They know luxe toilet soap's active lather is gentle. Does a thorough job of removing dust, dirt, and stale cosmetics. Just pat the rich, active lather gently into your skin. Rinse with warm water, then a dash of cool. Then pat your face lightly to dry. This active lather facial leaves skin feeling smooth and soft and looking so fresh. Just try it for 30 days. See what this care Hollywood screen stars use can do for you. We pause now for station identification. This is the Columbia Broadcasting System. The curtain rises on the third act of Lillian Russell with the applause of London still ringing in her ears. The homesick Lillian Russell returned at last to America, to Broadway, and her old friends. On a Sunday afternoon, the strollers in Central Park were treated to a rare sight. A bicycle built for three, speeding along, pedaled gaily by a trio of celebrities. Jesse Lewis and Lillian Russell in her famous white cycling dress and Diamond Jim Brady in peaked cap and knickers. Stop it, stop it, I've had enough. Stop it, I couldn't peddle another foot. Pull up Jesse, I think Tim's tired. He's tired, we've exhausted him. Oh, I couldn't peddle this thing another 10 feet. Let me sit down. Too many lofts. No, I'm going on the cob. So that reminds me, didn't you promise we'd stop off for something to eat? That's what's the matter with me, I'm weak. Oh, I'm sorry Jim, but I've got to get back. There's my carriage waiting.  Oh, I do it rehearsal. Carriage? Well, won't we see you again? Not until after the show opens, Jim, I'm going to be very busy too, right? All right, but I'll be there for the opening. Bye Jim, bye Jesse. Bye. What are you laughing at? Oh, you and me. Every time I start out with Lillian, I end up with you. I don't think it's so funny. You don't either. I know you, Jim. You laugh when you're hurt. You still love Lillian, don't you? Don't you? No. I'm being honest with you again, Jim. I'm in love with Edna. Edna? My Edna? No, my Edna. We're going to be married. Do you mind? Mind? I think... I think it's great. I'm sorry in one way. Why? Because I know how lonely you're going to be without Edna, when you lose Lillian again. You wouldn't want to bet a lot of money against my chances, would you? No, but you can't buy it, Jim. I tried that. Yes, but you never offered to lay everything you had in the whole world of defeat, did you? No, not exactly. Well, I will. And it's millions, Jesse. Millions. Gurt and Time. Gurt and Time. Ten minutes. Marie, I'm going to have to fix this dress again, I'm afraid. I'll put a stitch in it, Mom, in the dressing room. It won't take a minute. Marie, who wrote that on my mirror? Where, Mom? Lillian, I love you. Who did that? I did, Lillian. Oh, Jim Brady. What are you doing back here? Marie, we'll let the dress wait. Yes, Mom. Why aren't you out front? Oh, I just couldn't wait, Lillian. I got an idea, and the minute I got it, I just had to do it. You mean this on the mirror? Yes, I've been trying to say it for a long time. Oh, Jim, you're sweet. But I'm going to scold you. What, again? Mm-hmm. And seriously. I want you to look at all the things you sent me tonight. Yeah, but I've seen them, Lillian. Well, look at them again and try to repent your extravagance. A basket of orchids with diamond necklace and bracelet. American Beauty roses with rubies. Goddanias with emeralds. Violets with pearls. And a bicycle of golden sapphires. Jim, have you lost your mind? No, my dear, just my heart. What? Lillian, Edna and Jesse are out front watching the show. They're married. You were fond of Jesse, weren't you? Yes, I'll miss him, Jim. He was a grand friend. But you will miss Edna, too, won't you? I won't miss anything or anybody in the whole world if I can have you. And I'll give you everything I've got in the world if you'll just say yes, Lillian. And if at the end of a year you tire of me, I'll walk out of your life and leave you everything I've spent my life for. I love you, Lillian. Lillian, what's the matter? Why are you crying? Because I don't love you, Jim. And I wish I did. Oh, Lillian, come on. Now stop that. Can't you see I was just joking? The only reason I said that was because it was scolding me about my gifts and I wanted you to believe it was serious, that's all it was. Can you imagine me being married? Well, I'd make the worst husband in the whole world because the minute you were mine, I'd begin to lose interest in you, just as I have with everything else I've gotten out of life, except perhaps corn on the cob. I would, really. No. You're not telling the truth. I've hurt you deeply, and I'm sorry. But if I married you, I'd hurt you even more because it would be gratitude, Jim, not love, and you wouldn't want that, would you? Then what if I should say yes? Then I'd marry you, Jim. Do you really mean that? Yes, I do. Well, Jim, I'll bet this is the shortest honeymoon two people ever spent together. It's all over, and what's more, Miss Russell seems very, very happy about it. No. No, I'm not happy, Jim. Neither are you. We're pretty much alike, aren't we? I mean, we've each had everything life could give us, except what we really want, and I've looked for it so hard. When I was a girl and I first went to work for Tony Pastor, my mother said that every success has its penalty, that somehow life has a strange way of making you pay for the things it gives you. Now I know what she means. Lily and I wish I could give you the happiness you're looking for. And I wish I could do the same for you, Jim. Don't you worry about me. All I'm thinking of right now is what we're going to eat after the show. We have a suppotage, you know? Yes, I'll be waiting for you, Jim. Good. We'll see you then. Miss Russell, there are more flowers, Mom, and a message. Read it to me, Marie. Dear Miss Russell, I'm in the theater enjoying your show, but I'm leaving for Pittsburgh immediately after. Would love to say hello to you before I go. Alexander Moore. You remember him, Marie. Oh, yes, indeed, Mom. Oh, I'd like to see him. Send a message back, Marie. Tell him to come during intermission. Yes, Mom. Marie, isn't it strange? I so often think of Alexander Moore. And so seldom see him. Don't forget now on. Good evening, Mr. Moore. Good evening. It was nice of you to see me. It's been a long time, Mr. Moore, and you've missed so many chapters of my story. Well, I've been reading them, Miss Russell. Your success has been glorious. Thank you. Tell me, what have you been doing? Still a newspaper man? Well, newspaper work is seldom just a job. It's a lifetime. I have my own paper now. Oh, I said you would, didn't I? The Telegraph? Mm-hmm, the leader. I'll have a review of your show on it tomorrow. A good one? I'll send you a copy of it. So you can finally read an article about yourself in my paper. Oh, I'll enjoy that. And now, how about yourself?  You told me all about her in London. Lucille? Yes, Lucille. How is she? I haven't seen her in quite some time now. Oh, I'm sorry. Love can be so elusive, can't it? Yes, it seems that way. Miss Russell, you'll have to change soon. Very well, Marie. Get my things ready. I'll be running along. Will I see you later? No, I... I'm leaving now, getting the first train I can. But, uh, I'll be coming to New York again sometime. Soon? Maybe.  We will? Well, don't you want to? Oh, yes, sure I do. As a matter of fact, I've had dinner with you lots of times. You have? When? You wouldn't remember. You weren't there. Good night, Miss Russell. I'm glad you came back. So am I. Isn't the strange coincidence, Mr. Moore? What? Well, ever since I first came to New York, you seem to have punctuated my life. And every time something important or serious has ever happened to me, you've come along. Perhaps it hasn't been exactly a coincidence, Miss Russell. Good night. Good night. We'd better hurry, Mum. Marie, did you hear what he said? He said it wasn't a coincidence. Do you realize what that means? Not exactly, Mum. It means he's been thinking of me all these years. He's been in love with me, Marie.  And I think I loved him the very first time I saw him. Grandma told me I did, and she was right. Marie. Marie, find him for me, will you? He's leaving for Pittsburgh tonight, and I don't want him to go away because if he does, it'll probably be years before we see him again. Please, Marie, never mind my dress. I'll get into it somehow. Tell him I don't want him to go. Tell him anything, Marie, but find him for me. That wasn't meant for a song becomes a sign. It seems that love birds die. He's your new dressing room. Oh, thank you, Marie. Mr. Moore. Hello. Your maid said that you... Well, anyway, I came back and I saw something written on your mirror, and I thought I'd add to it. Lillian, I love you. Alex Moore.  I want to make another pact with you. That's if you promise to keep it, Alex. I've never really broken this, Helen. No standing in the stage door. There she is. May have greater stars, yes, and someday even a more beautiful one. But they'll never be able to write the history of the American theater without Lillian Russell. You're joining us for supper at Wrector's, Jim. That's nice of you, Jesse. But for the first time in my life, I'm not hungry. Lillian Russell, Diamond Jim, and Alexander Moore fade into the glamorous past. But Alice Faye, Edward Arnold, and Victor Mathieu are right here at this microphone, and we congratulate them all. Thank you, Mr. DeMille. I hope we did bring all those people to life for a few moments. As far as I'm concerned, Lillian Russell was right here on the stage tonight. You're right, Victor. As I remember, Lillian and Diamond Jim, you were both pretty nearly perfect in the parts. I think Eddie's getting that Diamond Jim look again. What's that? Oh, that fellow Brady talks so much about eating that I have to rush home to dinner every time I play the part. How's the food in the picture you're making, Alice? Well, it's pretty scarce. I'm working on Tin Pan Alley at 20th Century Fox. It's a story about songwriters. Well, as long as you sing the songs, Alice, Tin Pan Alley is right down my alley. Well, if I knew how to curtsy, Mr. DeMille, I'd do it. And now before we go, I'd like to add my little word or two to the sincere tributes that so many others have made to Lux soap. I think it's a wonderful complexion care. Naturally, I use it all the time. The very first time I tried Lux soap, I knew it was the right care for my skin, and I've been a Lux fan ever since. Like one of your songs, Alice, your opinion of Lux soap is music to our ears. Well, what about this trip of yours to Chicago, CB, for the opening of Northwestern Mount of Police? Well, Eddie, I'm leaving right now, right after the program. Chicago is planning a three-day celebration, ending with the premiere on Thursday. And with me in Chicago, I'll have six stars of the picture. Gary Cooper, Madeleine Carroll, Paulette Goddard, Preston Foster, Robert Preston, and Lynn Overman. And the Canadian premiere of Northwestern Mount of Police is being held in every theater in Regina tonight. Oh, that's fine. And what's the Lux radio theater going to do without you next week? I'll be on the program, Eddie, from New York. My brother, William C. DeMille, is taking over here. With two DeMille's working on the show next week, the sky is the limit. Because we're going to have Mickey Rooney and Judy Garland. And the play is their latest MGM screen hit, Strike Up the Band. It's the first appearance at our microphone of these two youngsters who have taken the country by storm, and the play is made to order for their cheerful enthusiasm. So next Monday night is certainly a night to strike up the band, with Mickey Rooney and Judy Garland. Oh, that's a wonderful cast, Mr. DeMille. I'll be listening. Good night, and a pleasant trip. Good night, C.B., and lots of fun. Good night. And I'll send you greetings from Chicago. Our sponsors, the makers of Lux toilet soap, join me in inviting you to be with us again next Monday night. When the Lux radio theater presents Mickey Rooney and Judy Garland in Strike Up the Band. Mr. Cecil B. DeMille saying good night to you from Hollywood. An important announcement. This is community chess time. When you are asked to help fight disease, neglect disaster, and suffering among your own townspeople. America's strength today is the strength of her people. Her social agency stand guard over the health and welfare of the weakest among us. Help to keep America and Americans strong. Give generously to your community chess. Heard in tonight's play where Stuart Buchanan as Jesse Lewisen, Nourin Gamil as Marie, Beatrice Maude as Cynthia, Jay Michael as Tony Pasteur, Frederick Mackay as Teddy Solomon, Verna Felton as Lillian's grandmother, Earl Ross as Leonard, Lou Merrill as Damrash, Dorothy Farrar as Edna McCauley, and Bob Burleson, John Berry, Norman Ainsley, and James Eagles. Edward Arnold will soon be seen on the screen in the Frank Capra production, The Life of John Doe to be released by Warner Brothers. Victor Mature appears through courtesy of Hell Road Studios and will soon be seen in Toppa Returns with Roland Young and Billy Burke. Our music is directed by Louis Silvers and your announcer has been Melville Royk. This is the Columbia Broadcasting System.


My name is Susanna, I'm from Tazania I come from Kenya, I work with the Ministry of Advocacy as an Extension Officer I'm called Eunice Hallow and I'm from Uganda My name is Uyambaje, Jeanne Baptiste, my country is Rwanda In our country we are producing rice for years But what's happening is our level of production is still low We are producing around the national average yield of rice is one ton I teach agriculture students in the agricultural college But also I'm teaching farmer because I'm also conducting some seminars In Kenya basically rice is grown under irrigation 90% of the production of rice is on irrigated lowlands But now the country is also promoting grain fed farming through varieties like Merica Which accounts for small percentage but it's picking up Now our yield was 7 tons per hectare But you wanted to increase to 8 or 9 tons per hectare So we're just 16 weeks being trained on the farming rice practice In this last week here at the Los Bancetiri we are planting So the main purpose is, so we are here being from this rice specialist You are not just in class, you are actually doing the extension bit But also getting knowledge from the lectures But I think what we have experienced so much is being with the farmers in the Philippines Doing with them, learning with them in their fields We have been able to learn how to get the knowledge from research And package it well and give it to the farmers I have never done transplant online So I couldn't transplant the rice here As I said I'm working for the central government Mostly I go to the field just to monitor It was difficult for me to go into the path But this time I have done it several times You are Hanson The way they are managing the rice production in a systematic way From seed to seed, that was the most important thing that I learned According to the rice check system Is it a good knowledge which we want to implement in our country For that it will help us to increase our yield A way to follow all those activities needed in the rice farming And respect them without forgetting anything And also make a calendar which will help you to implement that practice or that activities We have seen the practical because we have conducted the FFS So we could see it step by step How the Philippines produce rice In a lowland ecosystem that similar with Hanson It was interesting We have done a lot of practical I could plant rice I could tap almost every Friday on the mud During 15 weeks The farmer field schools was my favourite Because we met many farmers in the Philippines And they were able to share with us their ideas in rice farming Kind of a system where farmers form groups And they learn good rice management practices in their own fields And we have seen them also grow As we are also growing in terms of knowledge Because we are able to make decisions based on the farms I think we are in a good position now to teach our farmer But also me to teach the students So the confidence I have increased before coming here I think I could not deliver more confidently Things about rice production But now I think I am more confident about rice production We have then the plan here The plan is done We are supposed to return and look for funds Yeah I think for my government I think because they sent us five of us So I think they should use our knowledge And note that when we go back and this will be the end Because we already planned our action plan And I think they have to ask them to accept our action plan And to implement it, to fund it The first I will try to implement all the systems around the training The first we suppose me and the in-buff of my group We are five trainees or five graduate from Rwanda We suppose to conduct the training of the technician Fifty technicians And you give them the knowledge or skills around here Then after that those technicians will go to the farmers Give them also teach and try also to make those knowledge In practice on the field So I think that is my way If at all they will consider our action plan And put it in the action I think they can see changes We are going to train the other extension officers Extension officers and farmers One way of increasing our yield from seven tons per hectare To nine tons per hectare I think in 2014 we will get that really I would like to thank those who sponsored the program Especially Jaika for making the training Successful providing for everything I would like to thank the staff of Field Rise For their commitment and their enthusiasm In ensuring that we learn That training we have done was good, organized They did all that they could do To deliver what they wish They think that maybe it could be important to us So all that I can say that we are thankful And grateful to all that they have done to us And I wish to the iri, Jaika or the other sponsors Of Field Rise to continue this way Of making the training for the technician needed I think we have gained a lot of knowledge A lot of knowledge


Now let us consider the possibility of critical points which are like lines now in some sense and I am going to do this with the help of an example. We look at a simple non-linear system where this happens again in 2 degrees of freedom 2 dimensions. So let us look at x dot is equal to say mu x plus may be a y plus x times x squared plus y squared and y dot equal to mu y. So let us put an x here plus y with a mu where mu is a real parameter. So this portion is a linear part of it and that is the non-linear part of it and it is immediately obvious from here that you have critical points you have a critical point certainly at 0 0 both these guys vanish and what sort of critical point is it if you linearize near the origin this L matrix is mu a 1 here a minus 1 here and a mu here which implies that the trace is equal to twice mu and the determinant is equal to mu squared plus 1 and remember that lambda 1, 2 is equal to minus t plus or minus square root of t squared minus 4 delta divided by 2 plus t. So this is equal to twice mu plus or minus square root of t squared which is mu squared minus mu squared minus 1. So it is 3 mu squared 4 mu squared minus 4 delta. So that is 4 mu squared minus 4 divided by 2.  So what kind of critical point is this depends on the sign of mu but since it is complex conjugate as a pair of complex conjugate critical points it is eigenvalues it is clear that the critical point is a spiral point. So this immediately says that it is an asymptotically stable spiral for mu less than 0 and an unstable spiral for mu greater than 0 at the origin and the phase picture as you can imagine is a spiral going inwards into the origin for mu less than 0 and away from the origin outwards for mu greater than 0. We should like to know what the direction of the flow is as well. For that let's go to polar coordinates plane polar coordinates. So I set in the usual way x is equal to r cos theta y equal to r sin theta which immediately implies that r squared is x squared plus y squared which implies by differentiate both sides r r dot equal to x x dot plus y y dot and that becomes in the present instance I multiply this by x and this by y add the 2 and I get mu times x squared plus y squared so mu times r squared plus r to the power 4 which comes from these 2 terms and then this gets multiplied by x and this by y when you add the 2 it vanishes.  Therefore the picture which says that for mu less than 0 this is an asymptotically stable spiral also shows that for mu less than 0 there exists a trajectory corresponding to r equal to square root of minus mu on which there is no change of r at all and since r dot is 0 the trajectory is a circle of some kind. On the other hand if mu is positive this is an unstable spiral nothing happens everything flows off to infinity we'd like to know the direction in which things flow and it's evident immediately that we have to draw two different phase portraits one for mu less than 0 and the other for mu greater than 0. So let's do that let's plot this for mu positive on this side and on this side for mu negative what kind of behavior do you have for mu negative for mu positive this is an unstable fixed point a critical point there on the other hand it's stable so mu less than 0 but it's also clear for mu less than 0 r dot equal to r times r squared minus modulus mu which is equal to 0 for r equal to square root of modulus mu. For mu less than 0 there exists a circle this kind on which you don't change r at all therefore this is a trajectory by itself on the other hand you have asymptotically stable spiral here and outside here it's evident from this picture that if r is greater than square root of mod mu r dot is positive therefore the flow is outwards off to infinity on the other hand if r is less than square root of mod mu the flow is inwards r decreases towards the origin towards a stable fixed point at the origin the picture is very different for mu positive there when mu is positive this can never vanish so you don't have such a root at all such a solution at all and it's clear that r always increases the only question is in what direction do things happen and to find that we need to find out what theta does so let me write that down retaining this equation theta is tan inverse y over x which implies that theta dot is equal to 1 over 1 plus y squared over x squared multiplied by the derivative of this which is y dot over x minus y x dot over x squared and that simplifies to x y dot minus y x dot divided by x squared plus y squared if I go back to these equations of motion I multiply this by x and this by y and subtract if I multiply this by x I get minus x squared so let's write this down so in the present problem theta dot is equal to minus x squared minus plus mu x y plus x y times x squared plus y squared minus this is a got to be multiplied by y and subtracted so minus mu x y minus y squared minus x y times x squared plus y squared that's the numerator and the whole thing is divided by x squared plus y squared and it's immediately clear that these terms cancel out and you end up with is equal to minus 1 which means on that circle theta decreases at angular velocity equal to 1 in the clockwise direction because theta is decreasing so this means it does this on the circle therefore a point starting in the neighborhood of r equal to square root of mod mu this circle had a radius r equal to square root of minus mu what happens to a point in here it's clear that it's going to spiral in and fall into this fixed point as in tautically similarly it's evident that if I start a little bit outside I'm going to spiral away towards infinity outwards that isolated closed orbit is called a limit cycle so let's define it this limit cycle and isolated a limit cycle is an isolated closed trajectory and it's important to notice that it should be isolated in other words in its neighborhood there are no other close trajectories there exists a neighborhood of this circle in which there are no other close trajectories in this problem there isn't one in any case anywhere else except here notice on contrast that near a center if this were a center you'd have a whole family of close trajectories of this kind arbitrarily close to this trajectory closed orbit there are other closed orbits and this is not a limit cycle on the other hand in this situation it's the clear that this is a very special trajectory everything inside falls away from it everything outside falls outwards away from it therefore you'd intuitively see that this is an unstable limit cycle you could have a situation where everything falls into it then it would be a stable limit cycle you could have a situation where things fall into it from one side but fall away from it on the other side of it and then it would be a semi stable limit cycle but the general situation is that the limit cycle is defined as an isolated closed trajectory it should be obvious immediately that you can't have a limit cycle in a conservative dynamical system because this means that whole sets of points are falling into this point here the whole sets of points are moving away there so there's no question of conservation of a space volume here at all a limit cycle therefore a stable limit cycle is an attractor which occurs only in dissipative systems no possibility of limit cycles in a Hamiltonian system in particular and in conservative dynamical systems in general we've defined conservative dynamical systems as those for which the phase space volume is preserved under the flow limit cycles therefore are a feature of dissipative systems in this instance the limit cycle was actually unstable but let's look at a slight modification we tweak this model a little bit till we get a stable limit cycle what would you need for that we'd like to have things go into it from both directions what would you require for that what should we do to this model we change things a little bit here so that we end up with stability there what would you suggest well had the situation been reversed namely had this become unstable and this becomes stable then the job would be done right all we need to do is to ensure that this becomes stable and this becomes unstable what should I do therefore pardon me minus mu okay we put a minus mu x then what put a minus here put a minus here this do the trick well let's try what do you think happens well the linearized matrix near the origin is now minus mu a 1 here a minus 1 here and a minus mu here and the trace is equal to minus 2 mu determinant is still mu squared plus 1 so lambda 1, 2 is equal to minus 2 mu plus or minus square root of 4 mu squared minus 4 mu squared minus 4 so this becomes a 2 I so it's just minus mu plus or minus I what next and what happens to the equation for RR dot what happens here for RR dot pardon me where should I put a minus in the non-linear term I should put a minus sign here this is not going to work we'll try that's exactly I'm just replacing mu by minus mu exactly simply replacing mu by minus mu so do you think anything is going to happen maybe not okay so what's his suggestion what do you suggest what do you think I should do all of them should have negative signs this should remain as it is the non-linear term should have a negative sign okay we put a negative sign here and we put a minus sign there the linear the eigenvalues are not changed so let's draw this picture all possibilities can occur so let's draw what see what happens now it's evident here that these are the eigenvalues the way I've written it here because this is not affected doesn't affect the linear terms and it says that when mu is positive you end up with a spiral which is stable when mu is negative you end up with a spare spiral which is unstable right yes okay so let's go back to our original way of looking at it we had this and we change the sign here in which case this is mu and that's mu so we go back we did not change anything now it's this and it's this so this doesn't change it's an asymptotically stable spiral for mu negative and an unstable spiral for mu positive but the equation for RR dot that definitely changes because this immediately says that RR dot is equal to multiply this by X multiply this by Y and add the two and you get mu times R squared minus R to the power 4 which implies that R dot is equal to I take out an R squared and calculate one of the R so you get R times mu minus R squared so once again we see there's a limit cycle that R is equal to square root of mu but this time for positive values of mu so what does the picture look like this one negative values of mu and this for positive values of mu now I have X as well as Y so I really need to write down a proper bifurcation diagram but let's first draw what happens in the phase plane here's X here's Y here's X and here's Y and this corresponds to mu positive this corresponds to mu negative and for negative values of mu there is no root here R dot does not vanish anywhere other than R equal to 0 and this is an asymptotically stable spiral and we should also check what theta dot does so let's do that theta dot is equal to X Y dot minus Y X dot divided by X squared plus Y squared and I think it's not going to change so I multiply this by X I get minus X squared plus XY they multiply this by Y I get a mu XY and I put a minus sign so it's minus R squared minus one the nonlinear terms cancel out in any case so once again when our mu is positive there exists a circle of radius square root of R equal to square root of mu this time on which the flow is in the counter clockwise direction and inside you have an unstable spiral point so it's evident that wherever you start other than R equal to 0 you're going to flow into this limit cycle if you start with a value of R bigger than square root of mu R dot is negative and therefore R shrinks in words and therefore if you start here you're going to flow in into this point from outside on the other hand when mu is negative you just have an unstable spiral so this point is unstable here sorry you have a new negative you have an asymptotically stable spiral and therefore wherever you start you're going to flow in this direction into the asymptotically stable spiral point it's quite clear that what has happened is that if you start from negative values of mu and move towards positive values what started off as a asymptotically stable critical point has bifurcated it's become unstable but it's also given birth to a stable limit cycle something which is asymptotically stable so the bifurcation diagram in this case looks like this I need to plot x and y equilibrium values so let's do that here and let's put this to be the mu axis and this is x and this is y I mean the steady state values values on which things don't change at all then the only equilibrium point for mu less than 0 is an asymptotically stable spiral point at x equal to 0 y equal to 0 so it's on this axis as soon as mu crosses over to positive values this point becomes unstable therefore in keeping with our usual notation we should really draw this with the dotted line like this and in its place you have a limit cycle which is stable of radius r equal to square root of mu but on the limit cycle x and y change without changing r and this radius of this limit cycle increases like the square root of mu therefore the picture would be something like this this really is a kind of parabolic bowl which comes out whose size this radius here increases like the square root of mu and it's in both x and y you can see so it's not a critical point it's not an equilibrium point there is dynamics going on there but the moment you hit r equal to square root of mu it remains at that square root of mu and this is a stable limit cycle this is an unstable critical point and this was a stable asymptotically stable critical point in the bifurcation which happens at mu equal to 0 of a stable critical point into an unstable critical point and a stable limit cycle is called a hope bifurcation it's one of the most important bifurcations in non-linear dynamics happens all the time we will see examples of this when we study chemical and biological systems and oscillations in these systems this is a standard mechanism by which periodic behavior suddenly emerges from nowhere as you change a bifurcation parameter so on this thing you can see that it's a periodic orbit it's a periodic it's a close trajectory but an isolated close trajectory because I've tailored this dynamical system to illustrate this point these were very simple functions here very specific functions and cancellations occurred therefore the limit cycle had the shape of a circle that's not necessarily true it could have a very complicated shape it could change they could be families of limit cycles but the basic definition of a limit cycle is that it's an isolated periodic trajectory in a dissipative system and discovering limit cycles is not anywhere near as easy as finding the fixed points or the critical points of the system for which all you had to do was to equate the right hand sides to 0 in some sense but this is not so for limit cycles especially if you don't if you're not able to reduce things to very simple things simple algebra using say polar coordinates or anything like that so the shape of the limit cycle is complicated you can only discover this numerically but there are theorems and criteria which will tell you when these limit cycles could exist and whether such limit cycles could exist incidentally from this picture it's also clear that inside this stable limit cycle they must exist at least one unstable critical point otherwise there's no way these things would get thrown out and move into this limit cycle here and that's measured by something called the winding number of the Poncare index which I'll come to a little later yes can and I oh yes open trajectories we're not considering here at all because they're not of much interest to us at the moment but close trajectories would mean periodic motion and we'd like to start with things which are periodic and maybe apply perturbations and go to things which become quasi periodic or a periodic this is going to be the thrust of what we're doing open trajectories unbounded motion in general is not of direct interest there are of course many physical situations where it's important but they're not directly of concern to us here specifically we're always looking for periodic motion or things close to periodic motion in some fashion the earlier example what happened in the earlier example if I put a plus sign here what happens now what kind of behavior do you have once again since we've chosen this mu to be exactly as it is this is certainly true you have an asymptotically stable spiral for mu less than 0 and an unstable spiral for mu greater than 0 but because we change the sign of the non-linear term this becomes a plus here it becomes a plus here in this case and then the picture gets reversed this is for mu less than 0 and this is for mu greater than 0 for mu greater than 0 this was an unstable spiral here so this is unstable and things are going to go flow away from it for mu less than 0 this is a stable spiral point asymptotically stable spiral point things are going to flow into it but this trajectory here at r squared equal to square root of minus mu is certainly going to be an isolated trajectory here but I should really draw it as a dotted line because it's unstable it is evident that here things are flowing away in this fashion on the other hand here things are going to flow into this origin this is stable so it's going to flow in here and things are going to flow starting here flow outwards that's right this is therefore an unstable limit cycle and it contains within it a stable critical point so here what's happening is as you move from positive mu towards negative mu what was an unstable critical point has bifurcated into a stable critical point and an unstable limit cycle if you like it's the image it's the complement of what happened earlier and let's draw the bifurcation diagram in this case and you have a picture where as a function of mu so here's x here's y and here's mu greater than 0 you had an unstable critical point therefore it was like this and it becomes stable for mu less than 0 so this is unstable and this is a stable critical point asymptotically stable critical however you have now a limit cycle that's unstable and therefore I should really draw it with a dotted line like this and these are the trajectories on it and this is an unstable limit cycle compare this with the earlier case where you had it doesn't matter which way this parabola looks the way we've written it drawn it this is moved to the right here but it's not necessary this was stable and inside it you had an unstable critical point and this was a stable critical point so stable critical point came along bifurcated into an unstable critical point and a stable limit cycle and this was a stable critical point and this was an unstable. This is what we call a hope bifurcation this to is a hope bifurcation this is called a subcritical and this is called a supercritical of bifurcation. In either case it is the bifurcation by which a critical point bifurcates into a critical point and a limit cycle and the stability is in the two cases or as I have shown here. The fact that this parabola looks to the right and that looks to the left is an artifact of the way we have drawn this, the way we have chosen coefficients but the essential point is that a stable one, a stable critical point bifurcates to a stable limit cycle here and loses its stability. In a subcritical bifurcation on the other hand an unstable critical point gains stability but also gives rise to an unstable limit cycle in the process. Both these processes happen very often in nature but as I said earlier they happen only in dissipative systems. You have limit cycles only in dissipative systems. Here is a simple example of a system at limit cycles. So let us consider r dot equal to sin pi r and let us say theta dot is equal to 1 in polar coordinates. So I have already gone to polar coordinates and done this. What would you say is the behavior of this system? What does it do? In polar coordinates if it does this and we could go back and write the equations in x and x dot if you like but we can analyze it directly as it stands here. What would you say is the behavior of this system on the right hand side? When does the right hand side vanish in the first equation? So it is evident that limit cycles at r is equal to 1, 2, 3 and so on. We do not yet know what is happening at r equal to 0 which is the origin and you have presumably a critical point at that place. We do not know the nature of this critical point. What kind of limit cycles do you have at various places? Would it be stable or unstable or what? How would you decide this? Yes, you are quite right. They would alternate in stability. One would be stable, the next would be unstable and so on. What would be the one at r equal to 1? For instance sin pi r near r equal to 1 you have to do a Taylor expansion about r equal to 1 and of course sin pi is 0. So the first term is 0 plus the next term is r minus 1 times the derivative of sin pi r evaluated at r equal to 1. What is that? It is pi cos pi r. So there is a pi cos pi r at r equal to 1 so that is a cos pi and this is equal to 1 minus r in the vicinity of r equal to 1 plus higher order terms. So it is really telling you that r dot is of the order is of form 1 minus r. Is this therefore a stable or an unstable limit cycle at r equal to 1? If r is less than 1 it is growing and if r is greater than 1 it is shrinking and therefore it is a stable limit cycle. So we immediately realize that at r equal to 1 you have a stable limit cycle and it is not hard to see at r equal to 2 you get a cos 2 pi here and that would become plus 1 and therefore it would become unstable. Therefore the picture in this case would look like this at r equal to 1 you have a stable limit cycle at r equal to 2 you have an unstable limit cycle at r equal to 3 you have a stable limit cycle once again this corresponds to what would you therefore expect is the behavior at the origin which is a critical point it should be unstable so that things would flow into it and I would therefore expect that in this case everything goes around counter clockwise direction therefore I would expect trajectories to do this. So all points between r equal to 2 and r equal to 1 1 would eventually fall into this trajectory they would fall into this stable limit cycle what is the basin of attraction of the limit cycle at r equal to 1 so we have the concept of the basin of attraction of the stable limit cycle r equal to 1 is all points which lie inside they are going to move outwards except the origin which is a critical point by itself so you really have an unstable critical point there so this is 0 less than r less than 1 and what happens to points between 2 and this way to fall in so in fact less than 2 points on r equal to 1 are already there and similarly for the basin of attraction for this is everything between 2 and less than 4 would fall into this and so on. So this is the second kind of attractor other than a critical point point attractors we now have closed orbits as attractors and you can easily see that one could generalize this and have in higher dimensions you could have a torus attractor you could have an n dimensional torus as an attractor but the interesting thing and we will see this little later is that for high dimensions dimensions greater than 2 you have another kind of attractor possible called a strange attractor and those could be very complicated fractal objects and they would be the ones of central interest to us as we go along in real non-linear systems. So I stop here today and then we take it up from this point we have seen some of the elementary bifurcations here and we will see what other possibilities can exist for dynamical systems of this kind no they need the question is can limit cycles do limit cycles have to be circles the answer is no of course not it happened to be they happen to be circles in the examples I showed because I have contrived it in that fashion I have written this already in polar coordinates in a simple way and in the earlier example I had very simple functions of r squared there is no reason why this should be so at all the very first example of a limit cycle which occurred was in triode oscillations and it is called the van der pol oscillator and it has a term which goes like it is again a two dimensional dynamical system there is an x double dot term which would be the inertia term plus a term which is proportional to x so some natural frequency squared times x plus a damping term and then if it is a simple harmonic damped simple harmonic oscillator linear oscillator this would be a constant times x dot but you have here a term which looks like 1-x squared times x dot times some coefficient and this equal to 0 is a nonlinear equation because of the presence of this term x squared x dot and you can see that this damping for x squared less than 1 acts like normal damping but x squared greater than 1 it feeds back into the system or if you like you put a minus sign here this would reverse the situation and say for sufficiently small x things would tend to grow outwards and for larger x they would tend to come back so the damping acts in a state dependent manner it is dependent on x so either you have for positive feedback or you have negative feedback depending on what x itself is and the limit cycles of this system for the first limit cycles to be discovered and this is the van der pol oscillator I am not too sure about the signs here but this is essentially what it is you could change this constant it does not matter but this is the way this system behaves and as I said earlier this occurred for the first time in the consideration of triode oscillations in a triode in the old vacuum tube we will see further examples of limit cycles.


Hey coach, welcome back to the channel. If you haven't yet, make sure you subscribe to stay up today with all the latest content. At this point, we've pretty much got content going out every 48 hours. So don't stay stuck with your business. Make sure you hit that subscribe button. And also if you want more help with the topic that we're going to be talking about today, reach out to me. There's a number of ways you can do that. Visit the description below this video. There's a number of ways you can get in contact with me, semi-questions, or even book a 10 to 15 minute call where we jump on Zoom. I can ask you a couple of questions with regards to where you're currently at, what you want to do, and I can show you some actionable steps to take this week to grow and scale your coaching business. So today I want to talk about running a successful winter soccer camp this Christmas. So I'm recording this video on the 5th of December. It's about 20 days left until Christmas day. And what a lot of coaches are currently doing at the moment is they are planning and starting to design their soccer camps. So they're winter soccer camps this Christmas. So I thought it would be a good idea because I had a conversation with a coach last week about running a Christmas camp. This coach has never run a camp before. So I thought it would be a good way to share with you if you're thinking of running your own winter camp this Christmas. I'm going to give you a very simple structure that you can follow. Now as I say to all coaches, this is just a template. You can adjust the template to how you want, run away with it, you can copy it. But what I'm about to share with you, some coaches do pay me to help them. So there's a lot of value in this video. So make sure that you take the time to watch the video from start to finish and take notes because it will help you in the future. If you decide to not only just run winter camps, but if you want to run summer camps, if you want to run other camps during the year, this very simple breakdown will help you. So if you look at my screen, I'm going to pretty much break down all the points that I've got in front of me. The first bit is a checklist. When I work with coaches and I help them run their camps, there's a number of checklists that we have to go through in order to make sure that the camp is going to be successful. The first one is an online registration page. And this is where parents can log on and register onto your camp. Now, the reason why you want this is because the whole purpose of these camps is to then later sell those clients or those customers onto other products and programs that you offer within your sports training business. So once they register online, you're able to keep that data and then reach out to them maybe after the camp is finished, a day after or two days after, and just ask for feedback how the camp went. Did they enjoy the camp? Did you find it was a success? What can be improved? How can we do better next year? What would you like to see included in upcoming camps? So the more feedback and data you can get, the more successful your camps can then run in the future. The second one is facility or location. So making sure that you have a set facility, whether it be an indoor, if you're in a part of the country, which is really cold, rainy, snowy, and you're running these camps indoors, making sure that you've got that indoor facility to be able to run the camp successfully throughout the week. Now, if you're looking to run it out of a local park, then that's completely fine as well. Just make sure that you have permission from your local council or your local government or whoever owns or runs that park. Could be a rec department, whoever owns and runs your local parks, make sure you have permission from them to be able to run your camp. And if you have to get a permit, make sure you get that permit so that you don't go throughout the day having to worry about if someone's going to come and kick you off the field. Now, next one, day and time. So set day, set time, goes without saying. Make sure you have a set day, set time for the camp.  Insurance, making sure that you are insured and that you have liability insurance. Now, this is for any UK coach watching, make sure that you're insured and any US coach watching, because I know predominantly we have a lot of US and UK based coaches that watch our channel, but make sure you have insurance to be able to run the camp in the event. Anything bad happens. A player rolls over, breaks his ankle, or anything touch wood won't happen, but make sure you are protected. And also, if you have to go inside or hire an indoor facility, make sure that you have insurance, because a lot of the venues and facilities that have indoor space will ask you to have business insurance. That is to protect them in case your clients or you break anything inside the facility and then it stops the facility owner having to cover those costs for the breakage. Now, the next one is structure. I'm just going to give you a really simple breakdown. I've typically, the coaches who I have been working with or I've spoken to, they typically run in their camps from December the 20th to December the 23rd. So that's about a three-day camp, which is good because after that, we get into Christmas Eve and then Christmas Day and normally a lot of families are away for the holidays. But the run-up to the holiday, there's a lot of kids don't have much to do. Their club team training has probably stopped. So these three days are a really good way for you to run a successful camp and help those players to get those extra touches and extra repetition that they won't be getting for the next couple of weeks during the winter season over the holidays. Now, the next one is 12 player max. So I'm basing this camp on a maximum of 12 players. The next one is just the breakdown. So it's a 9am to 3pm camp. So I'm breaking the camp down into am and pm. The am, you can focus your sessions more on ball mastery, skill development, rips, which is important obviously during the winter. Now you might want to do it a completely different way. But for me personally, when I run camps, what I like to do is I like to make sure that I prep before and I have every single day planned out that I've got what I'm going to do. Okay, so if I know I've got 12 players, if I know I'm running the camp 9 to 3, and I know that right, I'm going to be breaking the day during am and pm, then I want to know right am, we're going to be focusing on ball mastery, making sure it's all technical, skill based, a lot of 1v1s, a lot of 2v2s, a lot of repetition, lots of touches. Okay, and then in between that, so in between 9 to 12pm, I like to run a snack break, that just gives players an opportunity to refuel, get some more energy in because it is a long day. And depending on how intense your camp is, players are going to need consistent water and snack breaks. Okay, so I like to just give a nice 15 to 30 minute snack break in between the am session. Okay, then in the pm, right, we have a lunch break, which could be again, anywhere between 30 to an hour. Right, I like to, when I run these camps, I like to have a maximum of about 45, sometimes 45 to 50 minutes of a snack break. Right, and that's because when I do camps, I like the camps to be very intense. So that hour break just gives them, gives the players on the camp an opportunity just to kind of switch off, relax, and get ready for the afternoon, which is going to be a bit lighter in the afternoon. Right, now, if you scroll further down, okay, if you look down, then what I've done is I've added a couple of things that you can run in the pm, right, a 2v2 tournament you could do, right, that is really fun, depending on how many players you have, you could even do a 5v5, a 3v3. I've done a 2v2 based on the amount of players that we have. Right, so if you run, if you've got 12 players and you do a 2v2, that's 2, 4, 6, 8, 10, 12, that's essentially six teams you could have, right, and you could do like a round robin, right, where they all play each other, winner gets three points, and you could do a table, and then the first two go and play a final, and then you could even do prizes for the winners of that tournament, etc. Right, so again, if you look further down, challenges, challenges could be another thing I like to do is something I call soccer olympics, so anything kind of related to the olympics, but with a football, okay, so a lot of relays, team building exercises, so fun challenges that isn't so intense, but it still gets that repetition, and it gets them to develop a certain skill or aspect of the game, but in a more relaxed kind of way that they can start to switch off and kind of relax, okay, because what I like to do is I like to make sure that the the morning session is intense, repetitive, okay, and then the afternoon, after they've had lunch, right, it's more of a like games-based focused session, where it is intense as well, but it's a little bit more relaxed in the morning, okay, and then the last one, something that can add a lot of value to your camp, is running a goal-setting workshop, okay, so you're coming to the end of the year with your clients, and now they're going to be preparing for the new year, so what other great way, what a great way to start the year by having a goal-setting workshop, right, so you can have all your players, okay, they can bring a notebook, right, you can do this outside, you can do it inside, you can do it underneath a roof, wherever, okay, because if you're running it out of a park, sometimes parks have benches that you can get all your players to sit down and we do the workshop on the park benches, if you have indoor space, you can run this indoor as well, okay, but I've done these before, okay, and they are fantastic, right, great way to end the year and start the year as well with your players, right, so a goal-setting workshop, now another way you can add a lot more value as well is bringing a guest, okay, so bringing a guest for that one hour to run the workshop, okay, now this could be a professional coach, it could be a pro player or it could be someone that has experience in the game and that can provide a lot of value to the players that you work with, okay, and that's essentially what you want to do, you want to add a lot of value so that this camp is not just any old winter soccer camp but it's something that players and parents want to do because it's going to add a lot more, a lot of value to them, especially during a time of the year where a lot of people start to switch off and relax, okay, and your camp can provide them with that extra repetition that they need for that holiday season, okay, so if you have any questions for me, make sure you reach out, right, something that I haven't added to this and this is, and there's a reason why I haven't added it in is price, right, and I'm going to get a lot of questions from coaches who say to me, Leo, what should I charge for these type of camps, right, now it's very difficult to put a price on it because of a number of things, right, what value do you add, what costs are there in order to run the camp, right, do you have staff costs as well, how much time and effort and energy are you putting into running this camp, if it's by yourself, remember that there's a lot more work that goes into it instead of just running the camp, okay, you're planning, you're prepping, you know, you're marketing, you're selling, are you doing a lot of extra work away from the field to make sure that this camp is a success, right, so when you price things, make sure you take those things into account and you don't just base the price of what the players are going to be doing when they're with you, right, if it's just you, time, effort and energy needs to be included into your pricing as well, okay, and to cut a little bit of costs as well with the snack and lunch break, you can get players to bring their own snacks and lunches, okay, I always do that with the camps I run and that's just because there's a lot of players with different allergies that you might come across and it just saves you that hassle, that time, that energy, that effort in order to prep meals where parents can just bring something themselves and they know what their child can and cannot eat, okay, now something else, again, that falls in line with the lunch and snack break and that falls in line with the online registration is a waiver form, okay, now the waiver form should be sent to parents once they have registered onto the camp, okay, so if we go back to our first point over here where it says online registration page, once they've registered onto the camp, right, those parents must complete a waiver form with your terms and conditions before, right, they attend the camp, right, so before they actually physically attend your camp on the first day that waiver form should be either sent or given and handed to you before their child even kicks or touches a soccer ball on your camp, right, and that way on that waiver form has all your terms and conditions, it has the terms that the parent agrees to the risks involved in these types of camps that their child might sustain injuries, that your business is not liable for their injuries, et cetera, right, so that's something that I wanted to add as well because that will cover you as a business owner when you run your camps, okay, and the way I normally do it is once they've registered online then we send them over the waiver form, make sure that is filled out, sent back, and then they're all good to go on the day, okay, so again if you need more help with this make sure you reach out to me, be more than happy to jump on it on a 10 to 15 minute call, see where you're currently out with your camps and see what you're looking to do in order to grow and scale them, okay, thank you for watching and make sure you subscribe to our channel.