And in Oyo State, low turnout of voters was recorded in polling units at the ongoing supplementary election in a two-federal 50-20. Correspondents monitoring the exercise also reported that the exercise was violent-free in some areas, as voters at the Oluyori Ward 2 Unit 1 complained that they are disenfranchised as at the time of filing this report. At Ward 7, polling unit 001, there was heavy security presence involving the Nigerian Police, the Nigerian Army, the DSS, Security and Civil Defence Corps, as well as Sampara military agencies. We knew whether there had been any discrepancies and things like that. It was at that time we were having the time to look at the bravers and all other things. At this voting area, we saw some people, people trying to lobby voters with money. They gave their consent and this is what we are crying against. It shouldn't be. There were a lot of issues. They didn't allow us to come inside. They didn't allow APC to come in. If they see you as an APC member, they will not. You will see the yellow band on some people.  You are allowed to come in. Each election normally comes with dynamics problems and it has even been expected that while we have a group of people, even when the election is not even being conducted, you should be having one or two things. And with the courtsland prompt intervention of the security agencies, they succeeded in bringing this down where people now queue amicably to cast their votes. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


Section 42 of Library of the World's Best Literature, Ancient and Modern, Volume 9. This is a LibriVox recording. A LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Recording by Dion Giants, Salt Lake City, Utah. Library of the World's Best Literature, Ancient and Modern, Volume 9. Section 42. The Sleepwalking. From the Moonstone by William Wilkie Collins. This episode is related by the physician in charge of Mr. Franklin Blake, whose good name he wishes to clear from a charge of fraud. 2 o'clock a.m. The experiment has been tried, with what result I am now to describe. At eleven o'clock I rang the bell for Betteridge and told Mr. Blake that he might at last prepare himself for bed. I followed Betteridge out of the room and told him to remove the medicine chest into Miss Verinder's sitting room. The order seemed to take him completely by surprise. He looked as if he suspected me of some occult design on Miss Verinder. Might I presume to ask, he said, what my young lady and the medicine chest have got to do with each other?  Betteridge appeared to doubt his own unaided capacity to superintend me effectually on an occasion when a medicine chest was included in the proceedings. Is there any objection, sir? he asked, to taking Mr. Brough into this part of the business. Quite the contrary, I am now going to ask Mr. Brough to accompany me downstairs. Betteridge withdrew to fetch the medicine chest without another word. I went back into Mr. Blake's room and knocked at the door of communication. Mr. Brough opened it with his papers in his hand, immersed in law, impenetrable to medicine. I am sorry to disturb you, I said, but I am going to prepare the lotinum for Mr. Blake, and I must request you to be present and to see what I do. Yes, said Mr. Brough, with nine-tenths of his attention riveted on his papers, and with one-tenth unwillingly accorded to me. Anything else? I must trouble you to return here with me and to see me administer the dose. Anything else? One thing more. I must put you to the inconvenience of remaining in Mr. Blake's room to see what happens. Oh, very good, said Mr. Brough, my room or Mr. Blake's room. It doesn't matter which. I can go on with my papers anywhere, unless you object, Mr. Jennings, to my importing that amount of common sense into the proceedings. Before I could answer, Mr. Blake addressed himself to the lawyer speaking from his bed. Do you really mean to say that you don't feel any interest in what you are going to do? He asked. Mr. Brough, you have no more imagination than a cow. A cow is a very useful animal, Mr. Blake, said the lawyer. With that reply he followed me out of the room, still keeping his papers in his hand. We found Ms. Verinder pale and agitated, restlessly pacing her sitting room from end to end. At a table in a corner stood Betteridge, unguarded over the medicine chest. Mr. Brough sat down on the first chair that he could find and, emulating the usefulness of the cow, plunged back again into his papers on the spot. Ms. Verinder drew me aside and reverted instantly to her one all-absorbing interest, the interest in Mr. Blake. How is he now? She asked. Is he nervous? Is he out of temper? Do you think it will succeed? Are you sure? It will do no harm. I'm sure. Come and see me. Measure it out. One moment. It has passed eleven now. How long will it be before anything happens? It is not easy to say. An hour, perhaps. I suppose the room must be dark, as it was last year. Certainly. I shall wait in my bedroom. Just as I did before, I shall keep the door a little way open. It was a little way open last year. I will watch the sitting-room door, and the moment it moves, I will blow out my light. It all happened in that way on my birthday night, and it must all happen again in the same way, mustn't it? Are you sure you can control yourself, Ms. Verinder? In his interest I can do anything, she answered fervently. One look at her face told me I could trust her. I addressed myself again to Mr. Brough. I must trouble you to put your papers aside for a moment, I said. Certainly he got up with a start, as if I had disturbed him at a particularly interesting place, and followed me to the medicine chest. There, deprived of the breathless excitement incidental to the practice of his profession, he looked at Bediridge and yawned wearily. Ms. Verinder joined me with a glass jug of cold water which she had taken from a side table. Let me pour out the water, she whispered. I must have a hand in it. I measured out the forty menoms from the bottle and poured the ladenum into a glass, fill it till it is three parts full, I said, and handed the glass to Ms. Verinder. I then directed Bediridge to lock up the medicine chest informing him that I had done with it now. A look of unutterable relief overspread the old servant's countenance. He had evidently suspected me of a medical design on his young lady. After adding the water as I had directed, Ms. Verinder seized a moment while Bediridge was locking the chest and while Mr. Brough was looking back at his papers and slyly kissed the rim of the medicine glass. When you give it to him, whispered the charming girl, give it to him on that side. I took the piece of crystal which was to represent the diamond from my pocket and gave it to her. You must have a hand in this too, I said. You must put it where you put the moonstone last year. She led the way to the Indian cabinet and put the mock diamond into the drawer which the real diamond had occupied on the birthday night. Mr. Brough witnessed this proceeding under protest as he had witnessed everything else, but the strong dramatic interest which the experiment was now assuming proved to my great amusement to be too much for Bediridge's capacity of self-restraint. His hand trembled as he held the candle and he whispered anxiously, Are you sure, Miss, it's the right drawer? I led the way out again with the ladenum and water in my hand. At the door I stood to address a last word to Ms. Verinder. Don't be long in putting out the lights, I said. I will put them out at once, she answered, and I will wait in my bedroom with only one candle alight. He closed the sitting-room door behind us, followed by Brough and Bediridge. I went back to Mr. Blake's room. We found him moving restlessly from side to side of the bed and wondering irritably whether he was to have the ladenum that night. In the presence of the two witnesses I gave him the dose and shook up his pillows and told him to lie down again quietly and wait. His bed, provided with light shins, curtains, was placed with the head against the wall of the room so as to leave a good open space on either side of it. On one side I drew the curtains completely and in the part of the room thus screened from his view I placed Mr. Brough and Bediridge to wait for the result. At the bottom of the bed I half drew the curtains and placed my own chair at a little distance so that I might let him see me or not see me just as the circumstances might direct. Having already been informed that he always slept with a light in the room, I placed one of the two lighted candles on a little table at the head of the bed where the glare of the light would not strike on his eyes. The other candle I gave to Mr. Brough, the light in this instance being subdued by the screen of the chins' curtains. The window was open at the top so as to ventilate the room. The rain fell softly, the house was quiet, it was twenty minutes past eleven by my watch when the preparations were completed and I took my place on the chair set apart at the bottom of the bed. Mr. Brough resumed his papers with every appearance of being as deeply interested in them as ever. But looking toward him now I saw certain signs and tokens which told me that the law was beginning to lose its hold on him at last. The suspended interest of the situation in which we were now placed was slowly asserting its influence even on his unimaginative mind. As for Betteridge, consistency of principle and dignity of conduct had become in his case mere empty words. He forgot that I was performing a conjuring trick on Mr. Franklin Blake. He forgot that I had upset the house from top to bottom. He forgot that I had not read Robinson Crusoe since I was a child. For the Lord's sake, sir, he whispered to me, tell us when it will begin to work. Not before midnight I whispered back, say nothing, and sit still. Betteridge dropped to the lowest depth of familiarity with me without a struggle to save himself. He answered by a wink. Looking next toward Mr. Blake, I found him as restless as ever in his bed, fretfully wondering why the influence of the laudanum had not begun to assert itself yet. To tell him in his present humor that the more he fidgeted and wondered the longer he would delay the result for which we were now waiting would have been simply useless. The wiser course to take was to dismiss the idea of the opium from his mind by leading him insensibly to think of something else. With this view, I encouraged him to talk to me, contriving so as to direct the conversation on my side as to lead him back again to the subject which had engaged us earlier in the evening, the subject of the diamond. I took care to revert to those portions of the story of the Moonstone, which related to the transport of it from London to Yorkshire, to the risk which Mr. Blake had run in removing it from the bank at Frizzing Hall, and to the expected appearance of the Indians at the house on the evening of the birthday, and I purposely assumed, in referring to these events, to have misunderstood much of what Mr. Blake himself had told me a few hours since. In this way I set him talking on the subject with which it was now vitally important to fill his mind without allowing him to suspect that I was making him talk for a purpose. Little by little he became so interested in putting me right that he forgot to fidget in the bed. His mind was far away from the question of the opium at the all-important time when his eyes first told me that the opium was beginning to lay its hold upon his brain. I looked at my watch. It wanted five minutes to twelve when the premonitory symptoms of the working of the ladenum first showed themselves to me. At this time no unpractised eye would have detected any change in him, but as the minutes of the new morning wore away the swiftly subtle progress of the influence began to show itself more plainly. The sublime intoxication of opium gleamed in his eyes. The dew of a steady perspiration began to glisten on his face. In five minutes more the talk which he still kept up with me failed in coherence. He held steadily to the subject of the diamond, but he ceased to complete his sentences. A little later the sentences dropped to single words. Then there was an interval of silence. Then he sat up in bed. Then still busy with the subject of the diamond he began to talk again, not to me, but to himself. That change told me the first stage in the experiment was reached. The stimulant influence of the opium had got him. The time was now twenty-three minutes past twelve. The next half hour at most would decide the question of whether he would or would not get up from his bed and leave the room. In the breathless interest of watching him in the unutterable triumph of seeing the first result of the experiment declare itself in the manner and nearly at the time which I had anticipated I had utterly forgotten the two companions of my night vigil. Looking toward them now I saw the law as represented by Mr. Brough's papers lying unheeded on the floor. Mr. Brough himself was looking eagerly through a crevice left in the imperfectly drawn curtains of the bed, and better edge, oblivious of all respect for social distinctions, was peeping over Mr. Brough's shoulder. They both started back on finding that I was looking at them like two boys caught out by their schoolmaster in a fault. I signed to them to take off their boots quietly as I was taking off mine. If Mr. Blake gave us the chance of following him it was vitally necessary to follow him without noise. Ten minutes passed and nothing happened. Then he suddenly threw the bed clothes off him. He put one leg out of bed. He waited. I wish I had never taken it out of the bank, he said to himself. It was safe in the bank. My heart throbbed fast. The pulses at my temples beat furiously. The doubt about the safety of the diamond was once more the dominant impression in his brain. On that one pivot the whole success of the experiment turned. The prospect thus suddenly opened before me was too much for my shattered nerves. I was obliged to look away from him, or I should have lost my self-control. There was another interval of silence. When I could trust myself to look back at him he was out of his bed standing erect at the side of it. The pupils of his eyes were now contracted. His eyeballs gleamed in the light of the candle as he moved his head slowly to and fro. He was thinking. He was doubting. He spoke again. How do I know? He said the Indians may be hidden in the house. He stopped and walked slowly to the other end of the room. He turned, waited, came back to the bed. It's not even locked up, he went on. It's in the drawer of her cabinet, and the drawer doesn't lock. He sat down on the side of the bed. Anybody might take it, he said. He rose again restlessly and reiterated his first words. How do I know? The Indians may be hidden in the house. He waited again. I drew back behind the half curtain of the bed. He looked about the room with the vacant glitter in his eyes. It was a breathless moment. There was a pause of some sort. A pause in the action of the opium. A pause in the action of the brain. Who could tell? Everything depended now on what he did next. He laid himself down again on the bed. A horrible doubt crossed my mind. Was it possible that the sedative action of the opium was making itself felt already? It was not in my experience that it should do this, but what is experience where opium is concerned? There are probably no two men in existence on whom the drug acts in exactly the same manner. Was some constitutional peculiarity in him feeling the influence in some new way? Were we to fail on the very brink of success? No. He got up again very abruptly. How the devil am I to sleep, he said, with this on my mind. He looked at the light burning on the table at the head of his bed. After a moment he took the candle in his hand. I blew out the second candle, burning behind the closed curtains. I drew back, with Mr. Brough and Betteridge, into the farthest corner by the bed. I signed to them to be silent as if their lives depended on it. We waited, seeing and hearing nothing. We waited, hidden from him, by the curtains, the light which he was holding on the other side of us moved suddenly. The next moment he passed us, swift and noiseless, with the candle in his hand. He opened the bedroom door and went out. We followed him along the corridor. We followed him down the stairs. We followed him along the second corridor. He never looked back. He never hesitated. He opened the sitting room door and went in, leaving it open behind him. The door was hung, like all the other doors in the house, on large, old-fashioned hinges. When it was opened, a crevice was opened between the door and the post. I signed to my two companions to look through this so as to keep them from showing themselves. I placed myself, outside the door also, on the opposite side. A recess in the wall was at my left hand, in which I could instantly hide myself if he showed any signs of looking back into the corridor. He advanced to the middle of the room, with the candle still in his hand. He looked about him, but he never looked back. I saw the door of Miss Verinder's bedroom, standing ajar. She had put out her light. She controlled herself nobly. The dim, white outline of her summer dress was all that I could see. Nobody who had not known it beforehand would have suspected that there was a living creature in the room. She kept back in the dark. Not a word, not a movement escaped her. It was now ten minutes past one. I heard through the silence, the soft drip of the rain, and the tremulous passage of the night air through the trees. After waiting irresolute for a minute or more in the middle of the room, he moved to the corner near the window where the Indian cabinet stood. He put his candle on the top of the cabinet. He opened and shut one drawer after another till he came to the drawer in which the mock diamond was put. He looked into the drawer for a moment. Then he took the mock diamond out with his right hand. With the other hand he took the candle from the top of the cabinet. He walked back a few steps toward the middle of the room and stood still again. Thus far he had exactly repeated what he had done on the birthday night. Would his next proceeding be the same as the proceeding of last year? Would he leave the room?  Would he show us what he had done with the diamond when he had returned to his own room? His first action, when he moved once more, proved to be an action which he had not performed when he was under the influence of the opium for the first time. He put the candle down on a table and wandered on a little toward the farther end of the room. There was a sofa here. He leaned heavily on the back of it with his left hand, then roused himself and returned to the middle of the room. I could now see his eyes. They were getting dull and heavy. The glitter in them was fast dying out. The suspense of the moment proved too much for Miss Verinder's self-control. She advanced a few steps, then stopped again. Mr. Brough and Betteridge looked across the open doorway at me for the first time. The provision of a coming disappointment was impressing itself on their minds, as well as on mine. Still, so long as he stood where he was, there was hope. We waited in unutterable expectation to see what would happen next. The next event was decisive. He let the mock diamond drop out of his hand. It fell on the floor before the doorway, plainly visible to him and to everyone. He made no effort to pick it up. He looked down at it vacantly, and as he looked, his head sank on his breast. He staggered, roused himself for an instant, walked back unsteadily to the sofa, and sat down on it. He made a last effort. He tried to rise and sank back. His head fell on the sofa cushions. It was then twenty-five minutes past one o'clock. Before I had put my watch back in my pocket, he was asleep. It was over now. The sedative influence had got him. The experiment was at an end. I entered the room, telling Mr. Brough and Betteridge that they might follow me. There was no fear of disturbing him. We were free to move and speak. The first thing to settle, I said, is the question of what we are to do with him. He will probably sleep for the next six or seven hours at least. It is some distance to carry him back to his own room. When I was younger I could have done it alone, but my health and strength are not what they were. I am afraid I will have to ask you to help me. Before they could answer, Miss Verinder called to me softly. She met me at the door of her room with a light shawl and with the counterpane from her own bed. Do you mean to watch him while he sleeps? She asked. Yes, I am not sure enough of the action of the opium in this case to be willing to leave him alone. She handed me the shawl and the counterpane. Why should you disturb him, she whispered, make his bed on the sofa. I can shut my door and keep in my room. It was infinitely the simplest and the safest way of disposing of him for the night. I mentioned the suggestion to Mr. Brough and Betteridge, who both approved of my adopting it. In five minutes I had laid him comfortably on the sofa and had covered him lightly with the counterpane and the shawl. Miss Verinder wished us good night and closed the door. At my request we three then drew round the table in the middle of the room on which the candle was still burning and on which writing materials were placed. Before we separate I began I have a word to say about the experiment which has been tried tonight. Two distinct objects were to be gained by it. The first of these objects was to prove that Mr. Blake entered this room and took the diamond last year, acting unconsciously and irresponsibly under the influence of opium. After what you have both seen are you both satisfied so far? They answered me in the affirmative without a moment's hesitation. The second object I went on was to discover what he did with the diamond after he was seen by Miss Verinder to leave her sitting room with the jewel in his hand on the birthday night. The gaining of this object depended, of course, on his still continuing exactly to repeat his proceedings of last year. He has failed to do that and the purpose of the experiment is defeated accordingly. I can't assert that I am not disappointed at the result, but I can honestly say that I am not surprised by it. I told Mr. Blake from the first that our complete success in this matter depended on our completely reproducing in him the physical and moral conditions of last year. And I warned him that this was the next thing to a downright impossibility. We have only partially reproduced the conditions and the experiment has been only partially successful in consequence. It is also possible that I may have administered too large a dose of ladenum, but I myself look upon the first reason that I have given as the true reason why we have to lament a failure as well as to rejoice over a success. After saying those words I put the writing materials before Mr. Brough and asked him, if he had any objection, before we separated for the night to draw out and sign a plain statement of what he had seen. He at once took the pen and produced the statement with the fluent readiness of a practiced hand. I owe you this, he said, signing the paper, as some atonement for what passed between us earlier in the evening. I beg your pardon, Mr. Jennings, for having doubted you. You have done Franklin Blake an inestimable service. In our legal phrase, you have proved your case. Betteridge's apology was characteristic of the man. Mr. Jennings, he said, when you read Robinson Crusoe again, which I strongly recommend you to do, you will find that he never scruples to acknowledge it when he turns out to have been in the wrong. Please do consider me, sir, as doing what Robinson Crusoe did on the present occasion. With those words he signed the paper in his turn. Mr. Brough took me aside as we rose from the table. One word about the diamond, he said, your theory is that Franklin Blake hid the moonstone in his room. My theory is that the moonstone is in the possession of Mr. Luker's bankers in London. We won't dispute which of us is right. We will only ask which of us is in a position to put his theory to the test first. The test in my case, I answered, has been tried to-night and has failed. The test in my case, rejoined Mr. Brough, is still in process of trial. For the last two days I have had a watch set for Mr. Luker at the bank, and I shall cause that watch to be continued until the last day of the month. I know that he must take the diamond himself out of his bankers' hands, and I am acting on the chance that the person who has pledged the diamond may force him to do this by redeeming the pledge. In that case, I may be able to lay my hand on the person, and there is a prospect of our clearing up the mystery exactly at the point where the mystery baffles us now. Do you admit that so far? I admitted it readily. I am going back to town by the ten o'clock train, pursued the lawyer. I may hear, when I get back, that a discovery has been made, and it may be of the greatest importance that I should have Franklin Blake at hand to appeal to if necessary. I intend to tell him, as soon as he wakes, that he must return with me to London. After all that has happened, may I trust to your influence to back me? Certainly, I said, Mr. Brough shook hands with me and left the room. Bederidge followed him out. I went to the sofa to look at Mr. Blake. He had not moved since I had laid him down and made his bed. He lay locked in a deep and quiet sleep. While I was still looking at him, I heard the bedroom door softly opened. Once more, Miss Vernder appeared on the threshold in her pretty summer dress.  I hesitated, not in the interest of propriety, only in the interest of her night's rest. She came close to me and took my hand. I can't sleep.  Oh, Mr. Jennings, if you were me, only think how you would long to sit and look at him. Say yes, do. Is it necessary to mention that I gave way? Surely not. She drew a chair to the foot of the sofa. She looked at him in a silent ecstasy of happiness till the tears rose in her eyes. She dried her eyes and said she would fetch her work. She fetched her work and never did a single stitch of it. It lay in her lap. She was not even able to look away from him long enough to thread her needle. I thought of my own youth. I thought of the gentle eyes which had once looked love at me. In the heaviness of my heart I turned to my journal for relief and wrote in it what is written here. So we kept our watch together in silence, one of us absorbed in his writing, the other absorbed in her love. Hour after hour he lay in deep sleep, the light of the new day grew and grew in the room, and still he never moved. Towards six o'clock I felt the warning which told me that my pains were coming back. I was obliged to leave her alone with him for a little while. I said I would go upstairs and fetch another pillow for him out of his room. It was not a long attack this time. In a little while I was able to venture back and let her see me again. I found her at the head of the sofa when I returned. She was just touching his forehead with her lips. I shook my head as soberly as I could and pointed to her chair.  You would have done it, she whispered, in my place. It was just eight o'clock. He is beginning to move for the first time. Miss Vernder is kneeling by the side of the sofa. She has so placed herself that when his eyes first open they must open upon her face. Shall I leave them together? Yes. End of section 42. Section 43 of Library of the World's Best Literature, Ancient and Modern, Volume 9. This is a LibriVox recording. A LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Recording by Dion Giants, Salt Lake City, Utah. Library of the World's Best Literature, Ancient and Modern, Volume 9. Section 43. Count Fosco from The Woman in White by William Wilkie Collins. Count Fosco from The Woman in White. He looks like a man who could tame anything. If he married a Tigris, instead of a woman, he would have tamed the Tigris. If he had married me, I should have made his cigarettes, as his wife does. I should have held my tongue when he looked at me as she holds hers. I am almost afraid to confess it, even to these secret pages. The man has interested me, has attracted me, has forced me to like him. In two short days, he has made his way straight into my favorable estimation, and how he has worked the miracle is more than I can tell. It absolutely startles me, now he is in my mind, to find how plainly I see him, how much more plainly than I see Sir Percival, or Mr. Fairly, or Walter Hartwright, or any other absent person of whom I think, with the one exception of Laura herself. I can hear his voice, as if he was speaking at this moment. I know what his conversation was yesterday, as well as if I was hearing it now. How am I to describe him? There are peculiarities in his personal appearance, his habits, and his amusements, which I should blame in the boldest terms or ridicule in the most merciless manner, if I had seen them in another man. What is it that makes me unable to blame them or to ridicule them in him? For example, he is immensely fat. Before this time I have always especially disliked corpulent humanity. I have always maintained that the popular notion of connecting excessive grossness of size and excessive good humor, as inseparable allies, was equivalent to declaring either that no people but amiable people ever get fat, or that the accidental addition of so many pounds of flesh has a directly favorable influence over the disposition of the person on whose body they accumulate. I have invariably combated both these absurd assertions by quoting examples of fat people who were as mean, vicious, and cruel as the leanest and worst of their neighbors. I have asked whether Henry VIII was an amiable character, whether Pope Alexander VI was a good man, whether Mr. Murderer and Mrs. Murderous Manning were not both unusually stout people, whether hired nurses, proverbially as cruel as set of women as are to be found in all England, were not, for the most part, also as fat a set of women as are to be found in all England, and so on, through dozens of other examples, modern and ancient, native and foreign, high and low, holding these strong opinions on the subject with might and main as I do at this moment, here, nevertheless, is Count Fosco as fat as Henry VIII himself, established in my favor at one day's notice without let or hindrance from his own odious corpulence. Marvelous indeed. Is it his face that has recommended him? It may be his face. He is a most remarkable likeness on a large scale of the great Napoleon. His features have Napoleon's magnificent regularity. His expression recalls the grandly calm, immovable power of the great soldier's face. This striking resemblance certainly impressed me to begin with, but there is something in him besides the resemblance which has impressed me more. I think the influence I am now trying to find is in his eyes. They are the most unfathomable gray eyes I ever saw, and they have at times a cold, clear, beautiful, irresistible glitter in them, which forces me to look at him, and yet causes me sensations when I do look, which I would rather not feel.   And his face, closely shaven all over, is smoother and freer from all marks and wrinkles than mine, though according to Sir Percival's account of him he is close on sixty years of age. But these are not the prominent personal characteristics which distinguish him, to my mind, from all the other men I have ever seen. The marked peculiarity which singles him out from the rank and file of humanity lies entirely so far as I can tell at present in the extraordinary expression and extraordinary power of his eyes. His manner and his command of our language may also have assisted him, in some degree, to establish himself in my good opinion. He has that quiet deference, that look of pleased attentive interest in listening to a woman, and that secret gentleness in his voice in speaking to a woman, which say what we may, we can none of us resist. Number two, his unusual command of the English language necessarily helps him. I had often heard of the extraordinary aptitude which many Italians show in mastering our strong, hard Northern speech. But until I saw Count Fosco, I had never supposed it possible that any foreigner could have spoken English as he speaks it. There are times when it is almost impossible to detect by his accent that he is not a countryman of our own, and as for fluency there are very few born Englishmen who can talk with as few stoppages and repetitions as the Count. He may construct his sentences more or less in the foreign way, but I have never yet heard him use a wrong expression or hesitate for a moment in his choice of words. All the smallest characteristics of this strange man have something strikingly original and perplexingly contradictory in them. Fat as he is, and old as he is, his movements are astonishingly light and easy. He is as noiseless in a room as any of us women, and more than that, with all his look of unmistakable mental firmness and power, he is as nervously sensitive as the weakest of us. He starts at chance noises as, inveterately, as Laura herself. He winced and shuttered yesterday when Sir Percival beat one of the Spaniels, so that I felt ashamed of my own want of tenderness and sensibility by comparison with the Count. The relation of this last incident reminds me of one of his most curious peculiarities, which I have not yet mentioned, his extraordinary fondness for pet animals. Some of these he has left on the continent, but he has brought with him to this house a cockatoo, two canary birds, and a whole family of white mice. He attends to all the necessities of these strange favorites himself, and he has taught the creatures to be surprisingly fond of him and familiar with him. The cockatoo, a most vicious and treacherous bird toward everyone else, absolutely seems to love him. When he lets it out of its cage, it hops onto his knee and claws its way up his great big body and rubs its top knot against his shallow double chin in the most caressing manner imaginable. He has only to set the doors of the canaries cage open and to call them, and the pretty little cleverly trained creatures perch fearlessly on his hand, mount his fat outstretched fingers one by one when he tells them to go upstairs and sing together as if they would burst their throats with delight when they get to the top finger. His white mice live in a little pagoda of gaily painted wirework designed and made by himself. They are almost as tame as the canaries and they are perpetually let out like the canaries. They crawl all over him, popping in and out of his waistcoat and sitting in couples, white as snow on his capaceous shoulders. He seems to be even fonder of his mice than of his other pets, smiles at them and kisses them and calls them all sorts of endearing names. If it be possible to suppose an Englishman with any taste for such childish interests and amusements as these, that Englishman would certainly feel rather ashamed of them and would be anxious to apologize for them in the company of grown up people. But the count apparently sees nothing ridiculous in the amazing contrast between his colossal self and his frail little pets. He would blandly kiss his white mice and twitter to his canary birds amidst an assembly of English fox hunters and would only pity them as barbarians when they were all laughing their loudest at him. It seems hardly credible while I am writing it down, but it is certainly true that this same man who has all the fondness of an old maid for his cockatoo and all the small dexterities of an organ boy in managing his white mice can talk when anything happens to rouse him with a daring independence of thought, a knowledge of books in every language and an experience of society in half the capitals of Europe which would make him the prominent personage of any assembly in the civilized world. This trainer of canary birds, this architect of a pagoda for white mice is, as Sir Percival himself has told me, one of the first experimental chemists living and has discovered among other wonderful inventions a means of petrifying the body after death so as to preserve it as hard as marble to the end of time.  His wife and I were present and I shall not forget the scene that followed short as it was. Mind that dog, sir, said the groom, he flies at everybody. He does that, my friend, replied the count quietly, because everybody is afraid of him. Let us see if he flies at me, and he laid his plump yellow white fingers on which the canary birds had been perching ten minutes before upon the formidable brute's head and looked him straight in the eyes.      Will you think better of it and try your teeth in my fat neck? Bah, not you. He turned away, laughing at the astonishment of the men in the yard, and the dog crept back meekly to his kennel. Ah, my nice waistcoat, he said pathetically, I am sorry I came here. Some of that brute slobber has got on my pretty clean waistcoat. Those words express another of his incomprehensible oddities. He is as fond of fine clothes as the various fool in existence, and has appeared in four magnificent waistcoats already, all of light garish colors, and all immensely large, even for him, in the two days of his residence at Blackwater Park. His tact and cleverness in small things are quite as noticeable as the singular inconsistencies in his character, and the childish triviality of his ordinary tastes and pursuits. I can see already that he means to live on excellent terms with all of us during the period of his sojourn in this place. He has evidently discovered that Lara secretly dislikes him. She confessed as much to me when I pressed her on the subject. But he has also found out that she is extravagantly fond of flowers. Whenever she wants a nose-gay, he has got one to give her, gathered and arranged by himself. And greatly, to my amusement, he is always cunningly provided with a duplicate composed of exactly the same flowers grouped in exactly the same way to appease his icily jealous wife before she can so much as think herself aggrieved. His management of the countess in public is a sight to see. He bows to her. He habitually addresses her as my angel. He carries his canaries to pay her little visits on his fingers and to sing to her. He kisses her hand when she gives him his cigarettes. He presents her with sugar plums in return, which he puts into her mouth playfully from a box in his pocket. The rod of iron with which he rules her never appears in company. It is a private rod and is always kept upstairs. His method of recommending himself to me is entirely different. He flatters my vanity by talking to me as seriously and sensibly as if I was a man. Yes, I can find him out when I am away from him. I know he flatters my vanity when I think of him up here in my own room. And yet, when I go downstairs and get into his company again, he will blind me again, and I shall be flattered again just as if I had never found him out at all. He can manage me as he manages his wife and Lara as he manages the bloodhound in the stable yard as he manages Sir Percival himself every hour in the day. My good Percival, how I like your rough English humor. My good Percival, how I enjoy your solid English sense. He puts the rudest remarks Sir Percival can make on his effeminate tastes and amusements quietly away from him in that manner. Always calling the baronet by his Christian name, smiling at him with the calmest superiority, patting him on the shoulder and bearing with him benignantly as a good-humored father bears with a wayward son. The interest which I really cannot help feeling in this strangely original man has led me to question Sir Percival about his past life. Sir Percival either knows little or will tell me little about it. He and the Count first met many years ago at Rome under the dangerous circumstances to which I have alluded elsewhere. Since that time they have been perpetually together in London, in Paris and in Vienna, but never in Italy again. The Count having oddly enough not crossed the frontiers of his native country for years past, perhaps he has been made the victim of some political persecution. At all events he seems to be patriotically anxious not to lose sight of any of his own countrymen who may happen to be in England. On the evening of his arrival he asked how far we were from the nearest town and whether we knew of any Italian gentleman who might happen to be settled there. He is certainly in correspondence with people on the continent for his letters have all sorts of odd stamps on them and I saw one for him this morning waiting at his place at the breakfast table with a huge official looking seal on it. Perhaps he is in correspondence with his government and yet that is hardly to be reconciled either with my other idea that he may be a political exile. How much I seem to have written about Count Fosco and what does it all amount to, as poor dear Mr. Gilmore would ask in his impenetrable business-like way. I can only repeat that I do assuredly feel even on this short acquaintance a strange half-willing, half-unwilling liking for the Count. He seems to have established over me the same sort of ascendancy which he has evidently gained over Sir Percival, free and even rude as he may occasionally be in his manner toward his fat friend. Sir Percival is nevertheless afraid, as I can plainly see, of giving any serious offense to the Count. I wonder whether I am afraid too. I certainly never saw a man in all my experience whom I should be so sorry to have for an enemy. Is this because I like him or because I am afraid of him? Chisa, as Count Fosco might say in his own language, who knows? End of Section 43 End of Library of the World's Best Literature, Ancient and Modern, Volume 9


So the hub create or the evolution of what we always call the open space is the part of the conference I'm the most excited about and it's not just because I'm coordinating the track This is my third year here at Socap and every time I come I am truly blown away by the caliber of people were able to gather here in this room for three days Every time I look out and I hear the stories and I'm here on stage. I can't help but be awed by our collective potential And Socap provides us open space as the platform to try and harness that collective potential and get some work done together So I'm going to tell you exactly what that's going to look like and what you can expect But first I want to tell you why we're hosting it in the hub so most of you know about the hub community already, but in case you don't the hub is a Shared space where all of us change makers get together to get work done It's a really powerful community. There's over 40 hubs now on six different continents across the globe And I actually moved to San Francisco. So I could be part of this hub community It's made a huge impact in my life and we're popping up the hub here so you guys can all experience that power It's really about allowing us to share ideas share our wisdom share our resources and collaborate to get some work done together And that's also exactly what we're trying to do in the open space. So it's natural to marry these two concepts So the open space or what we're calling hub create It's the user generated part of the conference It's your chance to propose content that you want to explore around the intersection of money and meeting about building this new economy You can come at 1 30 today everyone is invited to propose any session And the sessions that you participate in or host over in the open space are going to be different than your standard conference session They're a lot more participatory. They're more interactive. You really get to tease apart ideas with the community So we'd encourage you to come and join us We actually set the whole schedule for this track at 1 30 when you propose your session Which can sound a little crazy having a self-organized part of the conference, but trust us It's actually a lot of fun. It's my job to make that work in the job of the hub to create the structure to support that work So there's one final piece we're trying to wrap through this and get you all to the next part of the conference But there's one final thing I want to share with you And as we mentioned so cap is a really inspiring three days you all are amazing We're blown away that you come to Fort Mason but the question that I have in the back of my mind and I bet you all do too is How do we maximize this collective impact the remaining 360 days of the year? How are we going to make a meaningful difference in the world? So when you come to host or propose a session today at 1 30 or throughout the remaining three days if you come to participate I'd really like to challenge us all to try and move beyond just the ideas and inspiration Which are really important, but also moving towards the meaningful action that we can take together We're going to have hub hosts there supporting the entire Open space to kind of help pull out different opportunities that emerge and then the hub platform is here the rest of the year They're remaining 360 days to help us to continue getting this good work done together So I know rush through that Please please please come to the kickoff marketplace at 1 30 today and we'll explain more at any given time You can find the hub create schedule on pathable and it's also front and center when you come visit us in the hub over in festival pavilion We've got three days together. There's a lot of important work to do. So I hope I'll see you over there


What's going on guys to start off this video? I just like to say thank you guys so much for the support Thank you for clicking on this video and just everything guys I'm almost at 30,000 subscribers Everything's growing pretty steady right now. I can't thank you guys enough, but thank you guys so much for the support Pretty much while I'm talking before the fish catches and everything is still I'm gonna explain What we're gonna be doing so in this video. Yes, I'm gonna be playing music over the fish catches The reason being I was pre fishing for a tournament guys. I was trying to figure out the fish trying to find the fish And that's pretty much what I was doing. I wasn't really doing such as a tutorial video and I wasn't blogging there for for the reason Is it was so windy out that you wouldn't be able to hear me? So that's another reason right there, but guys if you guys enjoy this video I really appreciate your support. Please hit the like button and I hope you guys enjoy the rest of the video I'm gonna play a lot of fish catches of that day I didn't get them all on camera, but we caught around 22 pounds I'm gonna also show some footage from the day before that day And at the end of the video be sure to watch this video all the way through because at the end I am gonna be showing you guys the rod and reel setup on what bait I was using and kind of what we're looking for One more to pre-efficient. So hope you guys enjoyed the video. Thank you guys so much for the support Very guys up decided to go on the clean your fish are doing and get on pretty good So that's what we did. I have a blast with my partner and my fishing partner and also my dad and also one of my buddies I was fishing the day before I took him out on our boat and we had a blast as well But I'm pretty much going to talk about what rod and reel I was using what bait I was using and how we're catching them. So you can pretty much use Different setups of this, but it's going to be depending on how heavy the bait you're gonna throw But the rod I'm using is an Akuma TCS rod. It's the Scott Martin series rod And this one is actually the frog and swim bait rod.  It has a skinny dipper on the back. So bigger swim bait And that's what I was trying to key on key in on those bigger bites and not catch the smaller fish And so that's what I'll really be using that but the reel I'm using is also Akuma TC or the Akuma Helios reel Which I absolutely love guys. I know I affiliated with some other companies before but I'm being a hundred percent completely honest with you I really love rods and reels. Trust me. I want to have switch over if I didn't love them I really like them so far And they just cast phenomenal.  So I just love that medium heavy rod for a fish head But that's only if you're using the half ounce if you use something over that I'd really recommend like a heavy rod I mean you can also use a medium heavy, but that's just what I was using And if you guys are wondering about the line I was running on it I usually stick between 12 to 15, but on a fish head most of the time. I love 15 You can't go wrong with it. Don't really ever break any fish off. I'm using Seaguar line I don't really have a break. I don't really have any problems unless you figure your line or something But just always retouching everything, but I really hope you guys enjoyed this video Sorry for not talking too much in the video I didn't really get to talk because there's the wind and I was just like now I'm out to play music over this That's pre-fishing and just all this stuff. But guys stay tuned For the summer because kick of the bass TV is gonna be on a whole another level We're now to all kinds of content coming out. We're gonna have vlogs, tournament videos, everything I'm gonna have a lot more time and I'm gonna get tons of content out to you guys But thank you guys so much for watching Please hit the like button if you guys enjoyed the video and you got some tips out of this video I'll see you guys in the next episode of kicking their bass TV


Hey friends today, we are hanging out at Disney's Magic Kingdom And I came out today because there are a lot of new updates for the month of September They put a whole bunch of new 50th anniversary pieces throughout the park and they've added Lightning Lane signs to some of the attractions so I decided I wanted to come out and take a look see and bring you along with me Anywho's let's go do this As soon as you walk in take a look at that the world's most magical Celebration 50th anniversary right here at the train station and it is so beautiful I already grabbed a couple of photos They even have a photo pass photographer out taking photos because it is very popular. I Have to say I think I am a fan of 50th anniversary logo I really like the colors and just the way it looks it looks so elegant and beautiful Now we're gonna make our way down Main Street. Oh, looks like we got a little cavalcade coming down What a great way to start the day greeted by Goofy and then maxi's there too. Hiya Goof Along with the 50th anniversary sign they added out front. They also added some things the Main Street USA as well Take a look at the clock on Main Street USA It is so beautifully decorated for the 50th anniversary and it has some banners on it That's a citizen the official timekeeper of the Walt Disney World 50th anniversary celebration And that's what I was talking about just like the color in the design. Everything is just so beautiful. Look at that So so nice and it fits in with the castle perfectly. I Feel like I was just here at the Magic Kingdom earlier this week But so much has changed so many new 50th anniversary pieces and of course the lightning lane signage So basically they put up lightning lane signs where the fast pass line used to be and I felt like I needed to come out And just show you guys even though I'm not a fan of the lightning lane I'm still intrigued to see the progress of the park and just seeing it change so quickly from August to September Ba da boom ba da bang everything is different. I think we're just gonna proceed right up through Cinderella Castle And take a look at that 50th logo right there. Isn't it just so beautiful? The whole castle actually is so beautiful way better than the 25th anniversary We're gonna keep our eyes peeled for any of the lightning lane signs now I don't know if these are permanent or if they're temporary But I still want to show them if I do spot them out I do know where two of them are so we're gonna go check those out and possibly take a ride on the attractions that we see The first sign is gonna be right here at it's a small world by the way, it's only a five minute wait But right over here. This is where the lightning lane is at look They got a sign right there lightning lane and I think it's so amazing Well, there you have it the first lightning lane and since we're here and it's a five minute wait We might as well ride and we're not gonna use the lightning lane Even though you can technically if you have a dash pass or any multi-experience passes That's basically just kind of covering up the fast-pass lane and yeah, might as well go for a ride on it's a small world They also recently touched up the pain in here because it looks so fresh and bright and clean very fancy I do have to say I still much prefer the Disney Land version of it's a small world I think it's just a better ride overall mainly because I like the outdoor portion, but this one's still very nice Welcome to the happiest cruise that ever sailed Even though it's a small world isn't really high up there for me as some of my favorite rides at the Magic Kingdom There's no doubt about it. That is one of the coolest rides to actually ride whenever it's a hot day out It really does cool you down mainly because of the water and the AC is very powerful But anyways, I really liked it It's a lot of fun to just go kind of sit back and take a little boat ride But we're gonna move along and see if we can spot any more lightning lane signs. I Think we'll make our way down to tomorrow land I know for a fact that there is one of the lightning lanes down there But also maybe ride some rides down there I wouldn't mind maybe doing a lap on the people mover or even sitting down on the carousel progress Today is one of those days. It's really hot and it's best to avoid being outside So sit down locations, you know shows those are amazing. I Do have to say though the wait times are Remarkably low today and it's been that way for the past couple of weeks I noticed seven doors mind train was only a 40 minute wait Which is actually a very low wait time for that ride and most of the other rides are like five to 20 So that's not too bad at all Look at that 40 minutes and they're not even queuing up outside. You kind of just walked right in the queue I haven't seen that since the last time we were here Also, I thought about talking about my beard recently I've been discussing whether I should let it grow out or if I should trim it back a little bit and I think I'm gonna trim it up a little bit I want to grow it down here But I think being wearing mask all the time really isn't the best time to actually do that So I think I might you know trim it down a little bit keep the beard, but I'm not gonna go for length I'm gonna try to keep it clean and neat and then eventually in the future I think I'm gonna grow it out like grow grow it out easy top-wise Before we officially head into Tomorrowland the chair shower cafe actually reopened and I thought about stopping and getting myself a nice little slushy They have the curious or curious or slushy Which is basically a lemonade and a phantom blue raspberry topped with whipped cream and it looks good So I was a little curious I'm not gonna lie. I had a little bit of a hard time saying the name of this drink the curious or curious or curious or and curious or Slushy they say it really quick curious or curious or but like I said, it was very curious anyway, so here we go That's good This is very very delicious, and I like how they add the little whipped cream on it And sometimes I find it hard to describe The difference between a slushy and an icy so basically this is like one of the frozen drinks from Hills or Ames or any of those department stores like in the food court. It's not chunky It's kind of very light like I feel like it's like a pound honestly. It's very very light I think a pound is the wrong word A whole pound full of drink, but it is very light. It's very very very airy. Can we say And now that we're over in Tomorrowland take a look at that our next lightning lane sign How? Fancy now this one is actually really big lettering and it's a part of the sign itself it's not just written on the curtain and Also, it's a five-minute wait for Tomorrowland Speedway. Like I said everything is low low wait times Even though Tomorrowland Speedway is a five-minute wait I think we're gonna do a hard pass on that one I mean I do love the ride, but it is really hard to steer hold the camera and it's very loud So it's not one of my favorite rides to actually film I'd rather do something that could bring you guys along with me like maybe Astro-Orbiter or the people mover. Those are the my preferable rides or even the carousel progress You know, I love a good carousel progress Oh my lord, I decided to come over and check out Space Mountain and number one They took away the fast-pass sign. It looks like they're about to lightning lane it lightning lane it But it is also a five-minute wait and honestly You cannot pass up a five-minute wait for Space Mountain. Look at that I can't even believe it and soon it's gonna say lightning lane on that sign right over there pretty interesting Wow, this is so awesome. There is literally nobody in line here Like I never see it this empty. You just have the queue in the back like right here on each side on Alpha and Omega When they said five minutes they really mean no wait at all like not even five minutes It's just the length of the queue you walk straight to the ride Looks like we got Lucky Road number one. I don't know if it's lucky though I feel like it's probably the most scariest. I always feel like I'm gonna come flying off the cart or off the track I've best removed the hat because this here is the wildest ride in space Look at that the lights are on That is what I am talking about a five-minute wait for Space Mountain Absolutely, yes, and I got so excited when I seen the lights on for the people mover I thought maybe it was gonna be my time all-time favorite bucket list thing Ride Space Mountain with the lights on and I thought maybe it was gonna happen, but not today It looks like it's a 15-minute wait for Space Ranger spin I'm still shocked that we saw a posted wait time of five minutes for Space Mountain I feel like that was just kind of I don't think I've ever seen that unless it was an after-hours event Kind of got me thinking if Space Mountain was a five-minute wait I wonder what big Thunder Mountain is I can look in the app, but I figured maybe I'll take a little walk over there Also, I want to see if there's any more of the lightning lane signs and I'm kind of just shocked on how empty it is here today Usually the hub itself is very crowded, but not too many people just kind of casually walking around We got the up music actually playing Man, I love just being here just being here. That's all I need to do. Don't need to ride rides Don't need to eat food. Don't need to watch shows. Just kind of walk around Magic Kingdom And somebody just got engaged How awesome is that as I'm talking about how much I just love being here people are getting engaged Oh boy, we got a hurry up looks like Gaston's coming through on his horse. Oh Yeah, oh boy gotta get across the bridge or we're gonna get stuck Look at that Hey there Here there step in time Mary said she'd be looking for me on the rooftops of London and don't forget to step in time And I was like, oh, I won't that was really awesome I love it when they actually talk to you from the cavalcade and they give you like a good interaction I kind of missed like having up-close interactions with them But getting like pointed out and like being there now there was nobody around me But you know what I mean just getting that interaction and that attention really feels cool Whenever I walk past Splash Mountain I always like to just stop and watch one of the flumes actually go down Does anybody else do that like I feel like I need to at least watch it go down once Look at that. Isn't that just so Amazing 10 minutes not too shabby at all Look at this Nobody in line. This is great. Oh, I love it This is so so amazing. Look at this Holy moly. This is one o'clock in the afternoon We could literally sit anywhere we wanted to That's how it's done and look at this.  I have to say And look who's outside saying hi to everybody my favorite country bear big Al That is awesome How you doing big Al? Thank you Now I think we're actually gonna just head back out to Main Street. I'm still shocked at everything we got accomplished today I know it's hard to perceive time in a vlog But I think I got here at 12 30 and it's about 145 now and we rode so much world. It's a small world. We rode space mountain We rode big Thunder Mountain and usually some of those things would take an hour on its own and we did all three of Them like that is fantastic Also take a look at this it looks like they're really really Broadcasting the fact that the Crystal Palace has seating available I don't think I've ever seen the sign out here on Main Street before but it's really letting people know you don't need a reservation if you want to eat there and Anyways, I think that is gonna do it for me I had so much fun in such a little bit of time here Main reason I wanted to come out was show you all the new 50th items and also the lightning lane signs I think that is some big news. I'm very shocked how quick they actually switched over like that I didn't see a comment and let me know in the comments what you guys think I know a lot of people aren't a fan of the lightning lane and I'm not really a fan I'm a fan of fast pass fast pass was my favorite thing So I wish they could actually keep the system and name it fast pass because I probably would have liked it a Lot better than I don't like the name lightning lane as much as fast pass But anyways, I will go rambling on let me know in the comments what you guys think and I hope you enjoyed the video I enjoyed making it. We'll see you next time. Bye


Hello and welcome to this session, it is because the following problem today. Let every function from r to r be defined as fx is equal to x to the power 4 to z correct answer. We have option a, f is 1 1 on 2, b, f is 1 1 on 2, c, f is 1 1 but not on 2, d, f is neither 1 1 not on 2. Now let us write the solution. First let us check for 1 1. We find that f of minus 1 is equal to f of 1 but 1 is not equal to minus 1, f of x is equal to x to the power 4 thus f is not 1 1. Now let us check for on 2. f of x assumes only non-negative values so non-negative real number in r that is pre-image in r. x is not 1 1 and x is not on 2. The only relevant option is d that is x is neither 1 1 nor on 2. Therefore the correct answer is I hope you understood the problem. Bye and have a nice day.


Snestrunk. Welcome to yet another Snestrunk video featuring Super Famicom games exclusive to Japan that are still playable today, even if you don't speak or understand Japanese. If you missed part one, click here. If you missed part two, click here. No, really, if you haven't seen those, those two videos have most of the really good games. So, uh, you might want to watch those too. Alright, let's go. There are a few Disney games that never made it over to the U.S., first of which is Mickey No Tokio Disneyland Daibouka. There's some interesting gameplay mechanics going on here. Mickey has a tank on his back that he uses to fill balloons with either water or helium gas, water balloons to hurl at enemies, and gas to float and zing around the area. It's tricky to get used to and kinda clunky at times, but it's an alright game. Mickey to Donald, Magical Adventure 3, is a sequel to Mickey's Magical Quest and The Great Circus Mystery. The artwork here is kind of, um, odd. Mickey and Donald's eyes are just kind of unsettling. Otherwise, this is a fine game, especially good for multiplayer. And the controls respond as well as you'd expect from this Capcom Disney game. Last for Disney, there's Donald Duck, No Mahou, No Boshi. This game does an excellent job maintaining the classic Disney character design and animation. The artwork and movement here is really well done, and the game itself is pretty good. Although some of the platforming tasks are kinda mundane, like washing windows and delivering mail. The Amazing Spider-Man, Lethal Fos, is another great looking game with sharp colors and fluid animation. Although it reminds me of the first Mickey game in this video, where the controls are awkward and take some getting used to. Thankfully, this game is really easy, so you've got plenty of time to adjust. Next, there's The Fireman, which was released in Japan and Europe, but not the United States. This game is very, literally, a firefighting game, where you put out fires and rescue people, imagine that. The Top Town View lends itself well to the gameplay. It seems kind of easy on the surface, but it can get tricky. The fire can be pretty unpredictable. But yeah, this game is addicting just to see how far you can get. Next, there's Gone, where you play as a pissed-off little dinosaur guy. The controls are tight and responsive, and it reminds me of Plock, in that manner. And the art style, of course, is reminiscent of Joe and Mac. The game is pretty dang tough, though, so be forewarned. Ghost Sweeper Mikami, Jorai-shi-wa, Nice Body, has some really sharp-looking graphics in this game, some of the best on the Super Famicom. You only have one primary attack, so the gameplay focuses mostly on movement and dodging stuff. Oh, and a cutesy story, of course. Sandra No Daiboken, Valkyrie 2 No Day Eye, was released in Europe as Warlo. This platformer, on the other hand, you get a variety of attacks that are a lot of fun to play around with, but on the other hand, one-hit deaths. That's a bummer. Solid game, though. For beat'em-ups, there's the Great Battle series, particularly Great Battle 3. The SD art style here is pretty amusing for a beat'em-up. And this game is solid and entertaining, pretty easy to breeze through in like an hour. UFO Cayman, Yaki Soban, Ketlerno, Kurai, Inbo is a game that's apparently based off of a series of Japanese commercials for instant noodles. No, seriously, look it up. In fact, that red hockey puck thing on his head is actually a package of UFO noodles. Only in Japan, right? Anyway, this game is decent enough. Only five stages, but it's got some laughs. Next, there's Cayman Rider. This one is just plain different from other 16-bit beat'em-ups. It just looks different aesthetically, and the music is kind of goofy.  Oh, but wait.  It's on now. Yeah, this game is pretty entertaining. For a fighting game, there's Yu-Yu Hakusho Toku Betsuhen. A really interesting twist on the usual fighting game, both in the display and presentation and the strategy. It's a little bit like Tecmo Bowl, where you have to anticipate what the other player is going to do, and you either call for an attack or a defense. It's really well done, and the special moves look amazing. For shoot'em-ups, there's Poppin' Twinbee, a vertical shooter that was released in Europe, but not the US. This is a quality game because you're able to control what power-ups you obtain by shooting these bells to switch the color. I always like having that kind of control, and this is a very good multiplayer game as well. Martian Adventure Cotton 100% is a pretty standard horizontal shooter with some sharp-looking anime-style artwork. This game is really easy for a shoot'em-up, though, but it's still a fun playthrough. For puzzle games, there's Spark World. Pretty much a Super Bomberman clone, except your cars with batteries and electrical sparks or something. And like Super Bomberman, it can be played by up to four players. There's also Pikiniya, your typical falling block puzzle game, only this time with penguins. Okay, there's a lot of different modes in multiplayer as well, so this is a solid game.  I did find four that I thought were pretty good. There's SDF1 Grand Prix, which is basically a Mario Kart clone, but with super-deformed anime-style artwork and all sorts of neat little touches here and there. It's a lot of fun, and there's a wide variety of items available on the track to blow stuff up. Hashiria Khan Riders Spirits is a bike racing game with kind of an odd idea, where the top half of the screen are your side mirrors. Okay. I like this game, but the sound of the bike gets super annoying after a while, but it's worth a shot. Cat's Run is closer to arcade-style racing, although you do get items here and there to run your opponents off the track.  Not like you can see it because you're busy driving, but it makes me laugh when I see it. Again, it's a solid arcade-style racer.  Very nice. Okay, that's it for now. Yeah, sorry, only 20 games this time, but I've got plans for a bigger video later on, so stick around for that. Thanks for watching, as always, and have a great rest of your day.


Acinitobacter bominini is a gram-negative bacterium that can cause serious infections in humans and animals. In order to survive in environments with limited iron availability, it has evolved several strategies to acquire iron from its surroundings. This includes the production of cydrophores, small molecules that bind iron and make it available for the bacterium. Additionally, the bacterium has developed a complex regulatory system that allows it to respond quickly to changing environmental conditions, allowing it to adjust its metabolism accordingly. This article was authored by Paulson E&T, Hassan Carl A., Ejkalkamp, Bart A., and others.


A collection of more than 190 works of the United States Navy's World War II combat artist has been specially selected to cure the United States as part of the Navy's and the nation's bicentennial celebrations. Secretary of the Navy J. William Middendorf personally chose each work in the collection from the vast archives of the Navy's Combat Art Gallery in Washington, D.C. We have about 4,000 paintings in a very extensive Navy Combat Art Center at the Navy Yard here in Washington, and we've selected these primarily for artistic merit or for intrinsic interest to best portray World War II, not necessarily in attractive terms, but in terms that I think had most meaning to those that served in it. The show Combat Artists of World War II opened in Washington, D.C. on the Navy's 199th birthday. The film you're about to see was based in part on artworks from this exhibition. On December 7, 1941, we took off from Shikus aircraft carriers 200 miles north of Balharva. I was a chief commander of all air squadrons, and first I took off. And behind me, 300 Shikus T planes were following. We interrupt this broadcast to bring you this important bulletin from the United Press. Flash, Washington. The White House announces Japanese attack on Pearl Harbor. Thank you for further development. Yesterday, December 7, 1941, which will live in infamy, the United States of America was suddenly and deliberately attacked by naval and air forces of the Empire of Japan. With confidence in our armed forces, with the unfounding determination of our people, we will gain the inevitable triumph so help us God. A Second World War, when we finally gained that inevitable triumph, over 50 million human beings had lost their lives, and the power of the atomic bomb was unleashed. In the midst of it all, the fighting, the endless hours of waiting, the boredom, the loneliness, the horror, and the triumph. A small group of skilled artists practiced their trade. Men armed with sketch pads and paints, struggling to capture the experience of war for posterity. It started back with the late Lieutenant Commander Griffith Bailey Cole convincing his then Secretary of the Navy Frank Knox that he knew of this call of young men who were going to pursue fine arts as their vocations after these hostilities had come to a successful end of some sort. And he convinced him that these men would be the men to document this war as a historical graphic record in the medium of fine arts. And he knew that these were the top upcoming artists at that time back in 1941. So Mr. Cole launched the program and these men were given orders to sail with the fleet and portray the wars they saw it. And they stood deck watches and hit the beaches along with the other servicemen, the army and the Marine Corps. They got no special recognition, no special compensation. They were paid what salaries a Lieutenant J.G. was getting or what a commander was getting. And the orders were to sail with the fleet and portray the wars they saw it. These artists were sensitive far beyond their youthful age and the parents. They captured the essence of war in blood, ink and oil. I think there's a special or specific message that every artist has or can say. For instance, I don't feel that I was a combat artist. In quotes, I wasn't prepared to be a combat artist. There wasn't any schooling preparation or whatever. I found myself in combat and I requested actually to get involved. So in that sense, I was a combat artist. But in another sense, I for instance, reacted to situations visually in a different way than Cole Griffith Bailey Cole reacted and perhaps some of the other artists. Each artist does I think have an individual way of expressing himself visually. I think it was some of my best work, as a matter of fact, because of the drama, the involvement. It's difficult to find the same involvement in other activities. I think it depends on some inner kind of process. Certainly during the war, there was a great portion of the human drama, the human involvement, the reaction to what was happening to people. The struggle for the Pacific was to be as bloody and hard-bought as anything that befell soldiers in the whole history of human combat. On December 10, three days after Pearl Harbor, the Japanese captured Guam. On the 23rd Wake Island, on Christmas Day, Hong Kong, they spread their power to the Philippines for the Dutch East Indies to correct it. A revitalized American fleet met them at Coral Sea and at Midway. In August of 1942, American forces started to regain some Pacific territory with landings in the Solomon Islands. For the fall of 1943, American forces were prepared to begin their offensive across the Pacific. Two directions of advance were developed, one along the northern coast of New Guinea toward the Philippines, the other directly across the Central Pacific from Hawaii. The campaign in the Central Pacific would be primarily naval. It would require long overseas amphibious movements and heavy troop assaults on a few strongly held positions. In November of 1943 at Tarawa, the 2nd Marine Division encountered the coral beaches and suicide resistance that would characterize the whole theater of the Central Pacific. 3,000 men killed in three days of bitter fighting. We learned a costly lesson in amphibious landing techniques. American forces advance. On the upper prong of the assault, Kwajalein fell in early February of 1944. Anuitaq, the largest of the western Marshall Islands, also fell in February, three months ahead of schedule. To the south in the Solomon's Bougainville, each time the agony of waiting the preparations, then finally the assault. In June it was Saipan, in July, Guang. I mean, I know when I was in these landings, I was horrified that you could ever be in such a selfish and such an awful situation and seeing people dying all around was horrible. I know that the most dead I saw was at Guam and that was, well, there were so many Marines killed that the first week we had to, everybody had to stop doing what they were supposed to do. The doctors, I mean, unless they were really, but I remember I just couldn't paint. Everybody had to load up the dead in these command cars and bury them. And the horror of it all and the stink of the wall was just terrible. And I wanted people to know, I wanted people to know how bad it is so that they wouldn't go ahead and do it again, which is a hard lesson evidently for people to learn. And when it was all over, when the smoke had subsided, the dead buried. There was a little time for relaxation, for settling in on these strange islands in the Pacific. Well, the only time I was able to paint in that section of my war was at Saipan. Somebody at Pearl Harbor found my stuff and sent it to me. Before that, I had existed as a beachcomber. It was a very elegant existence. When your shirt got dirty, you went to a choice of three places to get a new one. There was no washing being done then.  So that's the way you got socks, underwear, shoes. I was particularly impressed with the children over there because the children almost turned up on the invasion beaches just as though they'd been left there purposely. And a lot of them were wounded, arms shot off. A great deal of them were pitiful cases. One of the first things that had to be done after an invasion was a hospital set up just for the kids. And the children were quite beautiful. In fact, the Shamaros, as a race, are very handsome people. They're mixture of races like the Hawaiians, the Japanese and the Germans have all ruled in those islands before. But the kids that survived were just as cute as they could be. And when I found one in a bucket underneath a breadfruit tree, I had to make a painting of it. Well, there's two ways of shipping things when you're in the Navy and you're in the war and you're in the Pacific. One is by air and one is by ship. And I felt safer in the air than I did on the water or on land because usually on land or on the water there was somebody shooting at you. So when I sent my paintings back to Pearl Harbor, I decided that they would fly. Breaks between invasions in the Pacific provided time for evacuation of the wounded to make ship hospitals, hospital ships, and sometimes back to the States. The improvisation and medical care that took place on the beaches left a lasting impression on all of the artists, including Joseph Hirsch. For the resourcefulness of the victims who were the patients and the people who were caring for them, the medical corps, it was constantly something that impressed me. And if there was any one motive or theme, it would be how resourceful they were and how I saw as an instrument sterilizer in a field hospital, which had been constructed out of steel, barrel and something. They didn't have to have any sterilizer at the time and they ended up with one that worked beautifully for sterilizing sheets and bed linen and blood stain, things that need sterilization. My father was a doctor and I've been in hospitals fairly often. It's quite a job to kick yourself into hospital after hospital on these trips and to see these kids. The hospital ship was especially a moving experience because there were some ugly experiences. When a boy had his face, part of his face blown off, the Navy, it would make some attempt to rehabilitate him and to rebuild his face before he got back home. And some of the attempts were not too successful and they had to have plastic surgery, many of them, after they returned to the States. At home the whole nation was mobilized to support the war efforts. Men and women from all walks of life donned work clothes and labored in the war factories, the hangars, the shipyards. For in a war like this, victories are born on the production line. They built tanks, bombs, guns, shells and torpedoes. They built ships and cannons and planes. Ships, ships of all types, carriers and cruisers, submarines and destroyers, landing ships, transport ships, battle ships. They built whole convoys to cross the seas with men and equipment to fight the war over there. The submarine, deadly prowler of the seas, came into its own in World War II. German submarine wolf packs were directed from shore headquarters to sink 750,000 tons of Allied shipping monthly. Continuous attacks were ordered in areas where sinkings were easiest to accomplish. Success over the German submarine was one of the most important factors in the Allied victory. The survival of Great Britain depended on it. To the artist, submarine activities and life beneath the sea provided a wealth of visual material. In a letter to a friend, the late Griffith Bailey Cole describes his charcoal and chalk drawing lookouts. Rolling along the blue surface of the Indian Ocean, the empty sky and the sea is searched by these lookouts. For everyone, friend or foe, a loft or a float is our potential enemy. The men at the top of the periscope spots a distant submarine on the surface. We had no record of one of our boats in the vicinity. In 10 seconds, every man is below. The hatchbang shut the deck tips forward and we've disappeared below the vast surface of the ocean. Later, we rise to periscope heights. The captain makes a sweep. Blow the tanks, equalize the pressure, crack the hatch. Lookouts up. In 10 seconds, the lookouts are frozen to their glasses, searching, searching. I've been in many types of our ships, but not even in the destroyers have I seen lookouts search like this. Thomas Hart Benton was attracted to other aspects of life on board the silent service. The food, the seemingly endless hours of boredom and the ultimate reason for being there, the attack. That were another source of visual interest for the combat artists. Each seemed to have his favorite. Albert Murray and Adolf Dain liked the shape and style of the blimp, the dirigible. For Joseph Hirsch, it was the PBY, the seaplane. Mitchell Jameson was a fan of the small, fast scouts and bombers which flew from the decks of carriers. Jameson also studied the men who flew. I would say this whole experience was something that went very deep with me. And I feel it was probably because of the attempt to identify as completely as possible with the people I was with who actually did the fighting. I mean, it's a mistake to think that any combat correspondent or photographer is in the same position as a guy in the ranks who has no choice. He has to go through the whole thing and he can't come back and say, Well, I've had enough of a time being I want to collect my memories and sort of have a detached period in which I can put things together and maybe do a little quiet writing or painting. And this would be false to claim that a combat artist or combat correspondent or photographer is truly one of the boys. He's not because he has his freedom to come back when he's had enough or when it's saturated. 1943 at the Great Lakes Naval Training Center in Illinois an experiment was underway. Young black recruits from the south were brought in to be trained as sailors. Artist Huey Lee Smith recalls the experience. Obviously these people had a very limited educational background. Many of them couldn't read very well. Donating, taught them to read and to develop certain skills and literacy which made it possible for them to function as good sailors as it were. I worked in that under Lieutenant Dennis Nelson for a while. And in that program I was doing a series of graphs, statistical graphs, etc. and also a series of paintings depicting certain aspects of the training program. The painting that you refer to is sort of a montage of some of the activities. For example you'll see the young recruits with books and so on and so forth. And somebody at a blackboard and you'll see a portrait of Dennis Nelson who was at that time in charge of that program. To my recollection Dennis Nelson was well liked by everybody. He knew his business as it were. And he was a good example for the youngsters of the type of person that the Navy wanted. He was officer material as it were. I think they were originally about 10 or 15 black officers, junior officers or whatever. And this was the first time in the history of the United States Navy that this had occurred. Now of course we've got admirals which represents a tremendous amount of progress over the 30 year period. World War II was more than combat alone. It was a lot of physical labor, drudgery, boredom and loneliness. But sometimes there were moments of escape. The artists captured this phase of World War also. Convoy to Russia, Convoy to Normandy and the liberation of France. Convoy to destiny. Were the artists a supreme test of courage and skill in the face of death itself? D-Day, 1944. Sailors and airmen of the Allied Expeditionary Force. You are about to embark upon the great crusade toward which we have striven these many months. In company with our brave allies and brothers-in-arms on other fronts, you will bring about the destruction of the German war machine, the elimination of Nazi tyranny over the oppressed peoples of Europe, and security for ourselves in a free world. I have full confidence in your courage, devotion to duty and skill in battle. We will accept nothing less than full victory. Good luck. And let us all beseech the blessing of Almighty God upon this great and noble undertaking. I had just finished work on maps and matters, all the solar areas in Normandy, and requested actually to go in on the landings. I suppose for a very selfish reason to see what was happening and to try to record it. I had been on one end of operations, so to speak, the detached intellectual end, and it was sort of dry and a little bit on the dull side. Another thing, I felt that I wasn't really using my artistic abilities as well as I could in that particular context, and I thought if I could see what was happening, I could get some impressions of landing activities that I would be able to do something with this kind of material. So I did request to go in on the landings, and went aboard an LST in Plymouth, and we got there at D plus two. We had stopped to pick up survivors from other ships, and it was a pretty, confused, horrendous experience going in. So when I finally got there, I spent a lot of time in the foxhole, dodging bullets, and gripping my sketchbook in one hand, and trying to make some notes of what was happening. I might be drawing, and then I would suddenly have to duck under a truck or jump into a foxhole and get out of the fire activity. July 1st, three weeks after the initial landings, almost a million men and half a million tons of supplies had been landed in the Allied zones. Germany's chance to smash the invasion had failed. The Allies were firmly implanted on the continent. Through the summer and autumn months, Hitler's armies were slowly pushed back, back across France, back to the Fatherland. They launched one desperate counterattack in December, but were stopped at Bastogne. With the aid of troops which had landed in southern France from Italy, the Allied forces pushed the Germans back across the Rhine and deep into the Nazi heartland. Surrounded on all sides, with their cities leveled by continuous air bombardments, the Germans surrendered on May 7th, 1945. Less than a year after Normandy, the Nazi war machine was destroyed. The war in Europe is over. The Allies prevailed. The German war is at an end. We may allow ourselves a brief period of rejoicing. But let us not forget, for a moment, the toil and effort that lie ahead. Japan, with all her treachery and greed, remains unsubdued, and her detestable cruelty calls for justice and retribution. With most of the Japanese Pacific Empire in American hands, preparations were being made for invasion of the Japanese home islands. Air raids on Tokyo and other Japanese cities got underway. By the end of July 1945, American B-29s were raiding in groups of 500 and more. 64 cities had been bombed. Leaflets were dropped warning the enemy of impending doom. But the Japanese leaders still refused peace overtures unless arrangements were written on their terms. That was not satisfactory to the Allies. Too many lives would have to be spent in another invasion, especially one on the Japanese homeland. And so the ultimate weapon was unleashed at Hiroshima on August 6th. Three days later, August 9th at Nagasaki. On September 2nd, 1945, the peace documents were signed on board the battleship Missouri in Tokyo Bay. Commander Albert Murray used the surrender scene as a backdrop for his famous portrait of Fleet Admiral Chester Nemitz. The sander took place on the starboard side. I moved it to the port side in order to get a change of lighting, which with the forward gumballs of the turrets in the Missouri, a period of shatters on the deck which simulated the Japanese ensign. It was crushed in the sense that people were now standing on it in the sense of total defeat. The Second World War is over. The Navy's combat artists captured forever with faces and expressions of the men and women who won the war.


The friend of mine showed me this recipe the other day. It's a knock off of my original chicken. The chicken falls right off the bone. Spicy, it's the yum yum, get you something. Check it out. It starts out with bone in, skin on, chicken thighs.  Now you need some squeezed tube ginger. Dano's original. Check out our website, Amazon or go get it at Atwoods. Last step, you're gonna need some olive oil. We're gonna mix all this up together. Get them all tossed in the sauce. Now we're gonna throw them in the fridge. Let them sit for an hour. Now it's real easy. Throw them in, skin side up. Now I'll get some of this extra paste and kinda just coat it on. We go into our oven at 350 degrees for one and a half hours just like my original recipe on the bottle. All right, that is beyond flavor packed.  Try it, let me know what you think.