Hey y'all, happy Tuesday. I wanted to kind of pick up my camera and just vlog for you guys because I know right now it's just a really weird time and everyone's social distancing so I thought I would do my part, make some content for you guys, keep you guys entertained on YouTube while you guys are just not out and about in the world. So I thought I would do a day in the life of social distancing and just like some self-care stuff too. Pausing the video to tell you guys that today's sponsor is Rooted Rituals. Because I have a lot of things I wanna do today that pertain to self-care. I live here in Austin, Texas with my boyfriend Ryan and I also have a dog so I'm very lucky to have someone during this really lonely time because I am an extrovert. I've been cooking more, which is nice, but I'm also worried that I'm gonna run out of food even though we bought a frick ton of it. It is currently 7.30 a.m. And that's when I start my job. If you guys don't know, I am a content creator for a student housing company and they're actually located in Athens, Georgia. So they start work at nine. So technically I would start work at eight but I asked if I could start work at 7.30 so I could get done at 30.30 and also I only work 30 hours per week so I get Fridays off, which is really nice. I'm gonna go ahead and get to work but I'm really excited to share with you guys some of my favorite products including the Rooted Rituals hair care. I'm not sure if I already said this but I do work from home normally so it's nothing really different and I know it's really bad that I'm sitting on my couch. I sometimes work for my desk but I don't know, I'm just in the mood to just sit on my couch and work in a comfy spot and I'm just hanging out with Sophie. She's winding in my ear. I need to take her out soon. But I am currently working on some video content. I think they wanna do some ads on somewhere. I'm not really sure where they're gonna put them. It is currently 9.51 a.m. and I finally got the okay for all my videos that I made. Well, I haven't made them all but there's four I have to make and I got the okay for two. But Ryan is working from home with me. He started working from home last Friday, was it? Yeah. How do you like it? It sucks, I don't like it that much. Really? Yeah, the office is way more just convenient. It's just kind of funny because you're an introvert and I feel like you would like it better. I'm just in that room all day and then I track everything I do all the time. Do you track it? Oh yeah, I just send activity logs and stuff. Oh for real? Just don't trust me. I just clocked out for my lunch break so we're gonna start doing some self care right now. Like I said, this video is sponsored by Rated Rituals.  I thought these products were so cool when I heard about it because I have a really dry scalp and sometimes it gets a lot worse. I've dealt with eczema my whole life. I've had really, really bad dandruff. So I was really excited to try these out just because I'm always looking to be better in my health and my skincare and my scalp care now. I've been using the conditioner, the shampoo and the scalp scrub and this is a product I highly recommend. I really also like their shampoo because it lathers so well. The best thing about these products is that the smell is not too extreme. This one smells a little bit more floral. It's a ginger root and mint. So it does have that mint in it but it's not too extreme, which I like. But right now I'm actually gonna be using the cooling and strengthening tonic. This is gonna sound so gross to some of you guys but I try not to wash my hair if I really don't have to. So the last time I washed my hair was on Friday and it was currently Tuesday which that's kind of like a long time to go without washing my hair but now it is definitely getting greasy. And my scalp is not feeling too great. It was definitely getting a little bit itchy yesterday and I was just like, I don't know, I'll shower tomorrow but now I'm feeling real itchy. By the way, their products are safe for color-treated hair so I just got my hair dyed like, what was it, like a month or two ago? So this product has like a little dropper tool and I'm just gonna separate my hair and add a couple of drops where I feel like it's needed. The product really isn't oily either. I was expecting it to be more of like an oil so like moisturize your scalp but it isn't super oily so that's nice.  So I definitely like the precision of this eye dropper tool. Now I'm just massaging the product in with this cute little tool that is also from Rooted Rituals. Just really wanna get deep into that scalp and press that product in. This ginger root and vitamin E tonic not only helps to revitalize the scalp but also it helps with breakage and just helps to thicken existing strands. You can get these products at Walmart which is really great because you already know they're gonna be really affordable and I'm gonna be using this scrub later tonight with their shampoo and conditioner. So if you guys have any issues with your scalps, dryness or anything like that, breakage definitely check these products out. I will have a link down below or you can find them at Walmart. So like I said, my lunch break is 30 minutes which isn't too long but I wouldn't want an hour because then it like takes away from the time that you could be working and then you just like have to work later if that makes sense. So I'm kind of glad that it's 30 minutes but I just did the dishes, I put the dishwasher on and now I'm just gonna clean up in the living room because last night I made pasta and usually I put the dishes away, I literally like clean everything, make sure everything's back in the refrigerator but for some reason I think Ryan took the dishes to the sink last night so I didn't even think about putting away like cheese and stuff. I mean I think it's fine but I totally forgot. So I'm gonna clean up the whole apartment and honestly I feel like this is self care for me because I love having a clean apartment and then lighting a candle afterwards like that is like the best feeling. So I just cleaned up and I actually threw our sheets in the wash because I don't remember the last time I did that so oops. But Ryan is coming home with some Chipotle so I'm gonna eat that and get back to work. Right now it's just such a weird time to be in but all we can do is think about the positives. I've seen so many like little infographics saying that like oh right now is the perfect time to like research into a new business or something like that or just take the time to like do you. So I thought that was really cool. Chipotle. Wait, what? Oh no. Uh oh. It is after 3.30 and I'm finally off work. I just clocked out. So obviously as you guys know I do YouTube so the work doesn't stop after my corporate job. I do YouTube, I create Instagram content. Sometimes working on my own brand does feel like self care to me because I'm like investing in myself and I know that is work and like some people won't classify that as self care but sometimes I just feel so like at peace doing my thing and having time for my work. If that makes sense especially because I just started this new corporate job after working for myself for so long and also I am a photographer and videographer I do that freelance so like I said it's just nice having time for my own things and my own brand. So I do personally classify it as self care and it's just fun. It's fun working on your own brand yourself. Also these nails are heinous and we need to do something about them. Before I hop in the shower I just wanted to give a quick overview of all the products I'm gonna be using in the shower so like I said before I really really love this scalp scrub, the quick rinse scalp scrub. I've also been using the shampoo and conditioner. I'm literally so excited to shower because I haven't washed my hair in so long so this is much needed but after that tonic my head literally stopped itching. Though I highly highly recommend this tonic if you guys do go days without washing your hair or you just have like a really dry scalp and honestly like my hair doesn't really look that oily like granted it is in a bun but I feel like it would have looked way worse because I thought it was gonna be an oil but it isn't so that's great. Another thing that I love to do when I'm feeling like stressed or just need like a little bit of like me time I heat up the shower and then I put like a few drops of this eucalyptus oil. It's like an essential oil you can literally get any kind. It definitely gives you spa vibes. I just got out of the shower. My head feels so clean. Thank you so much to Rooted Rituals for sponsoring this video. Now we can get into some skincare. I've been loving this cleansing water. I use this to not only calm my skin but to take off any extra makeup or dirt that's on my skin. I didn't wear makeup today but there's still some gross stuff on here. And even if you don't wear makeup during the day it doesn't mean you shouldn't wash your face or like cleanse it at night. Whenever I forget to wash my face even if I don't have makeup on I feel like I get some kind of acne after. But this is another thing I've been using. It is the gel cream. It's like a thin layer but it doesn't make me feel like rubbery after. I'm gonna go get changed and then figure out what I'm doing next. I got so dark in our apartment just now because the rain isn't moving in. I think I'm like talking to some ghost. I feel like this is good because when it rains it's like nice to put on a candle. Oh my God, I didn't even put on my candle after I cleaned. So now I can do that. But I'm actually gonna try. I'm gonna attempt to take off my dip nail. I looked up some YouTube tutorials which it's pretty much the same as like taking off gel but you have to like file your nails down a little bit first to get off the shiny coat. So I'm gonna try that. Hey y'all, it is the next day. I wanted to close the vlog off because I guess I forgot to vlog after I took off my dip. This is what my nails look like now and I will be looking forward to the day that I can get my nails done. I hope you guys aren't going completely insane. Literally today I was like getting so delusional that I was like laughing at a TikTok and I started like crying. I don't know what's happening but I hope you guys are all staying safe and super healthy and I just wanted to give my best wishes to everyone. I know this is a really weird time and I've said that like a hundred times in this vlog but if you guys do want to see more content from me especially now that maybe some of you don't have school or you're online or just have more free time definitely let me know of any video ideas you guys wanna see that I can film in my house or just any other content. I hope you guys are doing everything you guys can to maximize this time doing self-care, working on yourself, working on your brand. Comment down below one of your favorite self-care things and we can just start like a list in the comments. So I will see y'all in my next vlog. Bye.


Everybody for us here up in 22 23 origins basketball hobby six box number 12 pick your team style Aki with the Celtics Alistair Nets Arcadius Nick's Barry magic Daniel P. Hornets Dawson Sons Derek L with the Spurs Eric Y wizards Zeke has the Clippers and Sixers Jeffrey C pelicans Hilmar Bulls Jason T Hawks Timberwolves Jeremy S Raptors Jonathan L Cavaliers Ken has the Blazers Lee M warriors Miguel has the Pacers and the Lakers Mike J Jazz Muhammad with the Rockets Otto Mavericks Robert R Grizzlies Robert P bucks Roman with the Nuggets Ryan S Thunder Sean M Kings Steve B heat Zachary has the pistons good luck everybody here we go Oh Originals Christian Brown jade and hardy red shade on sharp for the Blazers and the 75 Mike Conley jazz Redemption Mark Williams rookie auto red for the Hornets solid hit there for the Hornets that'll be 2.99 Every time it really is every time. It's literally every time thunder You got to thank Lane for this one rookie on card out of Jalen Williams Jay dub there you go thunder Ryan s pushing for the playoffs those those thunder are and they're gonna make the playoffs Ryan if you're moving it, I guess hit me up Ah good old ah back to the reel Now that WBC is over I did miss the pitch clock. I will say quite a bit. I did not at points. I missed it If anything the world baseball classics showed us that we don't need the pitch clock because that was the most entertaining baseball We've had in like a decade. Yeah, because it's all single elimination But like and and and like Orioles blue jays and like june. Yes. We need the damn pitch clock Team origins d-book sons. I'm just saying I think I think it's a good thing I think we can we can tweak it, but I think I think it's good Or it was blue jays and june Pan caro rookie variation from the magic hour nine inning game westbrook lakers red and Caleb hueson is 75 rookie magic What happened?  Yeah Yeah, nice jaden ivy congrats to the pistons Roots of greatness and bead and hardened for the sixers Personal like personal chef personal raker. How much are you gonna rip? I'll call Christian cloco raptors rookie. You're gonna have to you're gonna have to pay me more than rich mark williams If it makes sense, we could make it happen, but till 25 feeling brown celtics make no guarantees Email rich. Yeah, send me make an offer This is like soccer. Yeah, we're gonna buy that player. Uh, rookie patch diabate clippers We've been talking about trading him to to minnesota. So if you uh, Make it your personal break. Well, if it's a timberwolves, you're gonna get like 18 first-round picks rookie Otto kennedy chandler grizzlies.  Roots of greatness zion and ingram for the pelicans Yeah, g anus and kawai johnny davis ricky red for the for the wizards and orange is 75 dame time 20 of 75 It's just a wish list kind of thing tie tie rookie jersey auto for the rockets nice tie tie Pistons again here a jail and door it now covering all the bases for you pistons. He might actually be better than ivy Whoa, whoa, look at the game turn itself off. That's how that's how spring training goes But no duran actually might be better than ivy We'll see he was like the youngest player in the draft too Can't work the magic to get which which thompson's when are we gonna get? Amen Yeah A sars, I don't know They're both supposed to go with length of top six. So like team origins devon booger sons I'll be compared for forever. Do you think they'll be better than the morris ones? Yes I mean, that was that was a rhetorical question The lane lanes are that personal The real question I would doubt it because they've had Yeah, they both red mobly cabs Red ebb and mobly cabs are just specifying now rookie orange blake westerly to 75 spurs Celtics pink universal auto owl whore for a date of 25 big owl Oh next one's nice too One of the last things all day kings rookie jersey auto keegan murray Congrats sacramento. Sean m sweet keegan Maybe gonna end up being the best rookie in the playoffs Maybe They did beat the wizards 50 off papa johns if you're in Orlando magic win code Magic You can't cancel it now. I'm sure it's a contract sorry papa Sorry shak got don uzman's yang thunder shakaroni's half off. Yeah, that is shakaroni Rookie window more junior tea wolves. That's that's Kyle's favorite actually the don red rookie mark Williams hornets To 25 k on the second year teal or aqua You could pull parallels on it too. I was pulling red dons There are parallels nice No wizards wizards. All right Redemption mark williams rookie auto for the hornets Hornets again He's been solid. He's been quietly good. I think it's because he's on the hornets, but he's been he's been good And clippers rookie autobusity abate on card Four to go. That's gonna do it for origin's date time. Everybody. Thank you again


Youth in the southwest region of the country have berated the Senate President Ahmad Lawan over his position on the lingering crisis between academic staff union of universities ASU and the federal government. The youth under the aegis of Odua Youth Coalition OYC described as 40 the statement credited to Lawan that the 2009 agreements between ASU and federal government was unrealistic and vowed to barricade federal roads across southwest state if the government refused to yield to the demands of ASU within seven days. Speaking during a press briefing in Akore, the undosted capital, the national president of the group, Taio Olui Akintadi, who was flanked by the group's national publicity secretary, Benga Ajong-Bolo, stated that the Senate was a member of the national assembly when the agreement was reached. The refusal of the federal government to accede to this request has impacted negatively on tertiary education and future of Nigeria. We use this medium to inform the federal government that Yoruba youths are tired of staying at home. We thereby give the Nigerian government seven days to reach a compromise with ASU and return our students to campuses or we shut down all federal roads in the west. We value education in Yoruba land and we want to watch the efforts of our heroes past go to waste. We have seen that for years these people do not actually listen to dialogue. They do not actually listen to people that come to them to ask questions. I think they understand that when things are turned upside down, they respond and I think this is the approach we are taking and I'm very very sure I'm confident that after this, this is our plan to block all the federal roads in the southwest, I think they will respond to our request. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


the coolest part of this night was his family coming down next to the on-deck circle and he had a moment with them. His teammates loved it. His family loved it. Great moment for Sabathia. Now we take a look at the Toyota leaders. When you look at MLB history, 17 of the 9,653 pitchers in the history of this game have gotten to 3,000 strikeouts. 14 of them in the Hall of Fame. Kurt Schilling, Roger Clemens, the two that are not. It's 0.18% of pitchers that have reached that milestone. For hitters, very similar. 0.19% of hitters that have reached 3,000 hits. 25 of those 32 are currently in the Hall of Fame. You know John, this is not a number that necessarily was talked about as much as we hear 3,000 hits talked about but it's been just as rare, even more rare in the history of this game. Just an incredible milestone when you look at the scope of baseball history. Yeah, I think that graphic puts it in great perspective, right? I mean, you think about 3,000 hits, automatic Hall of Famer. You don't think the same way about the 3,000 strikeouts. Maybe we should change our thinking about that. But if you're talking about Sabathia, he gets to 250 wins over 3,000 strikeouts. In my opinion, he's the first ballot Hall of Famer. It turned into a pitchers duel for sure as we take a look at our stars of the game presented by Heineken, C.C. Sabathia goes to five and a third allows just five hits. Two runs becomes the 17th player with 3,000 strikeout. Zach Granky, seven and two thirds allows just the five hits. The one run economical as well. 102 pitches to get through those two outs into the eighth inning. You know, a lot of times we do see this in the National League game, right, John? And this was just both pitchers locked in. Granky obviously going deeper in the Arizona offense doing a little bit more. I thought Jeff Nelson did a great job during the broadcast of breaking down. Granky how we got ahead and counts early with his threat fastball.


Thank you David for that introduction and thank you for the invitation to give the opening talk at this DC conference. When I was invited to deliver the opening keynote to the conference I was asked to explore the key arguments that emerged from the project that David has just referred to. My HRC cultural value project which reported last year. The arguments of that report pose fundamental questions for any attempts to think about the value of arts and culture. I hope that what I have to say will have implications for your specific consideration of the cultural value of collections and collections-based institutions. I've tried to draw in my talk where appropriate on examples relating to the cultural value of collections. But I realised that this is an area on which you're the experts rather than me. yn y gallu gwasanaeth. Mae ymdraeth arweinfaith arbennig yn ymdraeth ar gyfer y Llyfrgell ac yn yn ymdraeth ar gyfer y ddweud. Ond yn y jub 25 yma, ymarfer yn ymdraeth y mynd i gyfer y lluniau fydd yn ymgrifoedd ymdraeth yn Brytynol a'r dynulludd yng Nghymru. Mae'r adwyganiad wedi'i gwirio, ymdraeth, ymdraeth, ymdraeth, ysgolwyddau a'r cyfan hyfforddau yma ar gyfer y mynd i gyfer y mynd i gynnig. Although there's been dissatisfaction with the narrowness of these as indicators of the value of arts and culture and attempts have been made to broaden what was captured by economic approaches, the claims about economic impact have repeatedly been made and they keep being made. It's unusual to find a week in which some cultural organisation does not claim that its impact vastly outweighs the investment in it. Ieid oedd Robert Peston, fel y byddol iawn yn bbc economiaeth, efallai, ond byddoch chi'n tyfu'r cynnwys i'r ffordd o grannu economiaeth ar gyfer yng nghymru, yn ddweud i gael brunio gyda'r cynghwylol o'r llawer o'r ysgrifennu. Ond oherwydd, y ffordd y cyfrifodau mae'n ddegwyddiad i'r hyn ymwysig, yn ymgylch iawn, ymlaesol, y byddai mynd gynhyrch felno i jagi ar gyfer ymylch gwybodaeth mewn ei gwaith, gallwch i'r rhannu atmarcau ar gyfer ar gyfer y bydd. setzen! Dynion gwneud yn rhywbeth, lle mae'n ysgolwyd y maen yn y rywbeth o gweithio'r ddrak. Mae'n dynamu'r cyfrifiadauCybhydd, cadwn jyfnodau Gallwch yn yi'r ffordd ers. Fe chi'n rhan oedd eich cyfrifiadau a'r rhan o'i cysybhydd ym awdurdod ymweld y Llywodraeth i gael eich cyfrifiadau am y ddod, a gofyn llawer y fawr fawr gwirionedd hynny ac pan gweithio gweithio fawr ar Casgr certhoedd y fawr arweithiaid y ddefnyddio, ac yn dod o'r cyflwyno'r bwysig, o wir gael cyflym gael ei fod yma. Y fawr yw yw godiw mewn 1970au o gwobl, ac yn gweithio'r cyfrifiadau o gwwar i hwnnw. Mae'n gweithio gweithio'r gweithio'r grwpiau'r cyfrifiadau erbyn i'r cwrsnychio'r patrwysiau a pwysig i ddweud y gwbryd llachos o gychwynogi. Fellyニ上面 sy'n golygu iawn o'r bwysig ti'n rhoi ac i waith ysgolfa. Wrth yng Nghymru, felly i gael ymlaen Ch mem ar gyfer y ll Suturdбethau. Mae mam rhai yma, â tbwys pan rhan o'r projectau 0.9 roi. Nid yw'r newid hwn i ar gyfer ardi, mae'r crwydd yn y pryd ei gwerth peolawr ar y llwyd. ar y cymdeithas, iawn i ddweud o gyda i'r cymdeithas a gweithio. Mae'n gyntaf o gyflwydoedd y cysylltu'r cyfweld ddyna i ni'w gweithio ar y cymdeithas. Fy fydddoedd Drawfydd yn nhw'n meddwl gyda bod y cymdeithas yng Nghym�, a nhw'n meddwl i ddweud o ymwneud o dd sectorsiol. Fy llwydoedd y cysyllt ymddwn nhw'n meddwl ar y cymdeithas, ac mae'n tymni bellrwch yn cyfrwyno ar ei gynhyrch. 1. Ych chi oedd y gael, ac nes fydd. Second, what is the phenomenon whose value we are trying to understand? Third, are we looking in the right places in our search for value? And fourth, by what methods should we find and evidence that value? Now, in the time available to me this morning, I can do no more than sketch the importance of each. But before doing so, let me highlight a key theme of the report, and that is personal experience. Personal experience has generally been neglected in Britain as a source of the value of culture. What happens when we visit a museum, watch a play, read a novel, join a community arts event, make a quilt, play a video game? The report argues that personal experience, as an individual or as part of a group, is the root of much cultural value. Its neglect has weakened our understanding of the difference that arts and culture makes. Personal experience matters because cultural value does not reside in an artefact, a performance or an event. Cultural value resides in the way those are engaged with, by people, by audiences, by communities. Cultural value is to be found in processes, not in objects. And this observation has particular resonance for thinking about collections, implying that a collection itself doesn't have value other than perhaps its legacy value as in the models of cultural economics. The conflicting priorities of custodianship for the future and use in the present engage all those who manage collections of whatever kind. One response is the depot planned for the Boymans Van Burnigan Museum in Rotterdam, which will enable the whole collection to be viewable by the public at any one time. But institutions becoming more audience focused, institutions becoming more audience than collection focused, is a broader response that will have led you, I'm sure many of you, to ask how much risk to existing collections is acceptable. Michael Comforte argues for the much wider circulation of works in collections, while pointing to the challenges over legal ownership, trusteeship and risk that stand in the way of that happening. And Neil MacGregor evoked the 1850s debate about whether the National Gallery's collections should be placed in the heavily polluted Trafalgar Square. And a high court judge told the 1857 Commission on the National Gallery that this collection existed to provide for the, quote, ennobling enjoyment of the public. And if the dirt and environment of Trafalgar Square led the paintings to deteriorate, then so be it, he said. They're there for a purpose, he argued, one that isn't primarily to keep and conserve them. For Neil, we've lost sight of this radical notion. And conservation, he argues, should not be the paramount objective. Now asking where in lies the cultural value of an object immediately poses these questions. As chair of the Crafts Council, which has a collection of 2,000 works that chart the development of contemporary craft, it may be think about the fact that we have a handling collection, as all museums have. Our contemporary craft collection has also a handling collection alongside it. Having a set of works that can be handled implies that not being able to handle an artifact changes, maybe reduces the value of the experience. When young people examined a 2008 work by Stephen Johnson from the Crafts Council's handling collection, they said that only by handling it were they able to appreciate the individual parts of the piece that some have been cast from cheaper plastic figurines and that feeling its weight helped them to appreciate the process of making it. And there is, of course, the work of Helen Chatterjee and others on museum object handling that looks at the relationship between touch, multi-sensory experiences, and psychological and physiological states. Now embedding cultural value in experience and processes, that opens up many questions. But let me now return to my four questions. And the first one is who wants to know and why. This matters because all questions derive from a context. In many countries, value is shaped to secure government funding for the arts, and those making the case in Britain do so in terms they believe governments want to hear, which mostly means talking about the economy. The new Labour government added other objectives, not just the impact of arts and culture on the economy, but also the positive benefits for urban regeneration, social inclusion, community cohesion and health. It provoked the incisive response by Grayson Perry. This pot will reduce crime by 29%. The instrumental case for the arts was mostly about objectives that could be achieved by other means, and the case rarely compared outcomes with other ways of obtaining the same objectives. An alternative approach that begins with what arts and culture can irreducibly do was rarely taken, and the cultural sector vacated the territory on which such an argument could be built. Instead, it made the case for public funding in terms governments wanted to hear, with bold claims and quantitative evidence. But there is more than one reason to seek evidence about the difference that engaging with arts and culture makes. There is research carried out by academics better to understand the phenomenon. There's evaluation carried out for cultural organisations for accountability to their funders. And there's reflective practice with cultural practitioners and organisations reflecting critically on what they've been doing in order to improve their practice. Those three categories obviously overlap even if their objectives differ. Cultural practitioners and organisations are the most neglected of those three. Surely they should want to know whether the cultural and social objectives that they have are being met. But evaluation has come to be essentially seen as something that's done to meet the accountability requirements of funders, or as advocacy for future funding. The museum sector has in fact been particularly engaged with summative evaluation over recent years, I'm pleased to say, though some have asked how far it has fed back into genuine organisational learning. So, to my second question, what is the phenomenon whose value we want to understand? The fact that in Britain the debate about value has focused on provision subsidised by government means that debate about arts and culture neglects commercially provided culture. Third sector organisations and amateur arts, which together constitute the great majority of cultural experience. Enlarging the focus to include these requires us to ask different questions and to look in different places for evidence of value. Virtually all film, literature, music and games are provided commercially. And amateur engagement vastly exceeds professional as ordinary people make textiles or paint in their leisure time, join drama and music groups, or make digital content online. There is an ecosystem where the boundaries between government funded, commercial, third sector and amateur turn out to be very permeable. And looking at other forms of cultural provision such as this also forces us to ask more about the digital transformation of cultural experience, not just access to commercial culture through streaming and downloads, important as that is, but also co-creation of content as digital platforms, social networks, online niche communities shift the way culture is produced, performed and experienced. A challenge for large collections based institutions is posed by this spread of digital, network and niche cultures. Research for the cultural value project questioned the broadcast model of one to many transmission that characterises the digital strategy of many cultural institutions. They are analog institutions trying to live in a digital world. Recent Arts Council England reports suggest that this is becoming more, not less of a problem, but it's encouraging, I felt, that panels at this conference are hearing about more innovative initiatives than simply the broadcasting of material online to audiences. Now enlarging our focus in this way immediately opens to view the diverse locations where people engage with culture. Yes, major galleries and museums, concert halls, theatres, but also small scale spaces such as live music venues, institutions such as care homes and prisons, as well as while travelling at home and through the virtual space of the internet. The home frames most cultural engagement. In Britain, 94% of all film is watched at home, while the great majority of music is listened to at home or while travelling. Film, music, television, craft, literature, video games, as well as digital online cultural activities, are mostly experienced at home, virtually all of it, commercial or amateur. Only by exploring the value of all cultural engagement can we understand why it's important. As researchers and as cultural practitioners, we must understand the difference that culture makes. Before we ask the secondary, albeit important, question about why some of it should be funded from taxation. Publicly funded culture then assumes a much more interesting role embedded in an ecology in which the commercial and the publicly funded and the amateur support each other with public subsidy enabling key parts of that ecology to function. Enlarging the range of cultural experience we explore also changes the way we think about access, challenging the deficit model that defines the approach to arts participation. The deficit model asks who is absent from publicly subsidised provision without asking about the cultural activities that those people, often from disadvantaged or minority social groups, are actually engaging with. A broader focus captures streamed film, music on YouTube, television, crafting at home, sharing photos on Flickr, singing in a church choir, and a great deal more. Inequalities of access, resources and infrastructure are certainly important, but we must still ask what cultural activity people are involved in, and this means valorising other than elite and publicly funded culture. It also, incidentally, means valorising libraries because the taking part surveys, their DCMS taking part surveys show that amongst cultural activities it is only libraries which see those from BAME groups more engaged than those from white groups. But libraries don't fit the deficit narrative, something that's uncomfortable at a time of significant decline in their public funding and provision. My third question asks whether we're looking in the right places when we look for value. Giving priority to data on economic and social policy objectives distorts our understanding of value, and even in conventional areas such as the economy, cities and education, it leads us to focus on the wrong things. The report has six separate chapters on each of what we call the components of cultural value. Two of these, which we call the reflective individual and the engaged citizen, are discussed first because they are often neglected, and the other four components may be more expected, the economy, cities, health and education, but in each of these we start where possible with personal experience of arts and culture. Personal experience as an individual or in social settings may be harder to capture with quantitative indicators, but it's often a key to understanding. I could deliver a 45 minute lecture on each of these components of cultural value alone, so what I'm going to say will be very compressed, but it will give you a taste of what we think is important and how it might reconfigure our approach to the value of culture. Let me start with the most innovative of our themes, the reflective individual and the engaged citizen. A long chapter explores how arts and culture help to shape reflective individuals, facilitating greater understanding of themselves and their lives, increased empathy with respect to others, and an appreciation of the diversity of human experience, cultures and people. The report draws on research on very diverse topics. For example, the journey undertaken by offenders in prison, a journey prompted by arts and cultural activities which open up a sense of uncertainty and options in a prison world where only narrow certainty exists. If it doesn't in itself stop re-offending, it starts the process of persistence by which offenders see themselves differently as people with choices. A different example is Oscar Wilde's parable, The Doer of Good, where a figure walks through a city and sees the ambivalent results of all his previous good deeds. Discussing that text led doctors to confront their assumptions about what it means to try to do good and the difficult behaviours to which that can lead them, and they ended up talking about order hay. They'd not have had such an open conversation had they confronted the theme directly. There are other psychological studies that demonstrate people becoming more empathetic through reading literature, or how reading literature allowed to each other in small groups enables vulnerable people with little history of reading to reflect on their own experience and think about their own identity. There's the way museums have sought to present stereotyped peoples in rounded and human ways, whether it's the British Museum's exhibitions on Iraq and Afghanistan, or on a more modest scale the Horniman Museum's exhibitions of photos of Romanian residents of London and of Romanian clothing, aimed at re-humanising people and countries represented narrowly in current political discourse. If the ambitions of these exhibitions were clear, without formal evaluations of visitor responses, we can't actually know how far those ambitions were achieved. But serious evaluations were embedded in the project on disability representation in museums and galleries a few years ago, which saw nine partner museums develop new approaches to the presentation of disabled people's lives, concluding that the various displays and re-displays had shifted both understanding and attitudes in relation to people with disabilities. They had challenged stereotypes, though the evaluation showed they did it by repositioning rather than entirely removing the stereotypes. The project on disability history in UK archives reported on in this conference looked interesting in precisely that context. These many examples showed the power of cultural engagement to help both reflection and empathy, and the key to this is what is known as aesthetic distance, which helps consideration of difficult dimensions of one's own life and experiences, aesthetic difference. This is not real, but it feels like reality. A related component that we talk about considers how arts and culture help produce engaged citizens, promoting civic behaviours such as voting, joining civil society organisations and volunteering. It also helps articulate a broader and often critical political imagination. A workshop that we organised, brought together arts organisations which work with communities on climate change, concluding that if art was used not didactically to tell people what to do, but rather as a stimulus for reflection and debate on the subject, it could significantly influence people's willingness to change their behaviours. Cultural engagement helps translate abstract ideas into narratives on a human scale, and by doing so in an open and non-didactic way forces us to reimagine our assumptions. This has been much deployed to help communities traumatised by war and civil conflict to build post-conflict reconciliation. Cultural projects to build bridges between communities are more common than those that work within a traumatised community to help its own understanding, perhaps because bridge-building offers a higher profile for potential funders. While some simply brought communities together, as in Artichoke's huge light shows at Dairy London Dairy City of Culture, others use cultural engagement to explore division and trauma as in Theatre of Witness in Northern Ireland. The alternative approach sees work primarily inside a community, such as Caboch Theatre's remarkable plays provoking difficult discussions in Belfast and Northern Ireland communities that could only take place in that safe way within their own community. Local museums have similarly worked in Northern Ireland to enable people to rethink their sense of the past within the security of their own community, and projects by mid-anchoring museum service, for example, engage local people to explore multiple traditions as a way of allowing plural voices and histories so that identities and painful past might be set within a far more complex sense of what identity is. In her work on the memorialisation that followed peace in the states that emerged from the bloody break-up of Yugoslavia, the Estonian anthropologist Christine Kutma concluded that the narratives constructed in museums, archives and heritage sites mostly served to construct and fix exclusive national and ethnic memories. On the other hand, artists and theatre groups in these new countries often challenged official memorialisation, opening up spaces for reflection and questioning. Is this a problem that will always confront permanent collection-based institutions in comparison with ephemeral cultural forms, even without such specific post-conflict tensions? Moving forward after war and conflict is an example of something that is becoming ever more important, and that is the building of collections and archives as a way to assert identities in the public sphere. From the work of archive and university in Leeds to help traveller communities give substance and coherence to their cultural materials, on the one hand, to the exhibition I saw at the Rio Art Museum in Brazil, where people with indigenous tribes origins collected documents, stories, videos and interviews as part of pressure to create an indigenous cultural centre, in a world where those without an archive of stories and collections were seen as marginalised and inferior. After considering the reflective individual and the engaged citizen, let me turn much more briefly to some of the other components of cultural value where the claims made have often looked for the value in the wrong place, or too often in places where simple numbers could be found and presented as evidence. With respect to the economy, we must look beyond the economic impact where methodologies and results are open to serious criticism and concentrate on other benefits. These more relevant benefits might include the way a vibrant cultural environment supports the creative industries, recognising that all too often advocates assume a connection between the two, between art and culture and the creative industries, without seeking to understand how that connection actually works. Collections as collections are often overlooked in such a limited consideration as is given to the issue. The array of contemporary textiles in the Significance Exhibition were explicitly responding to historic embroideries in the Gorthrop Textiles Collection. Alice Kettles' Last Lim is beneath the late 1930s applique sample. While collections as an archive for creative outputs and processes are frequent with artists using collections in order to stimulate their imagination, such has been drawn upon by Charlotte Hoads for her remarkable art inspired by 18th century works in the Wallace Collection. There are countless but only anecdotal examples of practitioners in the commercial creative industries using collections as sources of ideas and stimulation because so many in the creative industries situate themselves in relation to a cultural and creative past. The songwriter Will Taylor of the Funk Indie Band Flight wanders the V&A National Gallery in British Library to fuel his ideas and imagination. While Rachel Kelley's printed textiles and wallpaper designs that draw on some of the unfinished work that draw on the sense of the unfinished are inspired by incomplete works she finds in textile archives, the distinction that some draw between museums, galleries and archives maintaining past knowledge while the creative industries develop and adopt new knowledge is in my view entirely unhelpful. This relationship between arts and culture on the one hand and creative industries on the other has countless dimensions of which the use of collections is but one. And another example of the relationship to the economy invites us to see art and culture as part of a wider innovation system shaping a population that is challenging and creative generating spillover mechanisms that link arts and culture, the creative industries and other parts of the economy. Or there's the part played by a lively cultural environment in creating the conditions that attract talent and investment to a city. It's all seemed much more important for the economy than the economic impact assessments that dominate discussion of the economic importance of arts and culture. A broader vision is also needed for towns where too much attention has been given to regeneration on the one hand through new creative and cultural quarters or on the other through large infrastructural investment in concert halls and galleries or new city libraries such as that now planned for Dublin's Parnell Square. A major led urban regeneration is usually accompanied by gentrification as more prosperous residents are attracted in and also by the experience economy where outsiders come for the buzz and the cafes and the shopping. A corollary is the disruption and exclusion of communities as those who live there and those who produce there including most involved in creative production are forced out by rising property values. Major cultural led regeneration projects where the big new buildings or creative quarters may improve a place but they rarely improve a community. In contrast, smaller scale cultural assets seem to have a more positive effect on neighbourhoods. The social impact of the arts project in the United States has shown how small commercial community and participatory arts such as design studios, small music venues, community arts groups are associated with more sustainable social benefits and may constitute a more balanced and organic path to culture led regeneration. When it comes to the benefits of arts and culture for health governments tend to focus on financial savings from clinical arts therapies such as those at speed recovery from physical conditions. These are important but they will never yield savings on the scale needed to show the importance of the arts to health. The interest in cultural commissioning by trusts and GPs is welcome including museums on prescription which is the subject of a paper at this conference but initiatives often have to show savings to feed into cost benefit analysis frameworks when this is unhelpful as our such approaches in public health. We need to focus instead on the use of cultural engagement to deal with mental health problems including the depression that often inhibits recovery from physical conditions or the use of art and design for better healthcare environments where both patients and staff feel ownership and empowerment and the substantial evidence of how community arts interventions can improve social inclusion and mental health and there are of course the benefits of cultural engagement for older people as well as for those living with dementia. None of these benefits are susceptible to the control of variables and experiences that can generate precise financial or other outcomes though there is extensive other evidence of their importance. Now, as I've ranged across the various ways that arts and cultural engagement may produce benefits to individuals and society, one issue has kept coming up and that is that simple quantitative indicators can narrow and distort our understanding. Let me make it clear that quantitative methods are very important in areas where they provide appropriate evidence but they are not in themselves more rigorous or more appropriate than other forms of evidence and that is why my fourth question is so important by what methods should we find and evidence that value. If we're interested in methodology we must start with my first three questions that I've already discussed because only in that way can we see how context and purpose determine the character of our investigation. Only in that way can we see the complexity of the variables involved and how they interact and only in that way can we see how we must capture and why we must capture the personal dimensions of engagement. Only when these first three issues have been considered can we ask whether we're posing the right questions and using the right methods to answer them. The search for measurable indicators of value derides from a wish to start with what can be counted rather than to ask what we're interested in and how best to evidence it. And herein lies the seductive attraction of using simple quantitative indicators. The success of art in prisons is tested by re-offending rates. Effects on the economy are tested through economic impact studies. Arts education in schools by narrowly defined standardised attainment tests. Where the real benefits in all those areas are known to be much more complex and much more interesting. If we're trying to capture the wider value of culture we must be open to a much broader range of methods and of evidence. We must also question the hierarchy of evidence and methodologies. One that privileges quantitative data, the experimental method and randomised control trials. Understanding the difference that arts and culture makes to individuals and society may involve establishing causal relationships. But linear models of cause and effect can only be found in very precise situations to answer very precise questions. Most research on arts and culture can only show an association between variables. And yet the experimental method and the randomised control trial are seen as the gold standard for evidence in areas for which they were not devised. And it's not only for arts and culture that we need to move from a linear approach to one that embraces complexity, but it's particularly necessary there. Oversimplifying a question is not a way to improve understanding. The equal validity of methods from other disciplines, not least those in the arts humanities and qualitative social sciences, is to recognise if we are to make progress in research and evaluation in these areas. Broadening our questions in such ways requires a wider range of methods. We need to recognise the rigor and the relevance of qualitative approaches, such as those from ethnography, hermeneutics, linguistics, history or arts-based methods and many others. The arts and humanities contribute fundamental elements to the mix of methods. They introduce analysis of meanings and representations, exploration of historical parallels and experiences and close reading of texts, language, images and performance. Without these and other arts and humanities approaches, a great deal will never be understood. They enable us to capture benefits such as reflectiveness, empathy, citizenship, community cohesion, mental health, educational motivation, creativity, resistance from offending and much, much else. Methodological rigor is just as present in those disciplines as in the sciences, but it's a different rigorous approach, better suited to the complexity of activities and responses that characterize art and culture and it will often combine qualitative and quantitative evidence. Let me just mention a few examples from research we funded through the cultural value project. The reader organization brings together in small groups people who have had lives damaged by abuse, drugs and mental health problems. By reading aloud to each other from works of literature, people with little background in reading start talking about their own lives and experiences. This is researched by meticulous reading of transcripts from the discussions using methodological approaches from literature and linguistics. There is the use of focus groups to learn how people value public art in an English coastal town, Ilkrakwm, with visual images providing a non-verbal stimulus to discussion. Or the value of digital archives in the Coman Echry, the historical societies in the Outer Hebrides, were explored by ethnographic methods using fieldwork, participant observation and semi-structured interviews, augmented by digital data responses. Another project compared discourses on four museums in Manchester from the second half of the 19th century and the late 20th century using historical methods to help understand the public good rationale for promoting and supporting these institutions over time. It highlighted the continuing tension in both periods between public rhetoric and institutional practice, as well as the uncertain relationship between aesthetic qualities and moral benefits in the discourses of both periods. A final example took a war memorial to Sikhs who had died fighting for Britain, and used historical and literary analysis to understand the different layers of meaning and value attached to it by participants at its annual ceremonies just outside Brighton. Now, none of these understandings of value could have been achieved without the methods of the arts and humanities. Nor could there have been research without case studies. The depth provided by case studies must be compared with the breadth provided by large-scale data capture. Each brings something different to our understanding. Rigorous case studies are one of the great strengths of what arts and humanities bring to society's knowledge and understanding, and they might be the first step towards creating both sensible and scalable evaluation methods, enabling us better to understand the underlying processes and how they are shared across different contexts. In calling for the valorisation of arts and humanities methods, I am certainly not decrying those of science or of quantitative social science. There is no hierarchy, and one approach should not be privileged over others. Nor am I decrying the use of econometric methods on which we funded important work using contingent valuation methodology and subjective wellbeing valuations with respect to Tate Liverpool and the Natural History Museum in London. What matters is that methods be appropriate for the understanding that is being sought. Indeed, if we are looking for the value associated with specific cultural organisations, initiatives or programmes, we must often turn to multi-criteria analysis that brings together findings from various approaches. One such tool is the balance scorecard, devised for business to monitor performance against different strategic goals but now use much more widely. The balance scorecard exists to bring together different criteria without losing their separate meanings, presenting qualitative and quantitative results in a report that allows us to balance the different outcomes. Although not widely used by the cultural sector, Boston Consulting devised an approach for the Banachee Museum in Athens, and it was also used for long-term evaluation of the HLF's Townscape Heritage Initiative scheme. Social return on investment is a multi-criteria approach being used by public and third sector organisations. It has many good features, but it's a multi-criteria approach that generates a single numerical result. There are six pounds of social value for every £1 of cost. You can only get that by generating proxy financial values for non-financial outcomes, such as confidence, resilience, reflectiveness or social capital. That's a serious problem for cultural value when most of the outcomes are not financial. The great benefit of multi-criteria evaluation is surely that it allows us to capture and report outcomes for different criteria. We often confuse discussion about evaluation methods with discussion about reporting methods. The leaner and more precise the reporting on outcomes, the more scientific it is thought to be. My argument points away from that, towards reporting on a range of outcomes associated with different criteria for value, allowing judgement to re-enter the evaluation process. The problem with much discussion of the value of culture lies in our failure properly to address my first three questions. As far as my fourth question is concerned, an acceptance of existing discourses about evidence and methods. There is no single measure of cultural value, but a complexity of experiences and benefits to individuals and society that we must try to capture. Let's abandon the hope that a continuous refining of methods will give us secure answers. We must develop our methods certainly with clarity and imagination, and we must certainly insist on rigorous application of the methods we use, but we should abandon the search for the holy grail for a simple measure or set of measures of cultural value. If we want to understand what is going on in cultural engagement and the value that derives from it, then we must use a diversity of methods and diverse sources of evidence. This is because value lies in engagement and process, not objects and performance. What we are mostly exploring is complex interventions and complex experiences in a complex world. This talk has focused on the arguments of the cultural value project. Although I have used examples and reflected a little on the value of collections, it is for you to decide the ways in which the report helps your own discussions at this conference and beyond. Let me conclude with a final thought. In our work to understand and value culture, we must keep in mind my very first question. Why do we want to know? The answer is to evidence and report for a variety of purposes. I say this because one of the dangers inherent in sophisticated measures of value is that they become the target to be achieved by an organisation, an initiative or an investment, especially one dependent on public funding. Once the sophisticated measures become targets and KPIs, we will have lost the risk and uncertainty that is at the heart of cultural practice and cultural experience, whether for a museum, a theatre company or community arts organisation. Creating spaces for uncertainty and change is what makes arts and culture so essential to our societies. My report was written before the rise in Europe and the USA of a new type of popular politics resting on slogans and certainties rather than questions and reflection. The capacity of arts and cultures to engender nuance and questioning is surely even more needed today. Thank you.


Hello friends, I am Sanjay Gupta. In this video I am going to demonstrate you how you can calculate some of the positive and negative elements present in 2D array. Before starting, you can note my information, you can follow or subscribe my YouTube channel through the URL youtube.com slash sanjaygupta underscore tech school. You can download my programming app TechMS which is available in Google Play. Now I am going to implement a code for you which will calculate some of the positive and negative elements available in 2D array. So first I am including a header file stdiv.h, then I am implementing main function. Inside main function, first I have to declare a 2D array. So its dimension is 3 by 3, then ij variables, then s1 which is 0, s2 which is also 0. Then I am printing a message, enter elements with the help of printf, this message will be displayed on console. Now to receive elements, I have to implement a for loop. Inside this for loop, I am implementing another for loop. So first loop is pointing to column sorry rows and second loop will be pointing to column elements. So with this nested loop combination, I am going to repeat the scan of statement which will read all the elements and all the elements will be stored at different indexes of a matrix. Now after completion of reading operation, I am implementing another loop. So this is first loop which will for rows. Inside this loop, I am implementing nested loop which is j and it will repeat for columns. Now inside this loop, I am implementing a if condition. If aij is greater than 0. So if array element which is available at aij position is greater than 0, then it is positive value. So I am adding that number into s1 using this statement s1 equals to s1 plus aij. If this condition is false, then I am implementing else if aij is less than 0. So if array element is less than 0, then I am going to add that element into s2 variable. So this is the statement s2 equals to s2 plus aij. So after completion of this nested loop combination, the result will be displayed on console with the help of this printf. So positive sum equals to percent d slash n negative sum equals to percent d then s1 comma s2. So this way I have implemented the complete program in front of you. So first segment of program is reading elements from user. Then second segment is calculating sum of positive and negative values. And after that at last sum is printed on console with the help of printf statement. Now I am going to execute this code. Sorry I forgot comma here. Again I am executing this code. You can see it is working now. So I am entering values 1, 2, 3, then minus 4, minus 5, minus 6, then 7, 8, 9. You can see the result. All positive numbers are added together and negative numbers are added together. So negative numbers are 4, 5, 6. So 6, 5, 11 plus 4, minus 15 and remaining numbers are equals to 30. So this way the program is working properly. It is calculating sum of positive and negative numbers separately. So I hope you have understood the concept well. If you want to watch more programming related videos, you can follow or subscribe my YouTube channel that is youtube.com slash tanjaygupta underscore tech school. You can download my programming app Techimage which is available on Google Play. Thank you for watching this video.


With action and suspense out of the Old West comes the most famous hero of them all, Huffleong Cassidy, starring William Boyd. The Ring of the Silver Spurs heralds the most amazing man ever to ride the prairies of the early West, Huffleong Cassidy, the same hoppy you cheer in motion pictures, and the same California you've laughed at a million times. Raw courage and quick shooting have built a legend around this famous hero. Huffleong is a name to be feared, respected, and admired, for this great cowboy rides the trails of adventure and excitement. William Boyd as Huffleong Cassidy, and and declined as California. Here's Hoppy now with another new story. We call this adventure California bust because that's exactly the way it was as you'll soon find out. Everything started in the Buffalo Ridge Jail where the law was holding young Tom Anders for the murder of Cleet Mapes. There were some of us who believed Tom was innocent, and for a time it looked as if we could prove it. That was why I'd gone to the jailhouse to buttonhole the sheriff. You mean that Hoppy? California's really on the way here with evidence. It'll clear Tom. He says it will, Sheriff. That's the message he sent me by Shorty Saunders. California's just coming in. He's been up on our North Range for the last month or two. When it gets here, I hope we'll be taking Tom out of jail. Hoppy, I hope so too. Yeah? Surprised to hear you say that, Sheriff. You're the man that arrested him. Well, because the evidence said I had to. Uh-huh. I still ain't seen no evidence says I was wrong, but just the same. Well, I don't know, Hoppy. When you've been along as long as I have, you got a feeling about these things? Sure, I know what you mean. But California better not fool around any getting here. Just one hour from now, I got to take Tom back over to the courthouse. Today's the day Judge Blackburn's going to pronounce sentence, you know? Yeah, I know. That's why I got here so fast. Yeah? Wait, Tom's had it figured, Hoppy. It was Barron rigged this charge against him. Oh, how'd you figure that? Well, Cleet Mates, fellow Tom's supposed to have killed, was one of Barron's line writers. Fellow Tom says he never got along very well with Barron. Uh, Barron's been after that place at Tom's, hasn't he, Sheriff? Yeah. He cuts Barron off from the winter range. Tom's been refusing to sell it at Barron's price, and the way Tom figures, Barron decided the cheapest way to get his place would be to frame him for murder. Uh-huh. And you go along with that? Well, I don't know. All I know is it makes sense, kind of. And then there's this feeling I got that maybe Tom ain't guilty after all. I see. Besides, I guess I'm feeling a little sorry for Tom on account of his brother, too. You mean, Andy? Yeah, they've been on the out, you know, but Tom's been hoping these pixies in and bring Andy around to side with him. So far, he's never showed up, though. And, uh, Andy works for Barron, too, doesn't he? No, Hoppy. He used to. What's that? Well, Andy, what do you... I mean that, Hoppy. He used to work for Barron. From my moneys of crookin' I told him so.  Good boy. You see, Hoppy, pleading me were pretty good friends. At first, I really figured Tom killed him. It was just like the Sheriff here did. Since then, you know, things have happened, and I haven't noticed things, so... I don't know, anyhow, here I am. Andy, do you know anything that had proved Barron framed Tom? I'm sorry, Sheriff, but I don't. It's just that I've noticed things. Nothing that'd do for evidence at all. Oh, well, that's all right. As soon as California gets here, we'll clear this. Oh, I'm sorry, but that's the other reason I'm here, Hoppy. Huh? What do you mean? I was supposed to tell you. California's disappeared. Andy, why... Your bar 20 boy's been out looking for him, Hoppy. You see, California's horse showed up all alone without him, and now... well, now California just ain't to be found. Now, back to Hop along Cassidy and our story. California or bust? It was just exactly at that moment when young Tom Anders expected California to arrive with a testimony that would clear him of a murder charge that he learned California had disappeared and couldn't be found. Soon afterwards, Tom was taken back to the local courtroom, and now he stands before Judge Blackburn, waiting to be sentenced. Order, order and discord, order. Now then, the jury has found the prisoner, Thomas Anders, guilty, and it's my duty to pass sentence. In judgment of this court... Just a minute, your honor. I think there's good reason why you shouldn't pass sentence at this time, and with your honor's permission, I'd like to tell you what that reason is. Order! Order! Order! I demand order here. This is highly irregular, Mr. Cassidy, but this is a court of justice, not of technicalities. So if you have something to say that bears on this case, I'd be glad to hear it. Do you have? I do. Your honor's acquainted with California Carlson. I know him. Yes, I might say I'm acquainted with him. What about it? Your honor, he's disappeared. He was on his way here to give testimony. I have reason to believe would have cleared Tom what something's happened to him. I'm not accusing anyone of foul play, but I do move that sentence be deferred till he can be found. All right, protest that, your honor. Silence! Silence! Silence! All right, I'll have this court cleared. Now then, on what grounds do you protest this request, Mr. Barron? On the grounds that this is just one of Cassidy's tricks to gain time to engineer a jailbreak.  If I do, Mr. Barron, that will be a matter between me and my conscience and none of your affair. On the other hand, Mr. Cassidy, before I could delay sentence, I'd have to have some proof that Carlson's testimony would be of the nature that you claim. Can you give me such proof? I... well, no.  Well, good enough for me as a man, Mr. Cassidy, but not as a judge. I'm sorry, but your request is denied. What's your honor? I denied, Mr. Cassidy. If you persist, you will be in contempt of court. Silence! Silence! Now then, the prisoner, please rise and stand facing the bar. Thank you. It is my duty to pass sentence on you, Thomas Anders. Therefore, I now remand you back into the custody of the sheriff to be held by the sheriff till the morning of the second day hereafter, when it shall be his duty to hang you by the neck until dead. And may God have mercy on your soul. Court dismissed. Hold it, boy. Hold it. Hoppy! Hey, Hoppy, over here! Hello there, Andy. Hey, I've been looking for you, Andy. The town's filling up with burned men. What are you supposed to going on? He likely believes his own guff about a jailbreak, Hoppy. I guess he sent his gun hands into town to make sure there isn't any.  A jailbreak's out of the question. The only way we can help your brother is by finding California. Then there ain't much time to do with him, Hoppy. Tom hangs in less than 48 hours. But you'd be surprised how much can happen in 48 hours. I'm going out on the trail. I want to find a place where California and his horse got separated. You want to help me? Of course. It'll be helping Tom, won't it? Right. I'm going to round up the bar 20 boys and go back out to Clover Creek Trail. He might have tried to get into town that way. If you want to help, you can go back over the main trail. My boys might have missed something. I'll do that. If you find anything, let me know. Sure will. Better get started, haven't we? Right now. See you later. Let's go, Topper. Good luck, Hoppy. Where are the rest of the boys? I told them to scatter. They're working them draws. Who's this coming? Looks like Andy. Yeah, I reckon he is. He's pushing his horse kind of hard for this kind of country, Andy. I'm not wondering what's up. I'm hoping he's got news. Hi, Andy. Hi. Find anything? Yeah, I found a little, Andy, but it's petered out on us. Oh, oh, over there. Found something. What was that? Now, Mack here found a place where California hit it tough. Looks like he saw he was going to be jumped, so he left the saddle and took the cover. Must have been some shooting, though. That's why his horse got scared off. I guess he had to give up. But where they took him, we can't find out. Found the trail a little way, but like I said, it petered out on us. Wait a second, Hoppy. How many would you say was in that bunch that jumped him? To me like there must have been three of them. Wouldn't you say that, Mack? Yeah, there was three all right. And when they left the trail, we could see where one of them was riding double. Yeah. Hey, his company must have been California. But we lost them again. Then I think I know where they are. You sure of that, Andy? You know old Perkins, the old gaffer homestead near the foot of the mules? Yeah, I know him. Well, well, Perkins claimed he's seen California and three other fellas riding toward Old Fort Hooker. And one of them riding double. I thought he was local, but now darned if I don't think he really saw them. Wait a minute, wait a minute. That fits. Fort Hooker's been abandoned. Should make a good hideout. Brand wouldn't let him bring him there to his place for fear of getting in trouble. Yeah, they must have took a chance of going back to the main trail. That's why we couldn't follow him. The stage come along afterwards and wiped out the sign. It fits from first to last, Mack. Andy, you've got to do me a favor. What's that? Get over to the fort right away. Keep watch on it. See if he can spot California. Mack and I'll round up the boys and follow right after. Oh, where'll I meet you? Tin Horn Butte. That'll make a good look out. Right. I'll get going.  Hurry up! Uh, we'll be there. Come on, Mack. We got to move fast. Ho, ho, ho, top right. I'm glad you got here, Hoppy. They're in there. I've been keeping watch. I saw California when they locked him up. They got him in their own storehouse down there. It looks like the three that grabbed him met up with at least a dozen more, Hoppy. Well, that's all right. It isn't going to stop us. We'll make our play tonight. Mack, come over here. Okay, Hoppy. Tonight. But it's only noon half. They were wasting time. Well, wait a minute. We get California tonight and we'll have plenty. Yeah. Make our play now and broad daylight.  That's right. Hey, Mack, take the boys and get them stationed so we'll have the fort surrounded. Right. I want to make sure those fellas down there can't slip California away without our knowing it. Are you got that? Yep. And get going. And keep out of sight. Okay. But listen, Hoppy. Don't argue, Andy. Do it my way. They haven't a chance. You got it now, boys? Yeah, I got it. Well, let's see if we have, Hoppy. Right. Now, we're to give you and Andy a 10-minute head start. That's right. That shows you can work in close to that storehouse under cover of dark before we start doing our stuff. Good. Then we're to fake an attack. Not really trying anything. Just make a hullabaloo so they won't know what you're doing. That's it, Mack. You ready? You and Andy can start any time you want. We're ready right now. They got two of them there. How much time we still got? Well, that 10 minutes are up now. When the shooting starts, we'll make our play. Rush them and let them have it. No shooting. Just knock them out. Right. Well, what if the door's locked? Don't waste time. There's some timbers over there. Grab one and start busting it open. That's it! Come on! Quick! California! It's too dark. Can't see anything. They must have gagged him. Wait a minute. I've got a match. Wait. California. What? What is it? Hoppy, what's the matter? We've been tricked. What? I don't know how they did it, but they've tricked us. Take a look for yourself. He's gone. Now, back to Hop along Cassidy and our story. California or bus? When Hoppy and Andy Anders entered the storehouse belonging to old Fort Hooker, they found that California had vanished. And now, as they look around in bewilderment, they can hear the approach of their enemies. They're coming, Hoppy. You sure he's gone? California? Of course he is. You could see that for yourself. This place is empty. But... I don't get it. Neither do I. All I know is we'd better be traveling or they'll get us. Come on! Where are we going? Back to Tin Horn View. We'll be lucky if we make it. Well, we got here, Andy. Come here, topper. Come on. You better get mounted. Right. Hold still, boy now. Come on. Hold still. What now, Hoppy? You know this has wasted over half a day for us. I know it has. Time to do the hanging less than 30 hours now. What about California? Aren't you worried about him?  How can we figure that? What if he keeps California alive even if he escapes? The worst that can happen to Barron is Tom going free. But if he kills California, you'll have a murder charge hanging over him. My guess is he'll keep California alive. I thought California could pin Cleats killing on him. I told Judge Blackburn California could clear Tom. But there's a lot of difference between clearing one man and convicting another. No. But clearing Tom is good enough for me. And we'll need time for it. I'm going back to town, Andy. What for? See if the sheriff won't postpone that hanging another 24 hours. I bet and he won't. I bet the same way. But we need time. I gotta make the try. Then we'll make another try to find California. But how? Where is he? Where we gonna look for him? No place. Huh? We've tried and failed. Now we'll try the other way around. What do you mean? We couldn't find California, Andy. But maybe California can find us. What? Never mind explanations now, Andy. I got to get going. You stay here and wait for the boys. Tell them where I've gone, will you? Oh, yeah, yeah, but I... See you later. Come on, Tomber, let's go. It's me, Sheriff Cassidy. I want to talk to you. Hurry, open up, will you? Well, just a second. Come and hop in. What do you want? I hated to wake you like this, Sheriff. But I had to see you. Judge Blackburn refused to delay sentencing, Tom. Now I'm asking you to delay executing that sentence. Oh, Hoppy, you know I'm on your side. I've told you so, but I can't do a thing like that, and you know it. Why not? Well, no authority for it. That's why not. Give us just 24 hours. It's a matter of life and death. I can't give you one. But if you... No use keeping on about it. Just can't... Hey, Tarnation, now who is this coming? Seems like there's more folks up and around at three in the morning than there is in the daytime. Yeah. Who is it? Hoppy! Well, that's Mack. Here I am, Mack. See, you fellas? Both of you. I got bad news for you both. Mack, what is it? Hoppy, I hate to say this, but... California's dead. No, he isn't. He can't be Mack. What is it? Sorry, Hoppy, but it's a fact. Baron killed him. Hey, wait, wait a second.  You got proof of that? Shorty Saunders will give you your proof, Sheriff. He's seen it happen. He did? In fact, his Baron tried to kill him. Left him for dead. He's at the bar 20 now. He is? Well, how he dragged himself there, I'll never know, but... Hey, hey, wait. Can he talk? Well, sure he can. He told me... All right, then. Then I'm going to get out there. You fellas wait here. I'm going to dress. I'll be back immediately. Saying crump, are you sure of that? The sheriff thinks California's dead. From what I heard, he's got Shorty Saunders word for it, Mr. Baron. And he thinks I killed him? That's what I heard, Mr. Baron. It's a lie. They're framing me. Sure. What were you going to do about it? I don't know. I've got to think this out. Where's the sheriff now, crump? Is he coming here? I don't think so. I think he was heading back to town first. That cassidy's behind this. A bit of million, that dirty loot. Wait a second. Wait a second. Maybe this isn't so bad after all. Now, let me sink you. Say, you know, crump, maybe this isn't so bad. What's so funny? I know a little bit more about what's going on than Cassidy thinks I do. I got an idea that this time he's played right into my hand. Let's see. Yeah. Yes, sir. He has. And now, by thunder, I'll break him. Here's your office, Hoppy. I'll open up. Come on, Andy. You come in, too. We've got things to figure out. Go on in. Yeah. Don't need a lamp, I guess. It's getting light. Now, what do you figure we ought to do about this, Hoppy? Well, if I were you, I'd get right out to Barron's place and put him under arrest. Yeah, first off, you'd say so. But that's a long ways. And what if he ain't at his headquarters place? I don't suppose you fellas are forgetting I still got a hanging to take care of tomorrow morning, are you? Confounded, Sheriff. You mean to say that after this you're still figuring on going through with that? When I arrest Barron, it'll be for killing California. Tom was arrested for killing Cleet Mates. Ain't the same thing. I don't know if they're even connected. Listen, Sheriff, I... Excuse me. Maybe I can help you, fellas. What is that, Barron? You left the door open. So, if the way you were talking, I could hardly help hearing what you said. You won't have to come clear out to my place to arrest me, Sheriff. You can do it right here. I will. I'm arresting you here and now. For California's murder? What else? Well, I wouldn't be too hasty about it if I were you. Suppose I could prove that this is a trumped-up case against me. Suppose I could prove it had been trumped up and Cassidy was behind it. What then? That ain't neither here nor there. There it is. You haven't answered my question, Sheriff. I'll answer you for the sake of argument. If Cassidy pulled a stunt like that, I'd jail him quick, just as quick as I'm going to jail you. You'd better wait a minute. All right, bring him in, Crump. Okay, boss. Come on, California. Ah, there, California. Hello, California. I'm sure glad to see you. Well, there goes your case, Sheriff. What do you do now? What I said I'd do. Better tell your boys the bar 20 won't see you for a spell, Hoppy. You're under arrest. Now back to Hop along Cassidy. Didn't you, Hoppy? You're under arrest. Yeah, I heard you, Sheriff. But it looks to me like this is one of your tough days. None of your arrests seem to stick very well. I sure am glad to see you, little California, but I'm not surprised. As a matter of fact, I've been expecting you. Huh? You have, Hoppy? Sure, that's what this whole thing was for. I couldn't find you, so I thought I'd turn things around and let Baron bring you to me. That's got a funny sound to it, Hoppy. You'd better explain yourself. Nothing I'd rather do, Baron. You see, I want you to hang in Tom's place. What's that? You heard me. That's why I used this crooked friend of yours to bring you and California in here. Hey, now, you were looking right at me when you said that. What do you think- Was I, Andy? Well, I guess that's because I meant you when I said it. Why, you- Don't try to lie out of it, Andy. I've been on you ever since we raided that fort and found California wasn't in it. So do you. So what do you think that proved? You said California was in there. That you'd seen him. I placed my men so that I know he couldn't have been taken away. So as far as I'm concerned, it proves you lied to me. That's what you say. Uh-huh, that's what I say. That's also the reason I let you think California's testimony would clear Tom, but wouldn't convict Baron. Oh. So that you'd tell Baron that and he wouldn't be afraid to bring California in here. What's California know about me?  That's all Baron. I've seen you do it. You're lying. Like blazes I am. I can point out the very spot. You can? Yeah. It was up on a North Range Shurf. I've been up there alone the last couple of months. Baron killed Cleat. Then he and Andy picked him up and moved him to where you found him. Well, why didn't you report this? Well, uh, I've been having bad luck with horses. The horse I had up there stepped in a gopher hole and broke its leg. Ah, too bad. It was too far to travel anywhere as a foot, so the first I could get word out was when Shorty Saunders showed up with supplies for me. Shorty brought me a word, Sheriff Hanley, and I rode into town to tell Tom he didn't have to worry. Fred, I did pull one fast one on you, though, Sheriff. Huh? Shorty wasn't shot up like you thought. That was just bandages and a lot of red ink. Now, you shouldn't have done that to me, Hoppy. It's the only way I could smoke Baron out. I protected myself by telling Judge Blackburn what I was gonna do ahead of time. You wanted to protect yourself, Hoppy. That was the wrong way.  You kept your eyes on me.  No! You... Good work, California. Hope you didn't break his skull. I kind of hope it did. But if he wanted to protect himself, he should have kept his eyes on me. Well, there's your prisoners, Sheriff Hanley. Thanks, Hoppy. You've done a real slick piece of work. Ah, crooks are fools, Hanley. Yeah, I guess they are. That's what makes it so easy to catch them. You can fool them so easy. Well, that brings to a close the exciting story, California or Bust. Hoppy's next adventure is called Death Comes Invited, and it begins in eastern Nevada near the town of Franklin. It involves a savage ambush and a murder. Don't miss it. Apollon Cassidy, starring William Void, is transcribed and produced in the west by Walter White Jr. California or Bust was written by Gibson Scott Fox with original music under the personal direction of Albert Glasser. All stories are based upon the characters created by Clarence E. Milford. This is a Commodore production.


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All right, tip number two, what is M-PIN? Hey guys, Eric Coffey here, host of Score Contracts YouTube channel, and we are bringing you Sam.gov tips. These handy tips are tools that you can use and consider when getting registered in Sam.gov system for work management profile. If you don't know what Sam means, no worries. Go back and watch tip number one video for a complete explanation. But in short, it's the first step to doing business with the US federal government. All right, all right, all right. So for today's tip, we are looking at this weird acronym in Sam called an M-PIN. A what? PIN? Does it look something like this? Probably not. M-PIN stands for Marketing Partners Identification Number, more government mumbo jumbo. In fact, they should be making a fish soup with all this mixed up acronyms and words and things that they're using. But bottom line is, it's a nine character combination of letters and numbers, which is used to create a personal code like a password for your company. That information you can use across multiple sites like FBO, Grants.gov, Peebers. Yeah, that's the past performance history. But again, bottom line is keep it safe, guard it with your life because it's a password. So when you're registering in Sam for the first time, you're going to set up your own private M-PIN that is unique to your company during the registration process. Don't post this number on any advertisements as it's best to be kept secret. If this tip helped you guys, make sure you leave some comments in the show notes box below. Thanks for watching Sam.gov Tips. Until next time.