Lux presents Hollywood. Leverbrothers Company, the makers of Lux Toilet soap, bring you the Lux Radio Theatre, starring Rosalind Russell and Robert Cummings in What A Woman. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. Tonight, we bring you a play of love, laughter, and a light heart, designed to make you forget the problems of the day and add to the world all too rare stock of good humor. It's Columbia Pictures' sparkling comedy What A Woman, and the title naturally refers to Miss Rosalind Russell, who starred in the film and repeats her polished performance here tonight. Co-starred with Rosalind is Robert Cummings, one of our long-time favorites.  And here's the curtain rising for the play, starring Rosalind Russell as Carol Ainsley and Robert Cummings as Henry Pepper, with life Erickson as Michael. From coast to coast, a sensational new novel is sweeping America. Its title, The Whirlwind, stares from every bookshelf. And the name of Anthony Street, its author, is on every tongue. Right now in an office of the Knickerbocker magazine... Well, Henry, you can forget the article on Anthony Street. Forget it? What do you mean? Because there is no Anthony Street. It's a pen name. I just talked to Lindsay, the publisher. The author of The Whirlwind doesn't want himself known. He writes the best-selling novel in ten years and doesn't want himself known. What's the matter with him? I don't know. But the next best thing to Anthony Street is the person who did more than anyone else to put that book over. Carol Ainsley. You mean the agent? She's Anthony Street's agent? Street hasn't any agent. Carol Ainsley grabbed the first copy of The Whirlwind, saw it was going to be a best-seller, hooked up with Lindsay, and did the best promotion job in the history of the publishing business. And all for a usual 10% so what? I'm... I'm sorry to bore you, Henry, but Carol Ainsley happens to be phenomenal. And our readers will want to know about it. Well, they want to know about Anthony Street. Ah, but they'll settle for Carol Ainsley. Did you hear what she made David Arthur pay for the motion picture rights? $400,000 for one novel. And right now, Carol Ainsley's in all the papers. This hunt to find an unknown male to play The Whirlwind in the movies. Oh, um... I just don't understand you, Henry. Say, isn't she some relative of Senator Ainsley? His daughter, important background, everything. What more do you want for an article? Nothing. I don't even want to read it. I'm afraid you will, because you're going to write it. Oh, not just a minute. I'm sorry, we haven't time to wait a minute. Carol Ainsley's going to be in our next issue. So grab your hat and get over to her office.  Get over there! You're serious? Any time you want to begin. Thanks, Timmy. But come on in my office, everybody. I guess you all know where I've been, Atlanta, Memphis, Chicago, St. Louis, Boston. Carol, you found The Whirlwind? You kidding? My notes read like a coroner's report. Oh, great.  When a certain motion picture producer named David Arthur bought the screen rights to The Whirlwind, I made it part of the contract that we'd supply the man to play the part. Fine. Great. Only now, Mr. Arthur's becoming a little unreasonable. He insists that we deliver him. Well, now, where do we stand? All right, Pat, you first. Well, I've got second-degree calluses from sitting on the benches of a hundred little theaters. Sorry, Carol, no prospect. You didn't find anything? Oh, a beautiful little engine, and a hundred-acre farm. I think I'll buy it when we tire for this crazy business. Well, if we don't find The Whirlwind, I'll do the cooking for you. Well, how did you make out, Clark? Four hundred winners of the intercollegiate dramatic contest. I photograph right profile, left profile. Well, nothing. Incredible. What about you, Mel? Eighteen pounds of reports. Adding up to what? No Whirlwind. Oh, well, chums, there's no use kidding ourselves. We're over a barrel. I can't believe that in all these United States, there isn't a man who can play the Whirlwind. I won't believe it. And what's more, I... Jimmy, come here a minute, will you? Yes, Miss Ainsley. Who's that? There in the corner, with his hat on. I don't know. I thought he came in with you. With me? Excuse me, I'll get your phone. Hello? Mr. You, with the hat on. Yeah? You're new here, aren't you? Yeah, as a matter of fact. It's Hollywood again, Miss Ainsley. Oh, what'll I say to him? You're never any good when you were hurt. Here, talk to him. David, David, David! Oh, darling, I know. But there isn't anything to worry about. Well, what's the good of finding someone early and then having him grow cold long before the picture starts? Well, I have two wonderful possibilities. One of them's bound to pan out. And I'll deliver him when and as I promised. Oh, David, don't you worry about it. Yes, I'll keep you posted on everything that happens. Just give my love to Sophie. That's right, darling. Goodbye. How'd I do? You've got to say reprieve. Well, we can't hold him off forever. It isn't just the whirlwind. This affects us with every one of our clients. Our prestige is at stake. Oh, well, well, you all know that. Now, thanks, everybody. That's all for now. Hey, you, with the hat. Are you bald? Haven't you better be going with the others? And just what is it you do in this firm? Oh, I don't work here. You don't work here? No, I'm a spy. See? Well, who are you spying on and what's for? On you for the Nick and Barker magazine. A reporter? And you've been sitting here listening to everybody. It's a very colorful business you run, Miss Ainsley. Thank you. And I'll suppose you leave. It's OK by me. Tomorrow's the opening of the trial season. I hear they're running 9 and 10. Just a minute, just a minute, Mr. Pepper, Henry Pepper. Do you ever take your hat off, Mr. Pepper? Only in recognition of exceptional achievement, Miss Ainsley. Well, just what is it that you wanted for your magazine?   I didn't mean to be rude. I'll send for my biography from the publicity department. It covers everything from my childhood. Well, thanks all the same, Miss Ainsley, but I work in a kind of a funny way. So I gather. I work, well, you might say, from the inside. When I'm on assignment, my subject and I practically live together. That's cozy. Oh, yes, I promise you that in time I shall assume the more amiable characteristics of a faithful Cocker Spaniel. Trotting at your heels and grateful for an occasional word and wagging my tail when pet it. Well, that's all very interesting, Mr. Pepper. I assure you, but I happen to be a very busy woman. And a very smart woman, Miss Ainsley. You can see the value of an article in Nicarbaca. I figure maybe 0, 4, 5, and Stalman. Your coffee, Miss Ainsley. Oh, thanks, Timmy. Just set it down. Do I have your permission to drink this while it's hot? Oh, yes, yes, go right ahead. I'll catch up with my reading. Thank you. Hmm. See, there was a whirlwind by Anthony Street. That's his blurb on the jacket. Mr. Street is author, soldier, sailor, a man of the world with a sense of the world in conflict, a tidal wave of action, six feet four of magnificent manhood, ex-athlete, ex-footballer, ex-footballer. Here, here, let me see that. Hmm. Man of the world with a sense of the world in conflict. Six feet four. Right under our noses. Timmy, get me Lindsay. Tidal wave of action, six feet four of magnificent manhood. You mean to say you've never seen him? No, no, of course not. Anthony Street's his pen name. Everything was arranged to his publishers. And you keep that out of the Nicarbaca. Mr. Lindsay, Miss Ainsley. Oh, hello, Lindsay. How you doing? What's Anthony Street's real name and address? But Carol, I'm on a bone not to repeat it. I don't intend to reveal anything. I just want to have a little talk with him and see what he looks like. Who is he? And not too loud. I'm not alone. His name is Michael Cobb. He lives in Buxton, Pennsylvania. Thanks. Timmy, get me a train reservation right away for Buxton, Pennsylvania. And now, Mr. Pepper, if you'll excuse me. Going somewhere? Out to vote. There you are, Miss. 251 Bolton Avenue. But this can't be right. It says faculty house. That's right. A lot of the professors from Buxton College live there. Professor? You mean he's a... Here, thanks. College professor. Oh, brother. Professor Cobb? Yes, I had a message that you wanted to see me. You're Michael Cobb? Yes. I'm Carol Ainsley. Could I talk to you for a minute? Well, I suppose no one could object here in the library. Michael Cobb, well, well. The jacket was pleasantly accurate, wasn't it? Jacket? Miss Ainsley, I confess I have the slightest idea... The slightest what? Mr. Anthony Street. Look here, how did you know that? You are, aren't you? Miss Ainsley, that was a complete secret between me and my publishers. Now, I demand to know how you... I won't be shushed. I demand to know... I sold you a book for motion pictures. Your secret is absolutely safe with me. I... I... Well, why are you staring at me? Is this college coeducational? No, it is not. Oh, too bad. Please, what do you want to see me about? I've been commissioned to find a man to play the part of the whirlwind on the screen. Well, I wish you every success. Good day. Well, I've searched everywhere, seen everyone. I thought I'd failed, but now I know I haven't. Professor, there's only one man who can possibly do justice to the character of your wonderful book.  That man is you. Me? Portray the character of the whirlwind on the screen? That's right.  Please, listen to me. This is of the utmost importance. Important to the millions who've read your book. Important to all... Miss Ainsley, I wrote that book on an impulse sort of a culmination of my boyhood dreams of romance and adventure. Now it's entirely without literary merit. Professor Cobb, regardless of what you think of it, think of what it means to your readers. Little people, millions of them, living out their humdrums, sordid lives to whom the excitement and romance of this book means escape and happiness and do you happen to know how many people are going to see this book on the screen? I haven't the faintest idea. Eighty million. Eighty million? Oh, nevertheless, Miss Ainsley, it's just... Well, you can't say that a book like this is unimportant and you can't say it's unimportant who portrays the whirlwind on the screen. The minute I saw you, I knew you were the right man for... Miss Ainsley, I am a scholar. My doctor's thesis was on a certain phase of Elizabethan literature and I'm prouder of those three copies than I am of a million whirlwinds. Now it's utterly impossible.  That's only one consideration. No, it's all out of the question. Goodbye, Miss Ainsley. It's a pity. What is? To have found the right man and to have lost him. Goodbye for this. Miss Ainsley? Pepper, what's the big idea following me here? There's a train back to New York at 5.30. Answer my question. I thought I explained it's part of my job to follow you. That's how I learned things.  Now you look here, Mr. Pepper. I won't be able to give you a minute while I'm in Buxton. My business here is extremely confidential. Yes, I know you're here to see Anthony Street. Mr. Street's identity is a secret. Look, Miss Ainsley, I'm not a cub reporter chasing headlines. And my assignment is not Anthony Street, it's you. Now do we catch the 5.30 for New York? Sorry, but I've just made an appointment to see the dean of Buxton College at exactly 5.30. Goodbye, Mr. Pepper. Professor Cobb is here now. Professor Cobb? What did I want to see him for? I don't know, sir, but wasn't it something to do with that Miss Ainsley? Who's Miss Ainsley? Oh, oh, yes, of course. Miss Gilbert, do you realize what that woman told me? Hollywood wants you, she said. Hollywood. Hollywood? Oh, no. As technical advisor on the filming of one of the most famous books of our time. Famous books indeed on mitigated trash. Oh, no, Dean Schaefer. Just because I'm an authority on the American Revolution, she had the effrontery to... to... And that's not all, Miss Gilbert. And what she said I have reason to believe the book in question was written on the campus of Buxton College. Dean Schaefer? No. Miss Gilbert, send in Professor Cobb. Professor Cobb, have you heard of a book called The Whirlwind? The Whirlwind? Oh, yes, I believe I have. Have I read it? Oh, I thumbed through it. A romantic work, sir. Oh, but very fine for what it is. At least the public seems to think so. I've heard that it's unadulterated trash. Oh, I wouldn't say that. But what's more, I have a strong suspicion it was written by a member of this faculty. Well... Under the pen name of Anthony Street. So long as the author's identity is hidden... Hidden enough. It's a very real concern to me that a piece of tripe like The Whirlwind should originate at Buxton. I don't think tripe is exactly a fair word, sir. Too many people have found this book important. Oh, they have. Little people, sir. Thousands of them. Living out their humdrums, sordid lives to whom the adventure and excitement of this book are a relief and a boon. And this same book will be filmed. Do you know how many people are waiting to see it? 80 million. 80 million little people seeking escape and happiness. I thought so. Anthony Street? You? Yes, sir. Anthony Street. Second site that makes you catch the same train to New York I'm taking? Second site at all. No other train. Let's get aboard. Miss Ainsley! Miss Ainsley! Professor Cobb! Miss Ainsley! Miss Ainsley, does your offer still hold? How about doing The Whirlwind? You've changed your mind. Well, some unexpected circumstances led me to reconsider and I thought if your offer held I'd pack my suitcase. Oh, never mind your suitcase. Get on the train. How about my things? Mr.  Who, me? Oh, that's very kind of you. Come on, come on, Pepper. Well, for heaven's sake. Yeah, you win. What's the matter? Mr. Pepper! I am looking at Mr. Pepper. He's got his hat off! There's a brief intermission before Act Two of What a Woman. Here's Mr. William Keely, our producer. Act Two of What a Woman, starring Rosalind Russell as Carol Ainsley and Robert Cummings as Henry Pepper. It's rather late at night now and in New York the entire Ainsley staff has hastily assembled in Carol's penthouse. The chief herself has just walked in the door with a tall, handsome, thoroughly bewildered Professor Collins. Hello, everybody. Meet Mr. Anthony Street, the whirlwind. How do you do? Well, I won't keep you long, but we've got to work fast. Four weeks isn't much time, but it's got to be enough. I'll make the introductions brief. Oh, Timmy, this is Ms. Tinnons, my secretary, Mr. Street. How do you do? Timmy, why are David Arthur and Hollywood right away? Tell him we've definitely found the right man for the whirlwind. To be delivered, I'm the agreed date. Now, don't tell him anything else. Oh, Ed, this is Mr. Clark, our photographer. How do you do? Hey, what a guy. Ed, we're going to need publicity photos and files. Now, everything concerning Mr. Street is to be handled right here under my personal supervision. Is that clear? Oh, who's there? This is Ms. Fanwick, our instructor in the gymnastics. Ms. Fanwick, Mr. Street. How do you do? Well, well, Mr. Street. Oh, Rosie, he's got to learn to read lines right away. I wanted to make a screen test in ten days. Where's Pat? Oh, there you are. Pat O'Shea, this is one of our key men, Mr. Street. How do you do? You don't know how glad I am to know you. Pat, get Tony Williams to measure him for a suit. Will you make it brown? Double breasted English straight? I would suggest a buck. Where's Richie? Oh, Richie? Yeah. Oh, you've got to get him in condition. Two hours a day in that gym. Yes, ma'am. We'll show him, Mr. Street. Well, I guess that's about all for now. You better all go home and get a good night's rest. It may be the last time for some time. And thanks very much for coming. Good night. Now, on behalf of the entire staff, I bow from the hips. Oh, well, Professor, we're under way. Yes, sir. I guess I'd better get along to a hotel. Hotel? Or you're staying here? Here. But we've got work to do. It's most important that you stay near me. Oh, yes, but, well, I mean... There's a guest suite for my clients here. I think you'll find it both isolated and comfortable. Oh, Minna. Yes, Miss Ainsley. Are Mr. Street's rooms ready? Oh, yes, Miss. Miss Ainsley, I had no idea of staying here. Oh, look here. This isn't Buxton, you know. Run along now and don't worry. Oh, it better show him the way, Minna. Well... Well, good night, Miss Ainsley. Deeply impressed. Pepper, I wondered where you were. As your staff let me in just now as they were leaving. I'll have to speak to them about it in the morning. How'd you do it, Miss Ainsley? How'd you get the professor out of Buxton? Well, I'm afraid that will have to remain a state secret. Shall we just put it down to Charm? Charm, huh? The velvet touch. On top and underneath the brass knuckles, of course. I never show my knuckles. And you'd better run along, too, Mr. Pepper. I'll have a tough day ahead. I'm working against a deadline, you know. Yes, so am I. And until you give me 15 minutes, I can't even start. If I do give you 15 minutes, do I stand the reasonable chance of not finding you under foot every time I turn around? Yeah, a reasonable chance, yes. All right, now. Well, what do you want to know? Well, let's start at the beginning. How about your childhood? Oh, I had a divine childhood. Perfectly glorious. Oh, I'm sorry it was a bad thing. See here, Pepper. You asked a question and I answered it. I thought that was the usual way of conducting an interview. Miss Ainsley, your mother was Cora Ainsley, a great actress, wasn't she?  Oh, I get it, Doctor. Poor little rich girl left alone day after day in her own private swimming pool. No, thank you. I'm not having any. Okay. What sort of childhood did you have? It was very stimulating, really, having both one's parents so successful. All their friends were brilliant, talented, writers, musicians. Exactly. You know what I think, Miss Ainsley? No, what do you think, Mr. Bones? I think that ever since you were a child you had to prove something. Carol Ainsley had to be somebody. It was expected of her. Very interesting, Doctor. When do you throw on the colored slides? You could have been an actress or you could have taken up painting or writing, but you wanted to be a success in a hurry. So you took other people, developed their abilities, sold them high, and made their second-rate talents pass for pure genius. That's it, exactly. And what's so wrong with that? It's only one thing. That in all your hurry you overlooked doing a job on yourself. Oh, I don't exist. Is that it? About 10% of you do. Really? Given a chance the other 90% might be, uh, terrific. Good night, potato. Good morning, Carol. Well, where are those photographs of Anthony Street? I'll hear the proofs, Carol.  I see what you mean. Oh, well, he just lacks confidence. Try him in a bathing suit or better yet, Hawaiian trunks and put some palm trees in the background. How was he in dramatic truth? You really want the truth? Oh, as bad as that, huh? Well, it's only the first day. We'll get the screen test there in 10 days. Couldn't you give us more time, Carol? Oh, honestly, we need it, Carol. We promised David Arthur that we'd have that screen test out to him on the 27th. That means we've got to make it by the 25th, so we'll have a chance to see it first here in the projection room. Oh, incidentally, if Mr. Henry Pepper should show his face around here... Yeah? Oh, never mind. Just keep him away from Anthony Street. Hiya, Professor. How's it going? Hello, Mr. Pepper. Oh, like that, huh? Well, where is everybody? What's going on there? Oh, that's Miss Ainsley's projection room back there. Well, they're looking at the screen test, huh? Yeah, screen test. Mr. Pepper, I am not a film actor. Does it matter? Here, have some Miss Ainsley Superior brandy. Brandy? I'll think it better. All right. Thanks. Sounds like they're about to leave. I hope so. I couldn't stand it. Nobody said a word, but I could tell what they were thinking. Well, Michael, awful ordeal. Wasn't it seeing yourself on the screen for the first time? Gastly. Don't worry. You'll be amazed at the improvement in your next test. Next test? Yes, of course. Mr. Pepper, did I have an appointment with you? You told me to come around any evening I was ready. I told you the telephone first, and I am not... Miss Ainsley, as for making another test... Please, Michael, now is not the time. Oh, I could leave, you know. No, please stay, Mr. Pepper. Miss Ainsley, I am not an actor, and I never can be. Oh, not an actor, not an actor. What are actors? Simply people. And what's acting? Simply being people. That sounded all right in Buxton, but after this humiliating experience, another screen test is out of the question. What? If it's a train back to Buxton tonight, I am going to take it. You astound me if it were any man. Just an ordinary man, I might understand.  After all, what would you ask to do? To pretend. Simply to pretend. Pretend. Pretend to be in love.  You think it's so difficult to pretend you're in love? Come here. All right.  You have your arms around her. No, no, no, no. Around her. All the way around her. There. Now, what's so difficult about that? You hold her. Really hold her. Closer. Tighter. That.  Now, it's like this. Her face is very close to yours, too. Now, what would your next impulse be? I... What is the next thing to pretend? A woman as close as this. Her face is near to you as mine. You pretend to want to kiss her. And you do. That's all there is to it. Miss Angel, I... I... I guess he found a little too warm in here. Where do you think he's going? On a beeline back to Buxton. What? Well, I don't imagine you're in the mood to work. No, no, I thought not. Well, if you'll excuse me, Miss Ainsley, I can find it a little too cold in here. You know what time it is, Henry? It's after midnight. Yeah. Poor Miss Ainsley. She must be going nuts by now. Say, how did you know where to find me? Well, when I left her apartment a couple of hours ago, I figured if I were you, I'd head for the nearest bar. And here you were.  Well, that's her business. But she took such a personal interest in such a warm way.  Oh, definitely. Very sympathetic. Yeah, well, drink out, Professor. You know, Henry, there's something challenging about failure. When a man has undertaken something right or wrong, there is an urge to see it through. Yeah. Say, I'll be right back, Professor. I just remembered I have to make a phone call. Wake me up. I'm out of my mind. Anthony Streets disappeared, so hang up if you don't mind. I've got a dozen people looking for him. May I make a prediction? I'm not interested in your predictions. Miss Ainsley, back on the job in the morning, bright and early. What do you mean? Do you know where he is? I'll look here, Pepper, if you've done anything.  You spent the night in a Turkish bath? Certainly did. Nothing like it to clear the head. Oh, I see everything in a different light this morning. It's no sin to fail, Miss Ainsley, but once you've undertaken anything, it is a sin to give up trying. Let's have another go at it, shall we? My dramatics, I mean, is miss Fenwick here? No, no, not yet, is there? Well, it's just as well. I'll have time for a workout first in the gym. Goodbye, Henry, and thanks a lot. Well, guy, isn't he? Mr. Pepper, I should like a word with you. How were you able to call me up at midnight and predict a thing like this? Oh, we got to talking, you know. Oh, and he began to think better of the job, eh? Yeah, he began to think better of you. What?  He doesn't know it, Miss Ainsley, but the professor's in love.  You know something?  That's a great test I just saw at the boys' terrarium. Didn't I tell you? I simply don't understand. Just ten days, Carol, and he's become an actor. I wonder what hit him. What do you mean, what hit him? Nothing hit him. He's intelligent, sensitive. He merely caught on. We'll take the test out to the airport, Pat. By tomorrow night, we'll know what Hollywood thinks of it. Yes, you'll like it, Carol. Then what? On Wednesday, we release the publicity. The whole country will hear about him, complete the pictures, everything. And on Thursday, the whirlwind and I take the train to Hollywood. Do you want to go? I want to deliver this prize package personally. Oh, now look, Pat, on Wednesday night, I want a reception. Twenty-five of the newspaper and magazine editor. Have the invitation read simply to meet Mr. Anthony Street. Mr. Pepper's on the phone. Oh, tell him to go to... All right, let me have it. Well, how do you do, Mr. Pepper? Miss Ainsley, I have the first installment for you to look over. Couldn't possibly do it today. I'll have to look at it another time. You'll read it today, Miss Ainsley, the first installment goes to print just as I wrote it. Is that all right? No, no, it isn't. Oh, all right. Five o'clock here at my apartment. That man's an epidemic. This is just the first installment, Miss Ainsley. Well, do you like it? It's pretty good. Thanks for keeping a civil tongue in your typewriter. Well, now shall we go on from there? Well, we've polished off my childhood. What now? Business? Mm-mm. Heart interest. What? Miss Ainsley, and your life been remarkably free of men? Of course not. I've had lots of bows, thousands of them. But never the one, the right one. Well, you forced it out of me. There was one, only one. Jeffrey. I was about 20, skiing that spring in Austria. He was an English boy there on his Easter holiday. It was love at first sight, you know, preordained. I sailed home to tell my parents about it. We were going to be married. And then it happened that summer. He didn't live. He drowned. So, is he after that? Soft music now. What? I don't believe a word of it. Why not? That was a very moving story. Yeah, it was. Almost good enough to pass with the real thing. Oh, you're uncomfortably smart and a smuggest man. All last night I didn't sleep laughing about your theories. For instance, Michael Cobb. Oh, how is the professor? Perfectly fine.  If you'd seen the screen test this afternoon, you'd realize the job was practically done. And now what have you got to say about that? Well, I'd say it's about time he began to feel very, uh, grateful. Grateful? Excuse me, Miss Ainsley. Oh, yes, Minna. He's just arrived by special messenger, Mark Rush. They're wrapped like gifts. Oh, thank you, Minna. What is it, your birthday? No, it's not my birthday. Well, what do you know? A basket of food. Candid fruit. Nobody could be that hungry.  Isn't there a card in it? Oh, oh, of course. Well, well, well, imagine. Someone you know. Yes, naturally. Well, this other box over here is obviously candy. Card. Oh, yes. From a client. All four packages from a client? Uh, yeah. A quartet. Four of them. They sing, you know, together. Very talented. Oh, hello. Hello, Henry. Oh, hello, Professor. Oh, hello, Michael. Michael, do you mind? Mr. Pepper and I'll be through in five minutes. Oh, you're angry. What, me? Oh, I should say not on the contrary. Really? Of course. My heart and hope did die. But then say you're pleased. I'm delighted. I'm out of my mind. Now, would you mind waiting in there? There's one more. One more what, Professor? Gift. Mike, did you send them? Oh, didn't Henry know? No, he didn't know. But he knows now. They're really lovely, Michael, but you shouldn't go spending money like this. Oh, I just got my royalty statement from the publisher. And if I don't start spending some of it, I'll clutter up the banks. Yes, though, but it's a lot of money, you know. And, Carol, I've been thinking about you. What? You worked too hard. No fun, no relaxation. Why, I never felt better in my life. That's what they all say. Just before they collapse, now go get dressed. What for? What didn't Henry tell you? Tell me what. Well, you and I, dinner, then the theater, and after that... What did Henry have to do with this? Why, he arranged for the theater tickets. And just when did all this take place? Yeah, just this morning, Miss Ainsley, just after Michael went shopping.  We haven't all the time in the world, you know. But I can't do this to Mr. Pepper. He has certain material to get from me. He's working against the deadline. Oh, now, don't mind me. You young folks go right ahead. Thank you, Henry. Oh, yes. Thank you, Henry. Say no more, say no more. I'll use your typewriter and we'll have a quiet little chat when you get home. Oh, by the way, Mike, how is your singing voice? Singing voice? I don't sing, Henry. Sorry, I guess I got you mixed up with a quartet. Home at last, oh boy, was that an evening. Wow! Oh, Henry! Oh, thank you, Henry. Well, have a good time. Did we have a good time? Tell him, Carol. You tell him. Henry, the theater was just wonderful and then we really started, didn't we, Carol? That we did, that we did. Oh, and the night comes why I can't even remember all of them. I can. Oh, now, little Carol's tired. Well, now that settles it. Little Carol's going right to her beddy for our four, eight hours. I'm sorry, Henry, but no more work tonight. Oh, you're right, Mike.  Leave us not be coy. All right, my girl, to bed you go. But I can't go to bed without my milk. Milk? All my life, would you be a good boy now and go out and get it for me? Oh, you bear! And warm it! Warm it? Why, you bear! Milk? Warm milk? You? I hate it. Disney cramps. Say, how do you really feel? Like an occupied country.  You could? I didn't have anything to do with it.  Thanks to you. Well, it was the least that one pal could do for another. Well, that's what I wanted to talk to you about. This pal's business. Oh, it's perfectly harmless. Actually, I'm just an innocent bystander. Hmm, getting the kick of your life out of the whole thing. Yeah, so is he. That's what you really ought to be worrying about, you know. What? Well, a guy like that gets hit. A guy who's never been in love. Oh, it's murder. Well, and just what do you suggest? Well, I'd call a halt right now if I were you and straighten him out. Of course, it's risky. He, uh, he might clear out on you. He won't clear out. Leave that to me. Harold! Yes! Your warm milk! Oh! Now for station identification. This is CBS, the Columbia Broadcasting System.  We'll return you to William Keely. The curtain rises on the third act of What a Woman, starring Rosalind Russell as Carol Ainsley and Robert Cummings as Henry Pepper. Michael Cobb's screen test is an unqualified success, and the ex-professor from Buxton College, now known as Anthony Street, has been the center of attention tonight at a reception in Carol Ainsley's apartment. The party's about to break up when Carol greets an unexpected guest, her father. Farling, what a wonderful surprise. But why aren't you in Washington? Committee meeting in New York, my dear. Now what's going on here? Oh, just a party for Anthony Street. Street? So he's why I couldn't find the news in the papers tonight. Well, nice seeing you. So long. Dad, wait. Oh, no, phone me at the St. Regis when things quiet down. Incidentally, Friday's my birthday. I know, dear. Tell me, what do you want? I want you to come to Washington for a nice, calm weekend at home. Oh, but, darling, I'm leaving for Hollywood. Hollywood? Anthony Street. I've got to see that he gets properly launched.  I'm sorry, but this is the most important job I've ever undertaken. Now, when do you go back to Washington? Tonight. And if you change your mind... Well, Senator, Senator Ainsley.  Oh, well, you two know each other. Pepper, why? He wrote a first-rate article about me once. Your daughter's the victim this time, Senator. Oh, really? How long has this been going on? Too long. Days and days. But you collected everything about me in an hour. Well, I changed my methods with the subject. Well, goodbye, Carol. Phone me at the hotel. Goodbye, darling. I will. By the way, Mr. Pepper, I don't recall that you were on the list of those invited here tonight. Oh, I had to come. Your protege said this note. Hope you'll come. I've got to talk to you. Well, here, read it. Got to talk to you. About what? I don't know. Here he comes. I'll ask him. Henry? Oh, hello. Say, I've got to talk to you, Henry. Let's go in here. Will you excuse us, Carol? Now, just a little second here. Excuse us. Oh, great party, Carol. The professor was a sensation. Yes. And right in the middle of his being a sensation, Pepper drags him off in there. Seems to me he did the dragging. What do you suppose they've got to talk about? Forget it, forget it. Come on now, say goodbye to the people. Carol knew all the time how people felt about me, like, well, like the people here tonight and millions of others. Oh, I've become important to them, a part of their lives. You know, if it hadn't been for Carol... A very perceptive woman. Yes. She showed me how to make the most of my life, Henry. So, why shouldn't I? Huh? Well, I mean if a man has an honest emotion toward a woman, well, why should he conceal it? Sheer hypocrisy. I'm glad to hear you say that, Henry. Party's all over. Now, you mean they're all gone? Yeah, they're all gone. Well, good luck in Hollywood, Mike. If you ever get back to civilization, look me up. Oh, you're not leading, Mr. Pepper. No more questions to ask. No, I'll mail you the last installment. You can wire me any corrections. That is, should you find time. Oh, why shouldn't I find the time? Oh, you're going to be so busy, Miss Ainsley. I touch a lot on your... on your hand, eh, Professor? You said it, Henry. Mr.  Oh, thanks. I never touch a stuff. Well, bye. Well, Michael, tomorrow you start the big adventure. We do, Carol. Uh, yes. You and I. Oh, yes, in a way, of course. In all ways. There'd be no adventure if it weren't for you.  I'd have gone on walking in my sleep in Buxton. You had the vision. Even then, I didn't care about being rich or famous. I was doing it for you. I wanted to make you proud. Oh, I am proud. Proud. A fit to burst. And it's really very sweet of you, Michael. But now I've got a little packing to do. Carol, I'm trying to tell you something. And I'm listening. Really, I am. It's just that I have so much to... Look at me. Carol, I want it always to be you and I. Just you and I. Michael, you're hurting my shoulder. Let me go. I can't. I can never let you go. Michael. There's a phone. A phone. Let Minna get it. Minna's in bed. I've got to answer it. Carol. Yes, this is Carol. Now you've got really, father. Carol, this is Pat. P-A-T Pat. A boss? Oh, you want me to come over to the hotel now? Of course, darling. Right away. I'll go with you, Carol. Oh, no, no, no, no. You know, father and daughter are sort of confidential. I can wait outside, can't I? I'm not here, Betty. I might be up the rest of the night. I'll see you in the morning, Michael. Well, this is father. Say, what's the matter with you anyway? Look, Pat, I'm at the office. The office at this hour? Something urgent has come up. I've got to go to Washington. But you're going to Hollywood tomorrow. You're going, Pat. You're going to take Michael to Hollywood. I-I am? There's no alternative. But don't get telegram there. Change it. I'll join you later on the coast. Okay, Carol. And Pat, get me a plane reservation for Washington. Call me back. I'll be here in the office. You'll be running for your life tonight. And if you did, this is exactly where you'd run to. What do you mean? Running for my life. My father wants to see me. It's very important. Won't he be surprised? I'll look, Mr. Pepper. I said good night to you once. Do we have to go another round? Hmm. Not a hair out of place. After that struggle, I thought I'd find you at least a little breathless and panting. So you knew just what was going to happen, huh? Hmm. I had a rough idea. I got to wondering how you'd react. Well, it seems there's no reaction at all. Will you please get out of here? Still so cool, so safe and snug behind that big business there. What did you expect me to do? Stay home and cope with that impassioned Saint Bernard? Oh, no, no. You were right. Don't ever put him straight. Don't tell him that you never actually felt anything in all your life. In fact, you don't even know if you could. I feel as much as you do or anyone else. It just so happens, I don't feel for Michael Cobb. Just a question of type, hmm? Maybe another man could strike a spark beneath that blank efficiency. You can't talk to me that way. Once and for all, you can't talk to me that way. I never will again. This is positively the last interview when I learn the last thing that I want to know. You keep away from me. What do you mean, the last thing? I mean the other 90%. Up to now, I've seen only 10% function. But I've looked for something more, and if I could ever find it, I have an idea I might be, uh, interesting. Let me go. This sort of thing can't happen to me twice in the same evening.  Your skin glows. Your eyes shine. Here's a man very much taken with you standing very close by. I want your next impulse, Miss Anderson. You're getting these arms, isn't it? Like this. And then what? The next, uh, natural compelling thing is, uh, a kiss. That, uh, winds up the biography, Miss Anderson. Good night. Oh, yes, Pat. The ticket? Well, thank you. No, no. I'll be back from Washington on Monday.  What's the present of all? It's the fact that my daughter's here. You asked for a darling, but I thought you were going to Hollywood, Carol, with that whirlwind fellow. Well, as a matter of fact, I was. But what are my plans compared to Dad? Uh, somehow this worries me. Dinner is served, Senator. Oh, right on the dot. Well, shall we go in? My telephone call for you, Miss Carol. Long distance. She's not here. It may be important here. You all go right ahead. I'll only be a minute. I'm sure of one. Mr. Anthony Street has disappeared. The whirlwind blew. He never even got on the train. He dropped out of sight in the station. But how could he? Well, I told him you couldn't after the baggage, and when I got back, he was gone. But he can't just disappear? Hey. Too many people know what he looks like. Hello, Carol. Michael. Michael. Carol, I had to talk to you. I had to see you. Pat, he's here. I'll call you back. He's there in Washington, but he couldn't be here. Michael, how could you do a thing like this? Everyone in the country expected you to take the train for Hollywood. You're disappointing millions of people. You're, you're, are you listening? I haven't seen you since last night. Is that an answer? What would I be going to Hollywood for without you? Well, I, I said I'd be out there. I can't wait, Carol. I don't want any part of this career unless it includes you. Well, that's very sweet of you, but now isn't the time to talk about it. Why not? It's because father's waiting dinner, and the first thing you have to do is to go to California. Not without you, Carol. Michael, you're being positively childish. Worse, I'm walking on eggshells. I'm in love. No, but... I'm all wrong for you. Michael, can't you see that? Well, I can't even bake. You should marry a nice, sturdy homebody. A, a Buxton Buxton. A boxing Buxton. A, a girl from Buxton. Carol, you mean you don't care? Of course. I mean, I'm very fond of you. Oh, I knew it. Oh, but Michael, we must lose our heads. I, uh, I must have time to think. I'll give you until tomorrow noon then a quick, simple marriage and... But what was that? Well, they went off in my head. They wanted to see Anthony Street. Report him. Mr. Street's on a train going to Hollywood. Senator, we know he's here. Somebody recognize him at the station. Now listen, you tell those reporters who came down here for a last-minute conference and that you're leaving by plane tomorrow for the coast. With you? Yes, yes, anything. It's all right, Dad. Let them in, Mr. Street's in here, gentlemen. Carol, what are you doing? Uh, I'll leave you here with Mr. Street. Come along, guys. Well, Mr. Straight, why the change in plans? Well, it's, uh, nothing really. It's just that Miss Ainsley and I are, uh... Yes, Mr. Street? Well, we, uh... Well, I don't think she'd mind if I tell you. It's, uh, confidentially, gentlemen, Miss Ainsley and I are engaged. Well, now the date hasn't been set yet, but I hope in the very near future. Oh, this is wonderful, Miss Ainsley. Thank you for dropping by. Well, Dennis, waiting. I am now, Mike. Will you come along and meet Dad's friends? Oh, Dad. Have coffee in the living room, then. Oh, and bring the cake. You've got to cut it, Dad. It's your birthday. Well, if you turn off that radio, I'm stalling, Senator. Blow out the candle to make a wish. It's amazing how wishes come true. Dad, what did you say? Come on, now. Take a deep breath and just relax. A musical program to bring you an item of social importance from Washington, D.C. An announcement was made tonight at the home of Senator Ainsley of the forthcoming marriage of his daughter, Carol, to Anthony Street. What? Offer the whirlwind and form a professor at Buxton University. Did you hear what I heard? Michael, have you heard that? How have you any idea how this happened? And turn off that radio, please. Well, darling, I spoke to the press, of course, but on the strictest confidence. Strictest confidence? You don't mind, Carol. You don't mind? Come on, Carol, end the wedding. Tomorrow? Tomorrow? Right in this house. And don't you worry, Senator. I'll arrange for everything. Good evening, Carol, Senator. Pepper, what are you doing here? Me? I'm the best man. Of course, darling. You see, I phoned Henry before I left New York. I told you I'd arrange for everything. Yeah. Pepper, I want to talk to you. Me? Now, Pepper, alone. All right, Pepper, say it. You think I engineered this wedding in cold blood, don't you? That I took the easiest way to get Michael Cobb to Hollywood. I think it's very touching, this spontaneous romance. Well, I want you to know I had nothing to do with it. Barged in here, took the bit in his teeth and cornered a lot of newspaper people. Even then, I hadn't said yes. I said I'd think about it. Well, I had to say something. Oh, sure. With the whirlwind hanging in the balance, naturally. No, I know you predicted all this. That makes you very clever. But I won't have you thinking what you do, even though I'm aware of your opinion of me. I have no opinion. Oh? What does that make me, the perfect vacuum? I should have known better than to try to talk to you. Why did you? Because I do care what you think when it comes to something as important as this. And I thought perhaps after last night, you might try to be understanding and helpful. Well, I'd be glad to, Miss Ainsley. Quit calling me Miss Ainsley. You know, I see no problem here. My cast go to Hollywood. Too many people expected. If marriage is the way to get him there, then marriage it ought to be. You wait a minute. You'll be Mrs. Whirlwind, that is, for as long as it takes to get him settled. And then you'll be off to Reno and back to your job in New York while he stays put and earns you 10%. I see. And while I'm waiting for him to get settled... He won't even know the difference. He's never really been in love, you know. He doesn't really know what a 100% woman is like. He won't even... Hey, where are you going? Wait, I'm not finished. Listen, everybody. Listen, I've got an announcement to make. There isn't going to be a wedding. No wedding. Is that clear? I don't want a wedding. Nobody can make me have a wedding. Carol! I'm sorry, Michael. But a woman has to decide these things for herself, and I haven't decided that. Except it won't be you, Michael. You're the Whirlwind. You're a handsome young man. You have talent and a fine profile, but it won't be you.  You can hate me for it. You can walk all over me. Anything but marry me, as where a woman draws the line. And I wish you all the luck in the world, no matter what you decide. You can go back to Buxton, or you can go to Hollywood, or you can just play.  I can't help it. Flying to It's Offer, tough to smite this Whirlwind business. I don't care anything about that. But everything else, you standing there, and all those terrible things I said to Michael. They had to be said. Oh, poor Michael. He'll never be the same. Oh, don't you believe it? You'll go back to Buxton as a celebrity, and people will come from miles around to sit at the feet of Professor Cobb. You'll go old and happy doing the job he was meant to do. You think so? Of course. The pepper's always right. Well, I'll admit you've called with turns on everything so far. Carol? Oh, I'm terribly sorry, Michael. Has it ever occurred to you, Carol, that the Whirlwind is vitally important to some 80 million people? Why, yes. And wouldn't you say that that matters far more than the personal feelings of any one individual? Yes, yes, I would. I would, too, Carol. I am not going to let my public down. I'll be leaving for Hollywood tomorrow. Good night, Carol. Good night, Henry. Back to Buxton. Oh, you certainly missed the boat on that one, Henry. Well, you know Whirlwind's unpredictable. Pepper, how about a deal? You're talented and intelligent. I think I might be able to do something for you. You'd have to sign a contract, however. Henry, you know something? Yes. I might be interested. On my own terms, of course. Oh, for instance? For instance, no screen test. No? No. No option. Really? No 10%. What? Strictly 50-50. That'll make up your mind. It's a long-term contract. And exclusive. Take it or leave it. I'll... I'll take it. This theater's best tradition. Our thanks to Rosalind Russell and Robert Cummings. And here they are for a curtain call. Well, it's grand to be back. And you know we are lucky to get Bob away from that new house of his. Bob building a new house is an experience you'll remember all your life. I have news for you. It may take all my life. When does your new picture get underway at Columbia Studio, Rosalind? In about two weeks, Bill. And Bob Cummings and I will be together in that too. Good. And I know your fans will be delighted to hear that you're going to make a comedy. What to call? My next husband. With a title like that. For one thing for certain, whatever happens, fans will always have an enthusiastic welcome for Rosalind and compliments for that beautiful complexion. Thank you, Bill. And I don't have to tell you that I depend on luck, soap or complexion care. And the new bath size is a special favorite of mine. Now, what about next week? Next Monday we'll have two of our favorite stars in one of the screen's current hits. Our headliners are Gene Tierney and Don Amici. You'll hear them in the 20th Century Fox success that wonderful urge. And we urge you to listen because it's wonderful. Gene Tierney, Don Amici, that's the date, Bill. And it shows why the Lux Radio Theatre has just won another of those honors that are always coming your way. This time it's the 1949 Radio Mirror Award. Yes, Bob, each year Radio Mirror takes a nationwide poll of listeners' preferences. And we're very proud and grateful that once again, the Lux Radio Theatre was voted the favorite dramatic program for the year. Congratulations, Bill. And good night. Good night, Bill. Good night and come again for the film. Shiva Brothers Company, the makers of Lux pilot soap. Join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Gene Tierney and Don Amici in That Wonderful Urge. This is William Keely saying good night to you from Hollywood. The character in tonight's cast was Life Erickson as Michael. Our play was adapted by S.H. Barnett and our music was directed by Louis Silvers. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear that wonderful urge starring Gene Tierney and Don Amici. Stay tuned for my friend Irma, which follows over these same stations. This is CBS, the Columbia Broadcasting System.


Did you see the best apparel on Sunday? Yeah, I mean, I think you're always hoping it can get better, right? There's always room for improvement. But yeah, I thought he had a great day, man. He played hard. He found ways to affect the quarterback. Obviously, the stat line wasn't quite there in terms of sacks, but the production in terms of getting to the quarterback, the pressures, the hits, he plays hard like he does. And that's been evident throughout his time here. And I think now it's just translating a little bit more to find in some success Russian, whether it's one-on-one or some of these even games that we're running and using them in those situations. So he used the word relentless to describe the whole law. He goes out there and would have had two and a half sacks, if not for a holding in the secondary. What does his effort and his production mean to you, especially when Bud's probably not 100%? Yeah, man, it's huge.  Next man up mentality. Somebody goes down, you guys step up, whether it's before the game, whether it's during the game, whether it's throughout the week. It's been big for us. Getting him out there, he's produced. Like he's took advantage of his opportunity and he's produced and ran with it. So hopefully that continues. Uncertainty, what you were maybe getting in him, because it didn't get a lot of opportunities for us to pass here in Pittsburgh. And when did you kind of know that maybe he would be capable of having some success? Yeah, I think as we kind of went through training camp and he got opportunities there, and I think his effort showed throughout training camp, his style of play showed throughout training camp. And then the chances he's had, like in the games early, whether it's Arizona, whether it's Seattle out there, like you saw him do some good things rushing the pass or moves.  And whatever it was in Pittsburgh, like he's coming here and had a mindset.  What concern do you just have about that position right now with Rashada and then, of course, Bud unable to go? And how much has, I guess, Ola helped ease that to some extent? Yeah. Having Ola do what he's done absolutely has helped, especially in regard to third down. And we'll see how it shakes out this week as things play out these next couple of days, just in terms of how that position is going to play out on Sunday, right? I mean, we've got different guys. We've got some versatility with some other guys. So I mean, we'll just have to kind of see where these guys are at as we get to Sunday. What do you think about their quarterback and how you faced rookie quarterbacks before? I mean, how do you approach them different for some rookies than it is others? And do you kind of fight that boundary yourself on how aggressive they'd be? Yeah, I think you study them, study what they do well, what they don't do well, what they've struggled with, what they've had success against. You try to formulate your game plan whether it's a rookie or any other quarterback kind of off that stuff. I mean, he can make all the throws. I think he's a tough kid. I think he's competitive. I mean, they play some good defenses early on. They have. So I mean, it'll be interesting to see just what we do and how we're able to affect them. Like ultimately comes down to affecting the quarterback whoever you're playing, whether it's a rookie or whether it's Tom Brady, right? You're trying to find ways to affect the quarterback and utilize what you've seen on film to kind of do that. What are some of the things you guys could do defensively just to get that turnover ratio, you know, tip more into your skill, into your... Yeah, I think continue to emphasize it like we do. I think we've got to take advantage of every opportunity we get to do it. I think right now there's opportunities out there where we're not trying to hammer it out or we're not getting our hands up.  But we've got to take advantage of every opportunity we get to actually disrupt the ball. With a rookie though, it's the idea to go after him or to try to confuse him with coverages and stuff like that or mix in a little bit of... Yeah, I think it's a combination. Whatever you feel is best with our personnel, with their personnel, just different ways to affect them, whether it's from the back end, from the front, whatever it is. I mean, there's a lot of ways to affect them or try to affect them at least. So based on our personnel and who they got to, I think all that comes into play. You just sort of were ripping the ball out, making that extra effort. How much does that change for the secondary? Do they almost have to get thrown one? Is there something you can do to improve your chances? Yeah, I think based on what, like we've always said, man coverage gets a little bit harder, right? Like we talked about last week, the main objective is not to let your man catch the ball, keep your eyes on your man. Like you're not really looking at the quarterback, you're not really seeing that type of stuff because that's when guys get open. But I think when we're in zone and we're in those vision and break type coverages, making sure we're good with our eyes on the quarterback and breaking on those throws and not slow to break, hopefully closing some of those windows with an opportunity to disrupt the ball there. Is Christian kind of getting to the point maybe where you can kind of consistently put him on a receiver or is that still one top receiver or is that still? Yeah, I think by game plan, how we feel about him, how we feel about Rabbit, how we feel about their other guys, if that's a route we want to go, potentially it's something we could do. I mean, I'm pleased with where he's at, man. He's competing, he's improving, he's challenging. He just keeps getting better, right? And there's things, but I think the big thing with him is each day trying to take that next step, continue to take that next step, and then it shows up on Sundays.  Yeah, in my opinion, I think he's playing better than probably he did in camp right now. We saw it in camp. Like he was doing the same things. He was challenging, he was competing, but he's going out there on Sundays and it's showing up. What's Caleb got to keep in mind, being out of action here for a while in order to keep any kind of progression? Yeah, he's got to stay engaged, like in the meetings, whether he's in the treatment room, watching film, whatever it is, he's got to stay engaged. He's got to know what we're doing defensively. He can't fall behind there because it's a growing thing throughout the season. And he's got to learn, like continue to learn the game, right, like the technique and some of that stuff right now. He's not able to do it. So just the mental aspect and staying engaged with what we're doing and learning offenses and all those types of things, I think is where you can take the next step right now. Is it especially tough to kind of stay patient?  So you got to fight that sort of frustration here? Yeah, I'm sure he's frustrated. Like all these guys, when they get hurt, I'm sure that he's frustrated. He wants to be out there. He wants to work to get better and improve and create his role in this team. But it's one of those things, like we always talk about do what you can. Like, we don't want to hear what you can't do, do what you can. And what he can do is learn mentally and grow as a smart football player and understanding the game. He's doing all those things that you said he needs to do. I mean, you like, which is, probably can't devote a lot of time with him. You've got to work on the guys that are playing, but has he been engaged, has he done everything? I think he has. I mean, I sit in some of those meetings and Midge and Boak do a great job asking questions in those meetings. They keep them engaged. I think that's kind of a motto that we kind of go by throughout our unit with throughout this team. Like, you got to ask questions to keep these guys engaged, right? And he's able to answer questions. So I do, I think it's trending in the right direction in that regard. David and Jayon work as a tandem, their skill sets, inside? Yeah, absolutely. I think David's playing really well right now. Jayon has played a lot of good football. Forrest is coming back from an injury. Sean's playing well right now. Like, I think all those guys bring a kind of different skill set to the table. They're all kind of unique in their own ways. So I think as that thing plays out, I mean, I believe all those guys should be able to play for us. Then, then obviously, an outside linebacker, how's the rotation going as far as guys playing the right amount of snaps, you know, here, where you want to be or how does that kind of process? Yeah, I mean, whenever you get these injuries and you're trying to fight through some of that stuff, it kind of throws a wrench in your plans, right?  You get Ola, you get Harold, you get Weave, you get Roby. Like, it's a totally different deal where now who knows how this thing plays out where everything's at come Sunday. And, I mean, that's always something you battle trying to manage them. But at the same time, like, when you're down numbers, it's a little bit harder to do. Bench added to the group, what do you kind of like about him? What can you do to kind of work his way into the mix? Yeah, I think Finch is a great kid. I think he's long. I think he's always played hard for us. Learning right now, I mean, he's got to get adjusted to our scheme. I mean, there's some similarities, but we've changed from terminology as this thing's kind of went. And he's been in a few other schemes since he left here. So I think getting caught up to speed on some of that stuff.  He knows what we teach. So really for him, it's just scheme understanding more so in anything right now.


See you to team keep it clean. What's going on the same grave and here with another video and in this video I'm here to share my post game thoughts from the game We all watched between the Ravens and the Bucks and boy going into this game I was not confident in the Ravens at all That was both before it was announced and even after it was announced that the Bucks had a lot of Injuries and a lot of people out. I just cuz when there's this 2022 Ravens team They've shown you man like they They just ain't been it. They ain't been it. They ain't been able to finish games Consistently they they have so many inconsistencies I know some people go. Oh, you got to believe man. You got to keep the fact No, you got to believe what your eyes tell you as well and Going into this game. I was thinking oh boy I mean, I hope they win obviously, but I just wasn't sure about it and In the beginning of the game, it was looking like same old Ravens, man I got so frustrated because I was watching the offense and And shout out real quick shout out to the Bucks fans because Bucks fans are a lot of fun They a whole lot of fun. It's like we're going back and forth talking our trash to each other but it was all in front of course at the stadium and it's just like they they were so much fun and They knew it was all in fun wasn't well There was one guy who he was just I don't know what he was on He was just taking stuff too seriously. He's trying to be all rough and toughest. What is he doing? But anyway Most Bucks fans like 99% of them all in fun good time Energy was great. It was super fun So shout out to them and the stadium is beautiful. It's a party there. It's really really nice But last night early on in the game The way that the game started I got so frustrated because I'm like man the Ravens are they they they limit themselves It's so frustrating to watch their offense because they They they were very predictable and limited a reason I say that is because they got like 50 tight ends on the field at one time and One wide receiver So it's like all right if you get you coming out like that you make it easier for Defenses in my opinion Because on your passing place You're only gonna get short stuff I know Mark Andrews is a factor and whatnot He could open it up a bit and we saw Isaiah likely do the same thing last night But if you come out with a bunch of tight ends and one wide receiver, it It's predictable what you're doing because either you're running the ball Or that one wide receiver all day. We got to just cover him and we'll be straight We don't give up anything deep to him. We'll be straight and of course watch more Andrews, but I just got so frustrated with that and Ravens In the beginning of the game. It was just like man. What are they doing?  Hey, they I mean they said that the plan was To try to air him out in the beginning see what they would give him And Lamar did a lot of that he this this was a game where Well, he Was gonna say you threw the ball away on there was there was some plays that he made and I said hey I said, this is what I was talking about. This is exactly what I was talking about Especially after that Giants game because I know everybody was super mad and super frustrated over that interception That he threw at the end of the game because it was a frustrated interception But I try to I try to tell people like hey Lamar has made so many of these plays before So that's why he did it in the in the Giants game and not that that was an excuse But that's just is what it is. He's done it so many times before There was a play last night's game earlier. Let's couple of them Where the offensive line didn't block on passing down. Hey, what's new, right? But the offensive line they didn't block Lamar had pressure He had to run around turn his back run around run around run around and jane's crochet Jane's crochet was open Lamar threw it to him, but I don't know if he missed him or jane's crochet fail I gotta see the replay of the game, but they were they were close, but it didn't end up happening Then there was another one another play passing play Pressure came in. Hey, what's new Lamar scrambled around bit threw it off of his back foot And it was completed. So this is what I'm talking about. He does this stuff a lot Now you don't want him to get into habit You don't want him to make a bunch of throws off his back foot But they're going to be times where he does it and it works and they're going to be times where he does it and it doesn't work Um, but yeah, this this game. I think in the I think in the first half he threw a 30 passes I was like, hold up. I said, man. Oh I said, I said labungan ready to throw like 60 passes in this game but um in the first half he threw 30 passes and it was It wasn't bad, but it wasn't good. It was like It was like and and then on the on the fourth down Um, and I know Lamar Lamar was like, no, we want to go for it on that fourth and goal I was screaming screaming Take the points Take the points Take the points it that at that point if ravens would have taken the points They would have been down by four Because that point the bucks it was 10 to three They would have been down by four points And I know the bucks got the ball in the second half or whatever and that was a little before halftime But I was to know take the points Because I was thinking too like man if ravens lose this game And they end up losing and especially if they lose it by like three points. Oh, uh, I'll be so heated because they didn't take the points but My god jt. He made a good point to me after the game. He's like, hey if if the ravens would have taken them points The game would have been over A lot earlier They wouldn't have had to had gold going through all the stress with the two-minute warning and the onsite Well, they see what went through the onsite kick But game would have been more out of reach early on but anyway, they did win so cool, but take your points I know Lamar's like, hey get get that special teams off the field Um, but I was thinking now I'll take it Um, then Lamar he threw that ball at the markets. Robinson like Robinson jumped up for it dropped it And as well can if it would have worked out. Hey great I mean, I still would have preferred him to take the points, but I obviously wish they would have got it, but Here's what it is. I'm glad that this time it didn't come back to bite them in the butt um, but Lamar and this in the first half Ah, he's all right He looked a lot better I saw the ravens like they would when they got the short passing game going So you you allow your quarterback to get into a rhythm. It looks so much better Spread offense got them the wide receivers running shorter routes and whatnot. Not everything is this long deep developing play You you do the shorter stuff. It's like, oh, okay. Hey, look that's that actually works. It's nice. I like it You spread it out. Um with wide receivers not just a bunch of tight ends, but wide receivers Um, but in the second half, um, they flip flopped So I guess Greg Roman was like, you know what? Let me get all this bad stuff out early on Let me get all the bad strategizing out early on and we're going to completely flip the script in the second half I did not think that they were going to adjust. I didn't I did not have to have confidence in the ravens adjusting. Um But they they flipped the script they went from pass heavy In the first half to run heavy in the second half and it worked Lamar went eight for eight two touchdowns one In a sort of check down to Ken Drake And Lamar was doing a lot of that yesterday. He was taking the check downs He threw the ball away. You know when he throw it away. He was in digital grounding But he he was not forced it. Well, no, he did force it. There was one play that he forced um to mark andrews and that's another thing with uh Mark andrews with mark andrews, um when he went out That was like a gift and a curse all at the same time Because in the beginning of the game Lamar was like a he had that Kodak black tunnel vision to mark andrews He was looking for him the whole time and he just he kept throwing it to him And I mean mark andrews is obviously his best target. So you're gonna throw to your best target But when mark andrews went out It really forced Lamar to be like, all right, what's up? Let me look at these other guys too And I think I wonder if um, they actually changed the way that they call plays to Since mark andrews was out I wonder if that's what made them call a lot of the shorter stuff to the wide receivers and whatnot I don't know but I love with with the shorter passes It gets your offense going it keeps things moving And it gets different people involved The way that they spread the ball around yesterday, uh, it was nice land. Let me just look at the the exact numbers um Isaiah likely has six catches for 77 yards The mark is robinson six catches mark andrews three catches duvenay four catches pro-shade three catches I said, whoa pro-shade Drake four catches josh olive will one catch So that ball is getting sprayed around man. And that's what we want Um, we want the ball to be spread around We talked about how Because I know of course we've been talking about receiving for the longest But we also talked about the biggest change that the ravens can make is from within with their philosophy Especially putting more emphasis on the passing game and just getting that ball to different people So this was a uh A good Step in the right direction for that um Do I have confidence that they'll continue? Not really, uh, but we'll see We'll see I still think the ravens need a philosophy overhaul, but we can talk about that another time. Um So lamar. Yeah in the second half went eight for eight Uh, two touchdowns no picks and ended the game off nice Uh, they closed it out. He closed it out. They closed it out and it was nice to see because It's like they they were up. I loved it when they were up and they scored again And then the bucks, uh, the bucks did try to come back, but ravens finished the job. So that was nice to see Uh, the running game. Well, we'll talk about the pass game again a little bit later But the running game gusts at was he looked good the and again the second half they were running like crazy And now well, hopefully gusts at was I think it was just a hamstring But I don't know I didn't get to see what the official injury was But um gusts he was running hard. He was just He's the best runner back on his team, man He really is and I think um, I think the ravens knew that And I think that's why the ravens they did what they did business wise Uh trying to hold gusts down for all them years to keep his yards and carries low Uh, so they wouldn't have to pay him big running back money gusts is the best running back on his team Even with a healthy jk and that's not a shot at jk at all. It's really not. Um, jk is nice too But gusts is the best running back on his team Just his style of running The way that he gets his balance and I know jk is really good at catching his balance too But gusts with the the the mix of power And balance and a nice little burst of speed to gusts ain't no burn But he got a nice little burst and I remember when he lost all that weight and that gave him his burst And I remember when it when when he first lost all that weight my biggest concern was oh, man Is he uh, gonna still have the power power ain't go nowhere. They never left So shout out to gusts elders. He had 11 for 65 average 5.9 yards to carry King drake seven for 62 average 8.9 yards to carry lamar 9 for 43 4.8 yards to carry. Um Devon duvane Devon duvane good things happen when ravens involve duvane a lot Devon duvane two rushes for 33 yards 16 and a half yards per carry One of them of course went for that touchdown jet sweep king, baby.  I said no No, and he wasn't He had four rushes for 28 yards average seven yards to carry and gut Excuse me justice hill. He's strong man. I keep saying it man. That dude is strong. He looks small He looks slender, but he is strong man. He got some crazy strength Uh to the passing game mark angels out. Isaiah likely up He was nice, man It was I was I was so happy for Isaiah likely man to see him get constantly involved And this is what we've been waiting on We didn't want it to happen like this being like forced because mark angels was out But we were happy to see him step up in mark angels absence It looked like early on him and lamar They went on the same page on the first thought the his first target. I think Where um He was running he found a little hole in the zone, but he kept running lamar through it a little behind him and I said, oh But they made up for it in a big way Uh six catches 77 yards and a touchdown his first touchdown in his career Right. Yeah, I think so. Yeah So shout out to Isaiah likely man. Happy for the markets Robinson. He had a sneaky good game Six catches 64 yards Um, he was working them outside corners, man. He was getting his yak. He was putting little moves on him and what? That's okay. All right, man And y'all will see some of that stuff in the vlog man. Um, but anyway Uh mark angels 3 for 33. Of course, he he ended up going out with injury um shoulder injury he um whoo There was one pass with lamar through to him. I thought it almost got picked off Uh, because there was two defenders on him and lamar tried to squeeze that thing in there Um, but that they knocked it down and then the pass in the end zone that went to him. Um The defender he knocked it down. It was a really good defensive play. Um And yeah, but mark angels the catches that he did made or early on they were right away I mean lamar was throwing to him early and often Uh, they haven't do veney Of course, uh, one of the one one of the passes he called was a screen It was it was nice, too Two of the passes like like off rpo plays because one of them They motioned the running back lamar snapped the ball fake to the running back And then uh fake to the running back and through the screen of do veney Then there was another one where they motioned the running back Lamar faked to the running back and through the doove like in between like three bucks defenders It was a beautiful thing. Um And then of course drake four catches for five yards Um, again the check downs lamar was taking them check downs to drake. He was taking them So that was nice to see uh special teams Well offensive line run blocking second half Good job Uh pass blocking this game was shaky It was shaky. It was up and down. So I mean the usual. What can you expect? Uh special teams this game devon duvane Uh Oh, yeah, he had three he had three returns for 72 yards Um, so nothing crazy there.  So nothing crazy there. Nothing crazy on the point returns either But jesson tucker Of course, he made the field goal, but then on that 59 or 60 yard field goal I was thinking, oh, yeah They going for it, which is good. They going for the field goal, but Then I guess I don't know if the line didn't hold up and somebody got through or I don't know if the trajectory was low And somebody got up. I got to watch replay the game, but they blocked it. So that sucked But jesson tucker made all the point after touchdown. So that was a good thing Now defense defense, um with the defense they, uh Missed opportunities man So many missed opportunities because they dropped so many picks last night Marlon Humphrey dropped one early on in the game marcus peter's dropped one chuck clog dropped one There were at least like one or two more. They let they dropped at least four or five picks last night And against the time brady man, you can't do it and what's what's funny Is that we're like with marlon humphrey's for example, the rule applied there after every drop pick touchdown Um and marlon humphrey he he dropped the pick And bucks end up scoring a touchdown on that drive um Brady was he was off last night. We saw some passes going to dirt We saw him throw some passes short throw some passes off um ravens I was surprised because They they could not get consistent pressure on brady when they did like with brady If you get consistent pressure on him, he'll make it easy for you. He'll just fall to the ground He'll protect himself. He like no, I remember when uh, bernard pilot injured my acl sagging me in the pocket He said no not again after that. He's nope. I'm just falling down somebody near me and they they about to sack me I'm going down Even though there were a few times where brady he did some scrambling and when brady scrambled it looks so nasty, man but he did it man he did it and uh it was like okay, but Brady uh, when they got to me was nice just in houston when he got two sacks in a row last night uh, kyle hamilton the past rusher Hey Just change that man's position, man Change his position. He ain't a safety. He's a past rusher, man um But kyle hamilton shout out to kyle hamilton too Because toward the end of the game brady tried him 101 brady tried him and kyle hamilton knocked him all the way He played great defense on that play. I was like, okay Uh, ma maulin humphrey. This was probably maulin humphrey's worst game um Probably yeah, probably his worst game of the year um Mike evans just he got him and that's my evans like but this was maulin humphrey's worst game of the year in my opinion um Wasn't terrible the whole game just had some moments some lapses and whatnot Uh, and just some straight up where you just got dulled. You just got beaten. Um I remember uh early in the game. I think on buck's first offensive drive Uh, mike evans it was in the red zone.  Hey, what what what what you had to do be like that, man um But that was a tough game for ravin's cornerbacks the secondary There are a lot of times where brady brady missed wide open all touchdown passes in the red zone wide wide open tight end open brady missed him wide receiver open brady missed him. He was missing. Um, so yeah, man Uh The run defense I don't know what the numbers were because early on they didn't look good Like really in the short yardage. They didn't look good. They gave up a couple of Little chunk plays here and there not too many, but it was the short yardage that was killing them I mean in this linen for net as a powerful running back uh, let me see what His numbers were because I don't know. I don't know what his numbers were Oh nine for 24. Okay. So nothing crazy, but the the short stuff with him Oh, they did they did a that they did a great job around that defense actually overall um Okay, so linen for net he his longest rush was nine yards White his longest rush was eight yards Um, so nice. That's beautiful But yeah, you look at the you receive mike evan six for 123 And again, it's mike evans man that dude is a beast man Chris guy one six or 75 And it's just the open stuff man the wide open the yak That's what another big thing was yak not making that initial tackle and even making that initial contact and the bucks Why receive is just breaking so Uh, my boy brashaw pairman. He had a catch. I said, okay, they go brashaw man. Good for him Uh, Julio, I forgot Julio was there. He had two catches Um, I remember one of them. I don't remember the second one So it was you know, it was crazy when um when they were introducing the bucks They were introducing the receive the old mike evans Then they'll show a highlight of mike evans, you know, old chris garland Then they show a highlight of chris garland They're like, oh julio jones, then they just put julio jones name and number on the screen I'm like, man, y'all ain't sure no highlights of julio jones but anyway, man But yeah, this was nice to see the ravens clothes man ravens had got a double digit lead In the second half every game every game they do it They got that double digit lead, but they close it out. So that was a beautiful thing So shout out to the ravens for finishing the job Finally, um, shout out to them for that. That was a beautiful thing to see And yeah, they they still obviously got a lot of work to do Um, they got some guys to get back healthy But now I think there was there's a stat that the ravens only played one game in the next 23 days So I was like, oh, yeah, because they got like this kind of by week now um So today is the 28th They don't play another game till november 7th And then that's on monday night and then they go through that week. Then they got a bite week. Yeah Wow ravens got a nice little break man So take advantage get healthy and get right not just healthy, but get right in the mind um Take a break from football. I mean they get a little mini break from football now, but Take a break from football. Take take a break from all of it, man Because they they gotta get right coaches schemes players health everything They they they did a good job finishing last night. So now they can build on that You're going up against a new orleans team that banged up too. I mean, it's still early There's go we got a while before the game. So we'll see but You're going up against the underachieving new orleans team I mean, obviously you you never know, but you got a big opportunity to be at what six and three going into the buy After how this team has been looking to be six and three that would be amazing straight up that would be amazing Raven still got a lot of work to do But we'll see what happens. We'll see what trades they make Um, we'll see what happens man, but I love y'all. I appreciate y'all and we out


Since this is our final episode, we're gonna do something a little bit differently today. This entire hour, it's a special hour, and it's about change. And what must never change about the accountability function of journalism? You can use the word. I don't think it means what you think it means. You know, the thing about TV is that it's ephemeral, right? It's fleeting. It evaporates up into the air. A lot of it is not even meant to be uh... A lot of it's not even meant to be remembered.  But this program transcended that. It's a part of journalism school curriculum. Teachers use segments from this show all the time in classrooms, in lessons, guiding and teaching the next generation. It's over. We are screwed. We're gonna fry some taters, but first, this quick message from this video's sponsor, flipcitymag.com. Excuse me, folks, we'll get right back into the video, but first, I gotta show you something that I've been super excited to get in the mail, and it finally arrived. Flip City Magazine. I cannot tell you how excited I was to get a real printed magazine in the mail that I actually wanted to read. Not the spam junk that I'm typically used to getting, but something that's actually entertaining. Remember the old American tradition of mocking bad ideas and laughing at them? That's exactly what Flip City is. A satirical magazine for the culture wars. You all know my sense of humor, and I think you'll really enjoy this hilarious, 100% independent, uncensored platform. And let me tell you, they do not pull punches on this thing. I swear, when they say it's an uncensored, free speech platform, they mean it. We're all fighting the culture wars. Flip City Magazine does it with art and comedy. Seriously, folks, go ahead and check this out. It's hilarious, and it's generally nice to get a real printed magazine in the mail that you actually want to read, and enjoy reading it without having to stare at a computer screen. Flip City Magazine wants you to laugh while it's still legal. So, subscribe at flipcitymag.com, or just click the link in the description below. Hey, everyone, welcome back to Brian Stelter's final gaslighting of this country, maybe. Since this is our final episode, we're gonna do something a little bit differently today. This entire hour, it's a special hour, and it's about change. And what must never change about the accountability function of journalism? What, you're finished? Well, allow me to retort. But nothing you do is about accountability. Outside of your endless demonizing of Fox News and Republicans, and don't get me wrong, both of these groups deserve scrutiny, criticism, and accountability. However, there is another party that's been controlling the country for two years, and lots of other media organizations that need to be held accountable. But when people try to hold those groups accountable, you call them conspiracy theorists and far-right fanatics, specifically so that when people do hear their criticisms, they're dismissed. Stelter and his cohorts aren't at all interested in holding their party accountable. That's exactly why Brian Stelter and his cohorts spend so much time justifying their brazenly partisan coverage by accusing the other side of being an incoming, Earth-destroying meteor that must be stopped at all costs. I mean, at that point, Hunter Biden literally could have had the corpses of children in his basement. I would not have cared. Now, that's not, that doesn't answer the people who say it's still completely unfair to not have looked at the laptop in a timely way and to have shut down the, you know, the New York Post's Twitter account. Like that, that's just a conspiracy, that's a left-wing conspiracy to deny the presidency to Donald Trump. Absolutely it was. Absolutely. Right? But I think it was warranted. Right? No. That's exactly why supposed genius experts like Sam Harris think democracy can only be saved with an authoritarian takeover by his party. You know, the thing about TV is that it's ephemeral, right? It's fleeting. It evaporates up into the air. A lot of it is not even meant to be... A lot of it is not even meant to be remembered. Exactly. They pick and choose what they want you to remember. They want you to remember January 6th and from now until Election Day, we'll be constantly repeating the lie that Republicans are dangerous election deniers. They don't want you to remember about all those times that got stories wrong and attacks on their political opponents. Or all the times they spread disinformation and rhetoric that led directly to violence. Or the time that Brian Stelter encouraged a now convicted felon to run for office. But this program transcended that. It's a part of journalism school curriculum. Teachers use segments from this show. All the time in classrooms, in lessons, guiding and teaching the next generation. And this is exactly why journalism is dead and has been redefined to using any and all means to keep the Democrat Party in power. Here's what I do now. I know it's not partisan to stand up for decency and democracy. Dialogue. It's not partisan to stand up to demagogue. It's required. It's patriotic. We must make sure that we don't give platform to those who are lying to our faces. Ha! Is it just me or is he making an argument for why he was fired in the first place? His entire spiel is that CNN is abandoning democracy because they fired him. The guy who doesn't want to hold the party in power or their media accountable. He's absolutely right though. Standing up to demagogues and holding power to account is an important job. Which is why you no longer have one. What's even more disturbing are the bot-like shows of support that he's gotten from supposed newsrooms all over the country. It's crazy. All of these people think keeping Democrats and their beliefs and power at all costs is journalism. Alright folks, that's it for that one. Thanks for watching. Please hit that like button, share and subscribe. Then leave a comment to help the algorithm invent some frustrations. Thanks a lot.


What's up everybody once again it's Bram and Shawn and this video is brought to you by bramandnetwork.com because I signed myself. Now what do we all know at this point? We know that lyrics and messages is not enough. But so many rappers still want to hang their hat on that and make them feel like this should blow my song up. But that is not the truth we need more. But what does more look like? Sure a rapper by the name of Yellow Pain who I believe exhibits two strong things that artists should keep in mind when it comes to having songs with messages that actually make an impact. So what's the reason number one? It's story telling but it goes a little bit deeper than that because of course we know we have a lot of people who have songs that have messages and things like that and we know that there's a lot of people who have songs that tell stories. But the next layer of that when we're talking about impact it's not story telling it's story selling. How does this story get sold to people? Because if people aren't sold on your story and the message is being given then it's not going to have that impact. It's like watching a movie and you're like okay I see them doing all this stuff. They have all these great graphics but I don't believe it. I'm sure you walked out of a movie and didn't really like it because you didn't believe the story. And a lot of people face that issue with their music even if someone says yo you killed it lyrical wise and I understand the story you're talking something real but they don't make that connection then you end up with a similar result where it just doesn't seem that people care too much but he gets through that. He powers through that a lot because of two things that I love that he does. One not only when he's rapping and he's telling stories a lot of times he's not just rapping at you. A lot of times he's actually telling stories from a perspective a strong perspective at that and I've said this many times the perspective is one of the most unique things that artists can offer people to make them connect. A lot of times he's actually speaking from the perspective of the person in the story not necessarily how he feels about that perspective which leads to something that I love about him which is the fact that he doesn't get in the way of his own stories. What I mean by that is not only is it not all about how he feels about these subjects because sometimes he's rapping from the perspective of the person in the scenario even if it is a guy like him but even bigger than that if you look at his music videos he's not even in a lot of his music videos or if he's in them he's in small parts of his music video but it's not about him. He's not getting in the way of his own story. What's more important to you? Are you trying to sell the story? The piece of work or are you just trying to sell yourself? Because the funny thing that happens often times is if you sell enough of the work sell the stories well enough you get the credit at the end of the day. This guy has so many different videos. He's tackling so many subjects whether it's lights on social media and in the weird perspective people have about that his brother coming out whether it's sexual assault just weird influences or bad influences and the stories of how that can affect you. I can go on and on about the different subjects and stories that he tackles but the point is he tells them well and because of the things that I mentioned in the actual story selling that takes place people are able to not just hear the stories but connect and empathize even if it's not your story even if you don't even know anybody with that story you can still relate. A perfect example is if you look in the comment section of his video for 100 which is a story when he's talking to his brother who came out and the way he presented that and did that that track is so unique but if you just look at the comments you'll see people again and again talking about they crying. Just looking at the top comment right now dad says bro does every song of yours just punch me in the chest with emotion and you see all kind of comments agreeing with that. Someone else said I barely listened to three of your songs and they all got me crying. Another person said as soon as the whole family came out I just started crying. We're not just talking about intellectually appreciating something how you executed the story or agreeing with the topic we're talking about being moved emotionally by the story. That's the difference between telling a story and selling a story. Speaking of if you look at the comment section of his song graduation you see so many people relating to that subject and talking about how it touched them emotionally and all that stuff. But what I love about the song graduation is the fact that it's a song about parents showing favoritism to their children and not just talking about that subject but going at it from a deep perspective and once again the perspective of somebody who's experiencing that. Which actually brings me to the second point. The first one was story selling over storytelling right but point number two is actually having different subject matters. We talk so much about these real stories right they don't want to hear this real music but so many times when artists are referring to real music it's talking about the same subjects and the same struggles but how many times have you heard somebody talk about favoritism. That's a very real issue parental favoritism but it's not addressed. Your market is really saturated when you're talking about somebody's same like it's hard in the hood or I don't have money issues and if you talk about I don't have money then you have to present it in a different way or one of these other subjects that have a saturated market you have to talk about and present it in a different way. We can't expect a whole lot of people to just rally around stories that they've already heard and again Yellow Payne is doing these two things extremely well and he's doing it again and again and again and it's not an overnight thing he only has three videos that have a million views and that's been pretty much all in like the last eight months but he's been doing this for years and if you go back in his catalog that's just going to have more and more impact over time it's going to continue to grow and it's making people like him in a short period of time. I'll put a few links to his videos in the description below but other than that it's always this video is brought to you by Brain Man Network.com because I signed myself if you like this video go ahead and like button if you like it you might as well share and if you're not subscribed you know what to do hit that subscribe button.