Hello and welcome to the session. In this session we are going to discuss the following question and the question says that the table shows the percentage of Mr. Lawson's income spent in each category per month draw a circle graph to represent the data. If Mr. Lawson's monthly salary is $2,285 then how much amount is spent on food? We know that a circle graph is a graph in the form of a circle that is divided into sectors. With each sector representing a part of a set of data and to draw a circle graph we need to find the appropriate angle measure for each sector such that the sum of angles of all these sectors is 360 degrees. With this key idea we shall proceed to the solution. We are given a table which shows the per month expenditure of Mr. Lawson in percentage. It is given that Mr. Lawson spends 25% of his income on rent, 20% of his income on savings, 30% of his income is spent on food, 10% of his income is spent on clothing and 15% of his income is spent on other items. Now we have to draw its circle graph. From the key idea we know that to draw a circle graph we need to find the appropriate angle measure for each sector such that the sum of angles of all these sectors is 360 degrees. Here since we are given percentages so we directly find the angle measure for each category by multiplying each percentage with 360 degrees so first we find angle measure for category rent. Now 25% is spent on rent so its degree measure will be equal to 25% of 360 degrees and this is equal to 25 upon 100 into 360 degrees. On solving it further we get 2 into 5 is 10 and 2 into 18 is 36, 5 into 5 is 25 so now we are left with 5 into 18 degrees which is equal to 90 degrees. So angle measure for rent is 90 degrees similarly angle measure for savings will be equal to 20% of 360 degrees and this is equal to 20 upon 100 into 360 degrees and this is equal to 2 into 5 is 10 and 5 into 72 is 360 so this is equal to 72 degrees. So angle measure for savings is 72 degrees similarly angle measure for food will be equal to 30% of 360 degrees that is equal to 30 upon 100 into 360 degrees and this is equal to 3 into 36 degrees that is 108 degrees so angle measure for food is 108 degrees. Similarly angle measure for clothing is equal to 36 degrees and angle measure for other items is equal to 54 degrees. So now we have got the angle measure for rent is 90 degrees for savings its 72 degrees for food its 108 degrees for clothing its 36 degrees and for other items its 54 degrees. Here we should note that sum of all angle measures that is 90 degrees plus 72 degrees plus 108 degrees plus 36 degrees plus 54 degrees is equal to 360 degrees. Now we shall draw the circle graph first we draw a circle now angle measure for category rent is 90 degrees so using protractor we measure 90 degrees and draw the sector. Now we label it rent with percentage 25 now using protractor we draw the sectors for all the other categories with the given angle measure and label them accordingly. So this is the required circle graph showing Mr. Lawson's monthly expenditure now if Mr. Lawson's monthly salary is $2,285 then we have to find how much amount is spent on food and we are given that 30% of his income is spent on food so amount spent on food will be equal to 30% of his income that is $2,285 and this is equal to 30 upon 100 into $2,285 now on solving it further we get $685.5 So we say that $685.5 are spent on food per month and this is the required answer this completes our session hope you enjoyed this session.


Okay guys so I am back with another Destiny 2 video but before we get into it I am giving away this Resurrectionist emblem to be with a chance of winning it simply drop a like and leave a comment. Details are on screen now. Okay so a couple days back actually it's probably just under a week ago. I uploaded the inverted spire strike from Destiny 2 upscaled from 30 to 60 frames per second using a specialized converter and the results were glorious you guys seem to absolutely love it. Although it wasn't true 60 frames per second it's the best we're gonna get until we get some PC gameplay but like I said you guys seem to absolutely love it and had so many people asked me to do some PvP gameplay upscaled that from 30 to 60 and that's exactly what I've done for you guys within today's video. So yes guys I do hope you enjoy it's a little bit more choppy than the strike video but it's still quite watchable but I hope you do enjoy it. As always guys do smash that like button I do appreciate the support if you're new around here and enjoy daily Destiny videos be sure to subscribe if you never want to miss a video I upload simply hit that bell button next to that subscribe button to receive email notifications of when I do upload but again thanks for stopping by and I will see you on that next one. All opponents defeated I love it here they come defend the charges or wipe them out to set a charge make them regret that guardian down is and protect them your charge is set set them and protect them them with your life all teammates down again the hour is yours only one minute left they set a charge in your grasp set a charge your team has been neutralized they're wavering top of them one minute 30 seconds remaining diffuse it before it blows the enemy team is gone but the charge remains diffuse it charge diffuse team work is the best weapon need guardians with your passion on the front lines


Hey friends and welcome to my channel. I am Yoshida and this is Norris Co. Today we'll be setting up my summer situation for my beautiful B6 which I am in love with. First of all I got this cover from Mystical Gifts and Co. I think that's the name of it. If not I'll leave the link below. So I do know so far I'm gonna leave the outside hardware on her the bows but let's get inside. I have these stickers I think I got from Nikki plus three and I'm just keeping those.  I actually have a kit of her and the proceeds from the kit of my daughter.  I cannot remember where I got this die cut from. So yeah and then this came in my Simply Gilded box and these are just some scrap paper cardstock paper I got and then this came from my girl Jackie my planner babe and I'm just trying to find the right thing to put it on. So first of all I'm gonna take out these papers and I did get these papers were gifted to me from Jackie. I actually bought these and I have some more plastic inserts and I think I'm not gonna leave the honeycomb. I may take out the pink. I'm definitely gonna take out this one here. So let me just leave that with me. I'm gonna take out the pink thumb. Okay so I got another clear pocket that I've been kind of hoarding that I got from 1407 planners. So let's just jump right on in. So most of my inserts for this come from the 1407 planner and um so this may need to be cut down just a little bit because I have more than one cover. I'm gonna have to probably go back and incorporate some more of because I was using two of these. So I'm gonna have to incorporate I think this is what I'll do. I'll take this vellum out. I have more and I'll put that in one of these like so. And also let me say this kit came from ribbon and nib. See if it'll fit. It may need to be cut down and it just a little bit. So we got the vellum there. Let's add in. So what I'm gonna do is I'm going to go ahead and cut this to fit into one of my plastics here because I get the feeling that's not gonna fit. Let's see. Nope so we need to cut it down just a little bit. And I still need to kind of tighten the rings up on this. Now everything else I'm going to just put. Now this is going to be beautiful that how you can just see we rise by lifting others up from behind that. And then here my budget one.  I'm gonna take that out. And then I'm going to put I'm going to kind of double these I think to kind of cover.  And then I do I have more of these so I'm thinking let me take to size here. I think that's what I'll do. And I'll cut this one in half and I know in order to get it to fit I need to take off. Just excess there because I really wanted to stick with the B thing and make these screen summer to situate the book in. And then you can still see budget through there. Pass me back to see her beautiful face up here. It looks a little summer. But the good thing is you can kind of see my daughter on both sides. And I have these new thingamajigs in my shop. So this one is really cute. I have a clip here but I don't have anything on it. I'm mainly and always in my weekly so to help me keep up where I am. I'm gonna put it right here. I noticed I wasn't using my other my little name thing I made for myself. My little bow is getting so much love here to help me get to my weekly fast. And I made this myself on some card stock and my silhouette.  And these little stickers here I'm just gonna roll to the back.  And then because I still think I left one of these papers. Yeah I left one of those. I'm going to slide that in the back just like that. And let me see if I got oh I do have a couple of die cuts. This is my die cut from when it was my birthday but I don't think I'm gonna use that. Let me see what else I got. Y'all forgive me I'm just talking adding stuff and thinking you guys were here with me. Okay so I do have this cake. I used this when it was my birthday. So I'm just gonna stick it in the back as just some extra stuff. I have this paper clip here.  So I don't know exactly what all you all saw. I'm gonna just stick that in here. No I'll take it out. So we're gonna start from the front and I'm gonna show you what I've added. So I kept these on the side the jewels and see y'all fix my nail.  So this is the beginning honey for sale. That's the inside and then it says monthly. And I'm just gonna skip, I'm gonna skip to June and I still again need to, I still need to tighten these rings up. So here's a bow that I made. It's not perfect but I like it. And then flip through and so I kept some of that pink because I only had three drawing cards. I don't think I have another one. I want to make sure. And so that's the back. It's pretty. Let's zoom in just a little bit. There we go. Excuse me y'all. And so then I put some vellum and that says honey for sale.  So you can still see the honeycomb behind it. I'm digging that. And then I think that got cut off but I added my name that I made myself using just some card stock and my silhouette. And then I added this little ball here that is in my store. It's in my store but um wait a minute it's coming up. I knew one of those were loose. I have to take that one home. So there we go. So I got that there and that's to hold on to my weekly to keep me because I go into my weekly mostly all the time. So and look at this. Look at this honeycomb theme. It matches the theme. Oh my gosh. Wait a minute. Wow it does. It matches something that I got that in there and that was last week. Week four last. That was last week's theme. Isn't it pretty? Oh I love it. I love it. I love it. Okay and then this is this week. Focus. Oh man. So when I go to do this I'm gonna definitely have to cover that up. And then here it's just a plain clear piece of vellum and then the bee leave by simply gilded. So I just stuck that journaling card in there against that backing. And so I'm cool with this being gray. Kind of want to add something else but not sure. Like that right there. How about that? Okay. And then here is the other part of that vellum with the bee and the honeycomb right there. And then you can see the wellness. So I used another vellum piece of paper that came out of the ribbon in there kit. Just like that. Then there's the other part you can see straight through which I like. And then this is my wellness. And let's see. You all I did absolutely nothing. I mean I didn't plan for this week. I gotta do something. So I just skipped a week. And then I just stuck this. I had a paper clip there. So I just stuck that bow there. I put my daughter the die cut I made of her inside so I can see her. And then here and I still may change this around. I mean it's my sweetie pie but I know she doesn't really match anything in here. But she's there. And then here's another vellum. And then here I use the sticker I got by my Plainer Babe Jackie. We rise by lifting others. I kind of put it in a little wonky but I like it. A little wonky. And I need to put another paper clip. There's nothing on it but it's cool. And then this is my daily sales. I need to go back and fill that in. And then here's the other part of that vellum. And then we get to some more vellum. So so pretty. So what I did here was I doubled the vellum. And then so it looks like that. And then here in the plastic insert I put some more of the honeycomb vellum. And you can kind of see through it and I can see that it says budget. This is my budget. And then this is the other part of the vellum. So it looks gray on one side and gold foil on the other. And then here is that double vellum. Again, I love it. I love it. So that so far is my summer B6 set up. Look at her. She's cute. So I hope you, oh I'm sorry. I forgot one of the most important things. Excuse me. On the side here is my pen from Simply Gilded. And guess what? It's a bee themed. Let me see. Can you see? So that if you can see the bees on it? See the little bees? There's one. So that's the bee. And then again these were in my store or in my store. And then I made these eyelash flag clips. And I made these for my planter babes at our next meet up. And that's how she's looking. I love it. I can't, oh I love it. So I haven't really carrying her this week because one it's been kind of slow. Where am I at? It's been kind of slow. This is, I haven't done it next weekend yet. So we're gonna get to next week. So that is it for my B6 set up and flip through. Thank you all so much for watching. Again right now I'm gonna leave this out of wear because she still is going pretty good with this outfit right here. Let me get her situated. She don't want to fit her dress quite right. I'm messing up. So she still has the donut and I'm missing something. I don't know exactly what it is. But there she is in all her full glory. So I love her. Oh my god I love this. It smells so good. I want to get another one and I'm thinking about trying the A5. But I just like this one because it's so compact and it fits in my purse. And again this is the A5. No, no, no. Excuse me. B6, Lord have mercy. This is my B6TN and again the cover comes from Mystical Little Gifts and it comes with the reinforced spine. And then here again these charms. I made this charm. This charm was in my store. It's probably not there anymore. And that's it. Let me zoom out just a little bit. How cute. I love it. So if you love it let me know. Leave me a comment below. I would love to hear your feedback and comments help my channel grow just as well. So I would love to get some comments and some feedback from you. I hope you'll be back to see more videos from me.  Hit that notification bell so that you are notified whenever I upload new content. And I will see you all in my next video. Bye.


Lux present Hollywood. The Lux Radio Theater brings you Orson Welles and Rosemary de Camp in a tale of two cities. Ladies and gentlemen, your guest producer, Mr. Frank Craven. Good evening ladies and gentlemen. Between the peoples of the English-speaking world are fortunately many strong and common bonds. Respect for freedom and democracy, a sense of fair play and a love of tolerance. And to those bonds you may well add a common one of Dickens. There are many writers we pay homage to, but none has come as close to our hearts or moved us so thoroughly to tears and laughter as the author of tonight's great story, A Tale of Two Cities. And I say great, not from my judgment only, but because time in the world have called it so. And Dickens himself expressed the humble hope that posterity would consider it the best thing that he had ever written. For to him it was an attempt to explain in terms of one man's life and actions one of the most inexplicable and violent periods of human history, the French reign of terror, when 25 million people armed with torch and saber bathed Europe in the blood of vengeance. Here indeed is the material of drama recorded by a vivid and imaginative writer and portrayed for us tonight by two stars worthy of this staunch assignment. Orson Welles and Rosemary de Camp, both veterans of this stage and of the screen and theater. Originally, most of Charles Dickens works were published in installments and came to America by sailing vessels. Records tell us of how crowds thronged the wands of New York City to receive the latest news of their favorite hero and a hero. For already the names of Dickens characters were household words. As much I imagine as Lux Toilet soap is a household world throughout America today and for very much the same reason, the ability to find approval among people of all kinds of ages in every walk of life. Not only among women who are anxious to preserve their loveliness, but with every member of the family, young and old, Lux Toilet soap is quick to make friends and to keep them. And now our curtain rises on Europe 150 years ago as we bring you the first act of a tale of two cities starring Orson Welles as Sydney Cotton and Rosemary de Camp as Lucy Manette with Dennis Green as Charles Darnay. Paris, 1793. The French Revolution is over. The cause is one, but the bloodshed has only started. The reign of terror sweeps through the land and all its fury and each day Madame LaGiartine has had her share of human life. The dripping blade rises and falls and the crowd counts in monotonous rhythm as each noble head rolls to the ground. The night rises again and sweeps downward, 22 lives in a single day and more to come and more and more until night falls draws a curtain on the scene. Behind the bleak walls of the forest prison the doomed of the following day await their fate. In a bare dungeon cell a single lantern throws a ghostly glow in their faces with a rattle of chains the great iron door is blown open. People of France describe funeral here by declares that you shall be put to death by the guillotine on the morning of February 2nd 1793. Citizen Jailer, which one of these is Charles Devremont? Evremont! Step forward! Charles Devremont! Call Charles Darnay! Which one of you is he? I am Evremont. Step forward! Charles Devremont known as Charles Darnay. In view of the excitement occasioned by your trial it was felt that some small favor would be an order. We have decided therefore that you shall live long enough to witness the execution of your friends here. Fifty-one heads will fall tomorrow. Yours will be the fifty-second. Citizen Evremont. Yes? I didn't know you were here with us. So dark. Oh yes.  Don't you know me? I'm deserve the same as this. We were brought to La Force together. Oh, of course. I forget for the moment of what you were accused. They accused me of plotting. But I'm innocent. How could I plot against the Republic? I'm nothing, I'm no one. You don't cry, Charles. It's too late for tears. I try to be brave. Soon the morning will come. It's going light even now. You haven't hour yet. That's more. Ask God for courage. Look, son is right. I'm afraid. But I'm glad. At least we can see it again. What is it? You, you are not Evremont. You are not Charles Devremont. Quiet. I knew Charles Devremont. His eyes were blue and his eyebrows. His hair was light and you... Who are you? Like you, I'm nobody, nothing.  Why, monsieur? I could never make you understand. But I could set you free. One word from him. You can't do that. You must not please. Tell me about yourself. How can I? It would help, so if you'd talk to me. Perhaps it would help you too, monsieur. There's so much to tell. When? Twenty-five years ago. 1768. Have you ever been in England? No, never. There's a long hill on the Dover Road that sweeps down to the sea. The pleasant road on a summer day with a sun shining. The devil's own highway at night from the winter rain. Just that sort of night in 1768. A coach topped the rise of the hill. The mail. Bound east of Dover. Go on. Get up there.   Top of the hill, Tom. Better rest them for a moment. Whoa. Whoa. We'd be lucky if we make the boat for Calaisian. Listen, hear that? What for, sir? I say a horse at the canteen to come your way. What for, sir? I say a horse at the canteen to come your way. Oh, I say a horse at the gallop. Oh, there. Candor old fire. Who are you? What do you want? Is that the Dover Mail? I want a passenger. What passenger? Mr. Jarvis Lorry. Keep where you are. Is there a gentleman named John Lorry in the coach? I'm Lorry. Who wants me? It's me, Mr. Lorry. Jerry. I know this messenger guard. There's nothing wrong. I hope so, ain't it? I know you. Come on, it's a foot-face. Well, Jerry, what is it? A dispatch, sir. Stand after you from London. Be quick about reading. It's her. I don't like this. It's not very long, you see. Wait at Dover for Mademoiselle. Very good. Jerry. Yes, Mr. Lorry? Write back to London as fast as you can. Tell them my answer was recalled to life. To life. I was Mr. Lorry's business that night. To recall to life a man who had been buried alive for 18 years, a prisoner of the French nobility. The man had escaped and was now hidden by friends in the village of San Antoine. To that village went Mr. Lorry to the wine shop of a certain Madame Defarge. You are Madame Defarge? I am. My name is Jarvis Lorry. I've just arrived from London. This young lady with me is Miss Lucy Manette. Good morning, Mum-tove. Please tell us, is my father here? Did he say? Your father? There is no one here, Mum-tove. But Mr. Lorry was told that... One moment, my child. Madame Defarge, perhaps I should have presented my credential sooner. Recalled to life. There is a man here. A man old beyond his years. A mender of shoes. Will you come this way? My husband and I have kept him locked in a room up the stairs. Did you say a lot? Yes. Of his own desire? Of his own necessity. He has lived too long alone. He would be afraid if his dog was left unlatched. Oh, Mr. Lorry, I'm frightened. Touch my dear. Be, Dr. Manette. You are hard at work. Yes, I am working. You have a visitor doctor showing the shoe you are making. Now tell us here the maker's name. You asked my name? Yes. 105 North Tower. That is all? 105 North Tower. You seem us here. He remembers nothing. Dr. Manette, do you remember nothing of me? Look at me. Is there no old banker, no old business rising in your mind? Think of England, a man who was your friend, Jarvis Lorry. It's no use. This is what they have done to him. Lucy, come here, my child. Yes. Now speak. Call him. Speak to him as you did long ago. Father. Oh, Father. Do you remember, Dr. Manette? I remember a little girl with long golden hair. Ages and ages ago. What was her name? Her name.  Don't let them take you, Father. Hush, my child. My baby. Lucy. Lucy. He crossed the channel that night to a safe refuge in England. There for five years the good doctor rested until it last his memory returned and he was well again. But now, in the English courts, a trial was in progress. A trial of a certain Charles Darnay accused of plotting treason against his majesty's government. Dr. Manette, called as a witness, sat with his daughter near the judge's bench. The court was hot, humid. For me, one man seemed quite at ease. The assistant counsel for the prisoner. His court wig dipped in a slovenly fashion over one eye. His court gown stained with wine. His name, if anyone was interested, was Sydney Carton. We must act quickly. With the evidence they presented, Darnay will hang by morning. Carton, do you hear me? I hear you, Mr. Stryver. Well, what shall I do? I will you I should sit down. Darnay is my client. I'm trying to protect him. I pay you well for your assistance and I expect a happy... You will have it, Mr. Stryver, when the time comes. See, you've already had your bottle today. Too, I believe. Drunk. Always drunk. Carton, listen to me. At present time, I'm more interested in Dr. Manette. Dr. Manette to the stand. You are Dr. Manette? I am. Dr. Manette, the prisoner Charles Darnay, has been accused of carrying secret messages from Louis of France to spies here in England. Look upon the prisoner. Have you ever seen him before? I don't know. Really? Is it not true, Dr. Manette, that the prisoner was a fellow passenger with you five years ago on a boat from Calais to Dover? I cannot say. When from France that night, I had been newly released from a long imprisonment. I have little remembrance of the occasion. My mind was a blank for some time. I see. Your daughter made the trip with you, did she not? Yes. That will be all. Are there any questions from the defense? Any questions, Carton? No questions. No questions, your worship. Miss Lucy Manette to the stand. Now, Miss Manette, look upon the prisoner, please. Have you ever seen him before? Yes. Where? On board the packet boat you mentioned. You spoke to him? You were friendly with him? Yes. Good. Now tell me, did he come aboard alone? No. When the gentleman came on board... You mean the prisoner? Yes. Then say the prisoner. Oh. When the prisoner came on board, there were two gentlemen with him. But these two did not make the crossing. No. Now tell me, did you see them give certain papers to the prisoner that night? No. You're sure of that? I... I don't know. It was dark. Then they might have given him certain papers. Is that right? Yes, but I... That will be all, Miss Manette. Please, I know he isn't guilty. That will be all, please. Are there any questions from the defense? Will Carton? No. Carton, you're mad. No questions. No questions, Your Worship. Your Worship, the prosecution would like to recall its chief witness, the prisoner's accuser, Mr. John Barsad. Now, Sriver, we might have some questions. Mr. John Barsad? Right here, sir. Mr. Barsad, look upon the prisoner. Do you recognize him? I do, sir. He's a spy against His Majesty's government. That's what he is. I was on that mail packet myself that night, and I saw the kind of papers that passed into the hands of the prisoner. They were lists of our troops. Thank you, Mr. Barsad. No more questions. The cartel, what it been? Will Carton? Er... Ask him these questions I've written down here. Mr. Barsad, how do you know the papers you saw were lists of British soldiers? I saw them. Ah, you saw them. Then you took them out of the pockets of the prisoner, Charles Donnie. Yes, sir. No, sir. Yes, they did. Oh, then you didn't take them. You're not a spy yourself, a man who makes his living by making accusations just or otherwise against his fellow countrymen. That's a lie!  Er, one moment. Will Carton? Mr. Stryver, you've no imagination. Mr. Barsad, where did you get money to live on? My property. Your property? Where is it? I... I don't exactly remember. Then perhaps you can remember how you got that property. Ah, inherited it. From whom? From relatives. Er, distant relatives. Hmm. How many times have you been in prison? Six times, isn't it? What's that got to do with it?  Well, now, I... Mr. Barsad, you were positive as the prisoner you saw that night with those lists. I am? It couldn't possibly have been someone else. No, it couldn't be... Mr. Donnie! You will please face this witness. Now, Mr. Barsad, look at Mr. Donnie. Look at him carefully. Well? Now, Mr. Barsad, look at me. At me, the assistant counsel for the defense. You notice the resemblance between us. We are very much alike, are we not? Well, now that you mention it, you are. As a matter of fact, it could have been me you saw with those supposed lists that night. Could it not? Well, now, I... Could it not, Mr. Barsad? All right. Yes. That's all. Thank you. Order! Order! Are there any more questions? The jury will require to consider a search. We have your own worship. Then how do you find the prisoner, Charles Donnie? We find the prisoner, not guilty. Mr. Donnie, may we congratulate you, sir? Thank you, doctor. I'm happy our testimony did you know how. Thank you, Miss Lucy. I'm sure it did nothing but good. It was Mr. Carton who really won your case. Mr. Carton? Mr. Carton, sir? No, don't call me. May I thank you, sir, for saving my life? Yes, only a part of my business. Mr. Carton, this is Dr. Manette and Miss Lucy Manette. Mr. Carton. How do you do? Oh, we thought you were splendid, Mr. Carton. Me a professional claptrap. Ah. May I ask, sir, how did you happen to notice the resemblance between you and me? Oh, it was very simple.  Lucy, my dear, we must go. Goodbye, Mr. Darnay. Will you call it our house soon? Thank you, Miss Lucy. And Mr. Carton? Aye. Thank you. Good day, then. Good day, gentlemen. Good day, doctor. Mr. Carton, would you care to dine with me? Oh, you feel you must repay me. I could never repay you for my life, sir.  A bottle of wine or two? My fees are very low. Another glass, Mr. Darnay. Thank you. I've had enough. Yeah, Mr. Darnay. How does it feel to be alive again instead of hanging by your neck? Well, I'm a little confused regarding time and place, but it's good to feel at home in the world again. Well, it must be an immense satisfaction. For me, the world has very little to offer, except wine like this. So you and I are not very much like in that particular highway. You speak very faintly, Mr. Darnay. I, uh... I didn't speak at all, sir. Oh, come, Mr. Darnay. Call a help. Propositive. Watch out, sir. Well, that's on the tip of your tongue, man. It's been there all evening out of this. Very well, then. Miss Lucy Manette. Miss Manette. As a fair young lady to hand into a coach in the dark, eh, Mr. Darnay? As a fair young lady to be pitted by and wet for by. How does it feel, Mr. Darnay? Is it worth being tried for one's life to be the object of such sympathy and compassion? I don't take your meaning, sir. Mr. Darnay. Let me ask you a question. Do you think I particularly like you? You've acted as if you do, but I don't think you do. I don't think I do either. Nevertheless, I hope there's nothing in that dislike to prevent my calling to the reckoning and parting without your blood. Of course, there's nothing at all. You call the whole reckoning? In my may, sir. In that case, inkiver more wine. Yes, sir. Good night, Mr. Carton. One last word, Mr. Darnay. You think I am drunk? I think you have been drinking, Mr. Carton. You know I have been drinking. Well, since I must say so, I know it. You should likewise know why. Because I care for no man on earth. No man on earth cares for me. Much to be regretted. You might have used your talents better. Maybe so, Mr. Darnay. Maybe not. Good night, sir. Good night.  Never know what it may come to. Inkiver, the wine. Coming, sir. Well, as Mr. Darnay has shown you what you've fallen away from, what you might have been, changed places with him and what you've been looked at by those blue eyes as he was. Come on. Have it out in plain words.  Sidney Carton knew it was too late to change his way of life. But he took to brushing his shabby coat and combing his untidy hair. And there were times even when he remembered that a gentleman would make himself nightly into a stupor. On Sunday afternoons he would appear in Miss Manette's garden, sitting quietly, speaking but seldom, for Charles Darnay was there too. One evening, just at dusk, an approaching storm sent them indoors. Listen, it's coming soon, Mr. Darnay. It comes slowly, but surely. Isn't it impressive? Sometimes when I've sat here listening to the thunder in the distance, I've had such a strange fancy. I've imagined that the thunder claps were echoes. The echoes of footsteps that will one day enter our lives. Well, if that is so, there is a great crowd coming into our lives. I take them into mind gladly. It was my foolish fancy, Mr. Carton. Well, there is a great crowd bearing down upon us now. Thousands upon thousands. Here they come. Ah, fierce. Furious. You make my fancy seem too real, Mr. Carton. There was a great crowd coming into their lives. A numberless, overpowering crowd, which one day would decide the fate of these three. At first it was but a whisper in the city of Paris. A whisper that was to grow with the years into a crashing roar of hatred. Slowly but surely, as the storm came, the crowd was coming too. Up from the cellars of Paris, up from the bare fields of a starving peasantry, the crowd was coming, chanting its hate, screaming for blood. The people of France in all their might, rising in revolution. An act too of a tale of two cities. And now, here's the dance floor. Music. A soldier and his girl. Did I ever dream this afternoon I'd be dancing with you tonight, Bill? I just couldn't believe it when you pulled me from the station. Gosh, what a thrill seeing you. You're pretty as a never, Mary. You're sweet to say that, Bill. And me wearing my old rainy day dress. I'd plan to wear a real glamour gown for our first date.  With those eyes and that peaches and cream skin. Say, I wouldn't care if you were wearing blue jeans, darling. It takes a lovely luxe complexion to win a compliment like that. There's something irresistible about soft, smooth skin. That's why screen stars, lovely women everywhere, never take chances with complexion beauty. They've discovered a care so simple, so effective, that they use it regularly. Here's what pretty Anne Baxter says. I wouldn't dream of neglecting my daily luxe toilet soap facials. Active lava leaves my skin so soft and fresh.  The gentle extra creamy lather is ripe for delicate skin.  I work it in gently, but thoroughly. I rinse with warm water and splash with cold, tap my face dry with a soft towel. That's my beauty facial. It really does things for my skin. Why not try these Hollywood beauty facials famous screen stars use? They really make skin lovelier. Recent tests showed actually three out of four complexions improved in a short time with this daily luxe soap care. Remember, gentle luxe toilet soap is Hollywood's own complexion soap. We pause now for station identification. This is CBS, the Columbia Broadcasting System. A tale of two cities. Starring Orson Wells as Sydney Carton and Rosemary de Camp as Lucy Manette. In La Force Prison awaiting death by the guillotine, the man called Darnay continues his story.  As time went on, Sydney Carton appeared less and less frequently in the man at home. For he knew that Lucy loved Charles Darnay. It was an evening in April, almost ten years ago. A child Darnay spoke to Lucy's father. I've only hinted at marriage to Lucy, sir. I didn't want to speak until... Well, there are certain things about myself that you should know. Yes? Dr. Manette, my name is not Darnay. I chose that name when I first left France in my heritage. Heritage? I'm of noble birth, sir, but I do not boast of it. My generations, my family gained its wealth at the expense of the poor. When my uncle died, I was the sole remaining heir. I returned to France to sign away my title to the estate. Why do you tell me this? Because, sir, I... I know what you have suffered at the hands of the French aristocracy. Your uncle's name and yours? What was it? Saint-Evrimond. The Marquis Saint-Evrimond. He was... Doctor, you're ill, sir? No. Charles... Lucy is not to know what you have just told me. Not now, do you mean? Not now or ever. She is not to know your word. Very well, doctor. You have my word. Now go, please. Go. Saint-Evrimond. Saint-Evrimond. I got your message. Is there anything wrong? It's father. He's been walking in his room all day. I'm so afraid. Dr. Manette, open the door. Dr. Manette. Miss Lucy, I found the key in your room. Don't give it to me and take Miss Lucy down. Come, my dear. Come, my lady. Dr. Manette. Dr. Manette, what are you doing? You hear me? Doctor, what work is this you're doing? A lady's shoe. A young lady's walking shoe. It should be finished. Let me be. Dr. Jimmison, I believe. You've been very kind to stay so long. I tried to reach Charlie, but he wasn't at home. I'm so worried. There's nothing to worry about now. A few days, and he'll be well again. What could have caused it after all these years to go back to that? What happened to him? How can we know? I'm a shock that some sudden jolt of memory. Man's mind can play a trick, you know. Miss Lucy. I brought you a cup of chocolate. Oh, thank you, Miss Troy. And the doctor says everything will be all right. You are not too worried. Oh, thank you. Oh, Sidney, you're not leaving. It's growing late. Not for me, of course. I doubt if you see the dawn very often. No, I don't. But I can welcome it today. A few hours ago, everything was so black and fearsome. Now, all my troubles are past. All my hopes are ebony. It's always that way, isn't it? There are some hopes a man may have which remain in the shadows forever. Do you have such hopes, Sidney? No, no more. I'm like one who died young. You've come off into the house in the past few months, and yet we know very little about you, except that you're our friend. Is there nothing I can do to help you, Sidney? I could never hope to repay what you've already done. May I tell you something? Will you hear me without shrinking from me? What is this? You've been the last dream of my soul. Seeing you here in your home has stirred old shadows that I thought had died out of me. I've heard whispers from old voices impelling me upward that I thought was silent forever. I've had unformed ideas of striving afresh, fighting out the abandoned fight. A dream. Or a dream, but I wish you to know that you inspired it. How, Sidney? Will nothing of it remain? Perhaps as a dream might linger on after the dreamer awakes. But try to hold me in your mind as sincere in this one thing. I would embrace any sacrifice for you, or for those dear to you.  The poor fool, Carton, drunk this time with self-pity. And from that day on, he was seeding rarely in the men at home. He was there when Lucy and Donnie were married. And again, some years later, when that child was born, a girl. But his visits were short as he slipped away at the first opportunity. In France, during these years, the echoing footsteps of the crowd had been growing louder. Grim patrons who were to bathe the soil of France in the blood of the hated nobility. Then the storm broke in all its fury. In July 1789, they swarmed from the ratholes of Paris to cover the country with a blanket of red, an army of vengeance, bent upon destruction and death. The best deal is, woman, let him depart. How can you sit and knit so calmly on this day? Our victory will come only when every noble head is rolled from every noble shoulder. And in this knitting, I have inscribed their names. The names of those who have starved have killed us. And for every stitch, another head shall roll. For every stitch, we shall be avenged. I'm looking for Mr. Sydney Carton. He is not open. There's no one in London open at this time of night. I want to see Mr. Sydney Carton. Let me in. He's in there. Wake up. Wake up. Who is it? Mr. Donnie. Welcome, Mr. Donnie. You have some wine? No time for that. Listen to me. I'm leaving for Paris within the hour. Paris? There's some business there that I must attend to at once. Paris? Very warm this time of the year. If I were your lawyer, I should advise against the journey. How much do you know of me? This is an excellent wine, Mr. Donnie, a French wine from the cellars of the Eris secretes who fled the country. There will be few of these bottles left now. It's being poured into the streets, along with the blood of the nobles who once drank it. Must you go to Paris, Mr. Donnie? I see there's little I have to explain to you, but I received a letter this morning from a man who was once my servant. They threatened to send him to the guillotine unless he can explain why he's in possession of certain property. That's why I must go to save his life. What of your own life? I'll be in no danger. I've renounced my inheritance. It's easily proved. Why do you come to me? There's no one else I can turn to. I don't know how long I shall be gone. I should like to feel that there's someone here in London who's watching over my family. I? You trust me to watch you with your child? Your wife? Yes. I know that you love her. When did you say you must leave? Tonight, now. Have no fear about your family. They'll be safe. Thanks, your carton. Good night. Good night, Godspeed. Your carton. More wine, sir? No. I'll take it away. Where are you going, citizens? I'm going to Paris. Let me see your papers. If you'll hurry, please, citizen. I must be in Paris within the hour. What is your name, citizens? Charles Darnay. Darnay? Also known as Evremont. Why, why, yes, but I... You are confined, Evremont, to the prison of La Force. In just a moment, our stars will return in act three of A Tale of Two Cities. And now, here comes our young friend Sally. My, Sally, that's a pretty corsage you're wearing. I got it at the flower show this afternoon, Mr. Kennedy. What a lovely show it was, too. A regular preview of a spring garden. Lily to the valley, lilacs, daffodils, narcissists, or in dozens of other kinds of flowers. I can't think of anything more refreshing to see right now, Sally. The whole era was fragrant with them. A fresh, delicate perfume you never tire of. A fresh, delicate perfume you never tire of.  Well, of course, Mr. Kennedy. The perfume of Luxe toilet soap. Sure thing. Because that's just what the makers of Luxe soap had in mind when they created its perfume. They knew women would enjoy delicate, subtle fragrance like the combined scent of many spring flowers. Yes, and they do enjoy it, Mr. Kennedy. Screen stars say that's why Luxe soap makes a wonderful bath soap. It leaves such a lovely, clinging fragrance on the skin. Well, it took a lot of experimenting to make that Luxe soap perfume. To be statistical, Sally, it took a blend of 34 different ingredients. It's a fragrance that's distinctive and different. And expensive, too, I should think. Yes, many of those ingredients are costly, but the price of Luxe toilet soap is very low because so many millions of cakes are sold every year. It's a thrifty as well as a luxurious bath soap. Here's a little trick I've discovered other women might like to know about. I flip a few cakes of Luxe soap in my dresser drawer till I want to use them. They make a perfect sashay for my lingerie and handkerchief. Thanks, Sally. Why don't you enjoy the luxury of this fine, fragrant white soap nine out of ten screen stars recommend? Use it for your daily beauty bath. Luxe soap is hard milled to satin smoothness. It's economical. It can be used to the last thin sliver. And now, Frank Craven returns to the microphone. For a verbal introduction to our stars tonight, you're invited to join us after the final curtain for a brief chat. Now, act free of a tale of two cities, starring Orson Welles as Sydney Carton and Rosemary de Camp as Lucy Manette. The sun rises slowly over the roofs of Paris and the long shadow of the guillotine falls against the walls of the forced prison. In the cell of the condemned, Sydney Carton speaks in a hushed voice. His story meant only for the years of the little seamstress. They brought Charles Downey here to the lot forced prison to be held in secret. Somehow the news filtered back to England. Soon his wife and child were in Paris with Dr. Manette and Mr. Laurie. Mr. Laurie? They're old friends. For months they waited for some word from Downey and his cell. But no word came. And every day through the streets, the tumbrels passed, filled with the condemned on their last journey to the guillotine. Did you see him? Did you see Charles? No, they would not take me to his cell. But I have used. Yes. Charles is summoned tomorrow for trial. Tomorrow? Oh, father! I think it will go well, my child. They're going to allow me to testify for him. You?   No, my child. I bear a charmed life in the city. I have been a prisoner of the Bastille. Dr. Manette, is this tribunal to understand that you endorse the accused? The prisoner, Charles Evremond? That is so. He is of noble blood.  He is no traitor. I will swear to it. Dr. Manette, we know your life, the cause you fought for.  Yes, and as one of you, I speak. The accused, Charles Evremond, was my first friend when I was released from the Bastille. The accused, Charles Evremond, is my daughter's husband. In all these years, he has had no part in the tyranny against which we fought. He has renounced his share of the estate and returned it to the people. Evremond is no enemy of the revolution. I give you my word. He is innocent. Free the prisoner. If the doctor of Beauvais says he is innocent, free him. Is the jury ready to declare itself? We are. How say you then? Let the prisoner be freed. The prisoner cannot be freed. Citizeness defied. I say the prisoner still stands accused. By whom, citizeness? It's my three voices. By my husband, Ernest Appage. By myself. And the third? By the doctor of Beauvais. Dr. Alexander Manette. I protest against it. Continue, citizeness. Hear me, all of you. Dr. Manette, you have said Charles Evremond was your first friend. I was your first friend. If you saw my wine shop, you were brought where you made shoes under my care. You knew yourself then only as a number. 105 North Tower. A cell in which you had been confined. Is that not true? If you say it is, I must believe it. I can't remember. But I remembered. I resolved one day to examine that cell. And on the day the Bastille fell, I went to 105 North Tower. Hear me, citizens? In that cell, hidden in a stonework of a wall, a paper. A paper written by Dr. Manette in the year 1767. Before the dark and lonely Nostrovin mad. It is that paper I hold in my hand now. It describes in the doctor's words how he was called one night to attend a peasant girl dying in a miserable bed of rags. A girl and her unborn child in the stable her brother with a wound in his chest was to breathe his last before the morning. And why? Because these two creatures had protested against the noble family who held them in bondage, had protested against the murder of a girl, father and her husband, killed by those same noble hands. The doctor buried the girl and her brother the following morning, but he had seen too much and heard too much from the lips of that dying girl. That night the doctor was thrown into the Bastille. The noble family had silenced him forever. And the name of that family, the name of those murderers, yes, and everyone, and now hear this, listen to the words of Dr. Alexander Manette himself, the words he wrote. I, Alexander Manette prisoner of the Bastille, having thus set forth the causes for my imprisonment, do renounce the marches on every man and his descendants against the time when these crimes shall be answered for. I did douse them to heaven and earth. No, no, stop. You asked me to stop. Listen to me. I have long had the crimes of the Evermont family nicked in my register. Ask my husband is that so. From the great day when the Bastille fell, I brought this paper home and we read it together. My husband and I asked him is that so. It is so. Then I told him that I had a secret to communicate with him. I struck this bosom with these two hands. I strike it now and I said, Defarge, I was brought up among the fishermen of the seashore and that peasant family so injured by the Evermont is my family. That sister of a mortally wounded boy was my sister. That husband was my sister's husband. That unborn child was their child. That brother was my brother. Those dead are my dead. And that summons to answer the those things descends to me. Ask him is that so. It is so. Then. A force to await death by the guillotine. That was the sentence passed by the tribunal. That same night a coach left Calais for Paris. Carrying but one passenger slouched low in his seat. His shabby great coat pulled high about his neck. Reaching Paris he haunted the inns and taverns. Wandered like a lonely ghost through the city. And at last made his way to the lodging house where Lucy waited news from the court. He must forgive my coming this hour. I didn't wish to be seen. I knew you'd come. I've been waiting. Sydney's going to take child. They're going to kill him. How long has he? Until the morning. And he won't let me see him. I can't be near him in these last hours. Lucy. Remember what you said. Long ago. The dark hours before the dawn. There'll be no dawn tomorrow. It'll be dark now always. Lucy. If there was some way I could comfort you. You must hope. What hope is there? What comfort? My husband is going to die. Lucy. Sydney. Forgive me. You were right. I have no strength to offer you. You came to us tonight. I shall never forget that. It's useless to speak to Dr. Manette. He's in no condition to see you now. Mr. Lorry, if you will forgive me. There is nothing you can do here, Mr. Carton. Mr. Lorry, you are a man of business. Are you not? I am. Well, I am here on business. I know your opinion of me, Mr. Lorry. But a drinking fellow may learn things around the town. If he can listen at the same time. I've learned that Dr. Manette is in great danger. He and Lucy must leave Paris tonight. Leave Paris? They must take the child with them. But why? The revenge of Madame Defarge does not stop with Charles. The accusation is against the marquee of say everyone and all his race. Lucy, her child. Now may I see Dr. Manette? It will do no good, sir. He's gone back to his work. His work? He would not know what you are saying, Mr. Carton. Mr. Lorry, you have a path that will let you through to Calais. Will it serve for Dr. Manette and Lucy? Yes, for as many as there with me. Then you use it tonight. You will arrange for a coach to meet you all here at midnight. The coach will take you to the side gate of La Force prison.  The prison? There you will be joined by another person who will make a trip with you. You will not stop to ask questions. Proceed at once to the gates of Paris and on to Calais. As fast as the coach can take you. But this other person, who will it be? Who? Mr. Sidney Carton. I don't understand. I may be in poor condition for travel. I usually am at that hour. But as soon as I'm in the coach drive on. But you at the gate of La Force, will you be within the prison tonight? Yes. Yes, I'm going to see Charles, a certain Mr. Barsad, English spy of the turnkey in the prison. He'll open the doors for me. I don't understand all this, sir. But you give me hope. And you will save them all, Mr. Lorry. Not only I, sir. I shall have a young and ardent man at my side. With the help of heaven, you shall. Tell me, Mr. Lorry. Yours is a long life to look back on. I'm in my 78th year, sir.  Trusted, respected. There are many in this world who would miss you. A solitary old bachelor? No, there is nobody to weep for me. Wouldn't she weep for you? Lucy? Yes, thank God I didn't quite mean what I said. It is a thing to thank God for, isn't it? Surely. Surely. If you had to say with truth tonight. I have gained the love of no human creature. I've done nothing good nor serviceable to be remembered by. Your 78 years would be 78 heavy curses. Would they not? I think they would be. But you are not old, Carton. No. I'm not old. But the road I took was never the way to age. Good night, Mr. Vorre. Wrong before Darnay has taken from Miss Hill. Put with the others. I can't tell that. Perhaps only an hour now. Leave us alone. Stay within call. Did you keep your promise? I told you that I could get you in and out again. But the others have tried me. No, I know. Open the door. Have you come for... Of all the people on earth, I'm the least expected. Why are you here? You shouldn't have taken the risk. It can serve no purpose. It can serve one. I bring you a message from Lucy. A request rather that you do exactly as I say it. No questions.  Don't mind. Quickly now, man. Are you mad? Do as I say. It's her wish. Put on my coat. Go ahead. Rumble it so. As mine is. Carton is now escaping from this place. You'll only die with me. Have I mentioned escape? Do as I say, and I'll take my cover. Here, give me yours. Carton, I warn you, it's the... Be quiet. Look, we're paying an ink on the table. Is your hand steady enough to write? It was when you came in. Well, steady it then. And write what I dictate quickly now. To whom do I address it? To no one. Write. If you remember the words that passed between us long ago, you will understand when you see this. Have you written that? I don't... What vapor is that? Vapor? This is a strange vapor, something that crossed me. I am not conscious of it. Take up the pen and finish. I told you once that there was nothing that I would not do. Nothing that I would not... What is it? There is something. That odor... You mean this on my handkerchief? Yes. Yes, it's old. Breathe deeply. No, no, no. Breathe, breathe. I can't breathe. Breathe. You don't... Are you ready to... Oh, what's this? What's the matter with it? Nothing is unconscious. Carry him out of the gate. But you changed clothes. Listen to me. Sydney Carton fainted from the shock of parting with an old friend. You'll find a coach at the side gate. Put him into it. Tell him to drive as fast as they can to Calais. No, wait. I'll finish this note. If you remember the words that passed between us, you'll understand. I told you once that there was nothing I would not do. To keep a life you love beside you.  Here. Take this note. And hurry. Who are you? Jabba Snotty from Telsen's Bank. As Dr. Minnet. As his daughter. As his grandchild. Who's there on the floor? He is Mr. Sydney Carton. Let me see him. Sydney Carton, eh? Fast. Come in the gate. Let this coach go through. They're on their way now. Perhaps by this time they reached Calais. A bound for England. And home. You are Sydney Carton. And you're dying for him. For Charles Darnay. I don't know. For someone else. Ersecretes, your carriages are waiting. Six tumbles will carry the day's wine to Madame La Guillotine. God take them out. You, everyone. It will be as I promised for you. You shall wait for the last tumbling. Your head shall be the 52nd today. I'm ready. Move along, there. Move along. Mr. Carton. May I go with you?  Mind nothing else.  The thing that I do. Is when I've ever done far, far better rest. That I go to. Than I've ever known. Far curtain on the roaring crowds of Paris and the sacrificial destiny of Sydney Carton. And raise it again on the stars who have made tonight's performance such a vivid memory. Orson Wells and Rosemary de Camp. Well, Frank, it was a real privilege to be cast as Sydney Carton and to play opposite Rosemary. Thank you, Orson. Orson, I understand that for your many attributes of writer, actor, producer, and magician, you've added a new one, journalism. That's right, Frank. I've got a newspaper column running now called Orson Wells Almanac. Yeah, I know. I have a copy here. Those biting widacisms, I imagine, Frank. Well, it depends upon what you call biting widacisms. It starts with the following items. Never salt turnips while cooking. Always wash spinach with warm water. Orson, aren't you afraid you'll start a social revolution with those radical ideas? And the final item in the column is as follows. Always use lux toilet soap for the complexion. Wait a minute. I've been sabotaged. Oh, no, you haven't, Orson. That's the best advice that you could give to any girl who wants to look her best. And I can see it's the advice you follow, Rosemary. Tell us, what was your first bit of acting in the theater? The very first? I was a bunny in an Easter pageant. The original female Harvey, hm? Were you ever a rabbit, Orson? Well, if he hasn't been, just give him time. He'll get around with it. As a matter of fact, when I was five, I impersonated Peter Rabbit in Marshall Field's department store. Well, any time you two want to be rabbits hearing lux, we lay in the supply of carrots. Thanks. What do you have for lux next Monday night, Frank? For next Monday night, we have a deeply moving play that brings us some of America's best-loved music. It's the 20th Century Fox hit, Swanee River, the story of that brilliant, colorful composer Stephen Foster, whose life of romance brought us such immortal songs as Old Kentucky Home, Susanna, Jeannie with an light brown hair, Old Folks at Home, and many others. Whom do you have in the cast, Frank? Well, for this special occasion, we have a gentleman who's billing always red, the world's greatest entertainer, Al Jolson, co-starred with the ever-popular Dennis Morgan, and the lovely Francis Gibbons. Well, that sounds like a great combination, Frank. Good night. Good night. Good night, and happy new year. And now a brief reminder from Uncle Sam that to the millions of American men and women overseas, nothing is more important than mail from home. Right often, make your letters cheerful, and be sure to use V-mail. V-mail is private, speedy, safer, and it helps to lighten the burden of delivery. For answers to the makers of Lux's toilet soap, join me in inviting you to be with us again next Monday night. When the Lux Radio Theatre presents Dennis Morgan, Al Jolson, and Francis Gibbons in Swanee River, this is Frank Craven saying thanks for listening, and good night. Frank Craven will soon appear in the 20th Century Fox 30th anniversary production, Colonel Effingham's Raid. Orson Wells, currently working in the international picture Tomorrow is Forever, can be heard on This Is My Best every Tuesday over this network. Rosemary de Camp will soon be seen in the Warner Brothers picture, Pride of the Marines. Heard in tonight's play were Dennis Green as Charles Darnay, Griff Farnette as Dr. Manette, Verna Felton as Madame Defarge, Norman Field as Laurie, and Ken Christie, Charles Seal, Lorraine Tuttle, Ferdinand Monnier, J. Novello, Robert Regent, Eric Snowden, Boyd Davis, Paul McVeigh, Alec Harford, Thomas Mills, Regina Wallace, Virginia Gordon, and Herb Lytton. Our music was directed by Louis Silvers. This program is broadcast to our fighting forces overseas through cooperation with the Armed Forces Radio Service. Our Lux Radio Theatre production of A Tale of Two Cities has come to you with the good wishes of the makers of Lux Toilet soap, the beauty care that nine out of ten Hollywood screen stars use. This is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear Swannie River with Al Jolson, Dennis Morgan, and Frances Gifford.


by just emphasizing the point of community that emerges around these platforms. And the tagline for the commons and it has been since it was launched is what will you build? And I think it's really important at this conference and in other spaces for us to critically consider the ends that we seek with openness, right? It's great to save students money on textbooks. That's a really valuable pursuit, right? It's great to have open access publications and to let knowledge be free. These are positive things, but we feel also that a lot is asked of openness. And I'd like to thank one of my students, Joe Thompson, who's an open educational resources librarian at CUNY and an adjunct who wrote a blog post about this just this week in our ITP course that I'll share here in the comments or try to. Jim, actually I put it in the chat if you don't mind sharing that post. I think it just does a wonderful job of raising this question, right? Because we are very much in a conflict over the future of the university system. We've been, everyone knows we've been fighting austerity for a generation. And this team and the work that we do in our comrades at the Open Lab, at City Tech and at BMCC and in other spaces throughout CUNY very much see open infrastructure as the space from which we can think and organize our response to proprietary incursions on the work that we do in the university. And frankly we can fight for the soul of the university in the future of the university. It allows us to exert more influence over the labor dynamics and the intellectual property dynamics of the work that happens and not to cede those questions to the administrative spaces that are disconnected from the core ethos of the university which Matt laid out. So we very much see this open infrastructure as a necessary precondition for the work that we want to do, right? Openness is a valuable end in and of itself but openness itself is not going to transform the university. And these platforms have allowed us to bring new populations, new disciplines, new learners and thinkers into that conversation with us. And it is a long game. It takes a long time for you to build community and for that community to develop trust and ways of working. And I'm just really appreciative of Matt's leadership on this at the Commons since almost 15 years he's been working on this stuff from the perspective of the Commons. And it takes that kind of persistence, commitment and vision to break us out of the semester by semester cycles of reporting and impact demonstration that open investments often require to justify themselves and ramp.


In the early stages of your life as a fetus, certain parts of your external genitalia were inside your abdomen. As they pushed their way out, they created for themselves this space that we now know as the Inguinal Canal. It's a space that begins a couple of centimetres above the halfway point of the Inguinal ligament which runs like this. To make it easier to visualise, we've got it here as a rounded cubic prism. The two ends of the canal are called the Inguinal rings, superficial and deep. The contents of the canal are in males, the spermatic cord, and in females, the round ligament. In both, there's the ilio-inguinal nerve as well. So let's think about what holds these things in the canal, the walls that mark the edges of the prism. The bottom wall is the easiest to remember, it's the Inguinal ligament we mentioned before. The outer or anterior wall is also easy to remember, it's mostly made up of the aponeurosis of the external oblique. The external oblique is the most anterior muscle of the abdominal wall, so you have the anterior wall of the Inguinal canal made up by the most anterior muscle. Interestingly, the Inguinal ligament is actually just an extension or a continuation of this aponeurosis. And further out laterally, the anterior wall is reinforced by the next muscle of the abdominal wall, internal oblique, or IO. For our purposes, this starts at the iliac crest, this bony prominence here. It moves that beside the external oblique, and is joined here by the next muscle of the abdominal wall, which begins further lateral on the iliac crest. That's transversus abdominis, or TA. So IO and TA join together to arch over the top. So what we imagine is the superior wall of the Inguinal canal is simply the part of these muscles which is flying free, arcing over the contents of the canal. They end up joining together to make the aptly named conjoined tendon, which inserts onto the pubic cubicle down here. If we take a look around the back now, you can see that the conjoined tendon actually extends down over part of the posterior wall of the Inguinal canal. So IO and TA have made this journey from the iliac crest, making up part of the anterior wall, all of the superior wall, and then a little bit of the posterior wall of the Inguinal canal. And if we think about it, we've used up all of the abdominal wall muscles now to make up the inferior, anterior, and superior walls. So what else is there between the skin and the abdominal contents? What's going to hold the abdominal contents away from the contents of the Inguinal canal? So we've used up IO, IO, and TA in that order from skin to abdominal cavity, and the last layer isn't a muscle. It's a layer of fascia called the transversalis fascia. It's the last thing we meet in terms of layers from the skin to the abdominal contents. And interestingly, the deep Inguinal ring is actually a hole in the transversalis fascia. So now we've worked all that out, let's take a trip down the canal. We'll hop through the deep ring first, which is the hole in the transversalis fascia. We see right in front of us the muscle reinforcing the anterior wall, the Inguinal canal, that's internal oblique. And then to our right, we see this other muscle that joins up with internal oblique to arc over our heads and make up the superior wall. And that's transversus abdominis. Medially to them on the anterior wall is the aponeurosis of the external oblique. Keep cruising on down the canal now, and we see the transversalis fascia on our left. And then further down from that, we see the end of the posterior wall made up by the conjoined tendon, which of course is the joint tenderness insertion of Io and Ta. The floor is the Inguinal ligament, which is just an extension of the external oblique aponeurosis. And then lastly, to our right, we see a hole in the external oblique aponeurosis, the superficial Inguinal ring. So through this hole we go, and if it's a male we're in, we hop out that ring and land in the scrotum. And if it's a female, we'll end up in the labia majora. All right, so there you go. I hope you enjoyed that little journey through the Inguinal canal. Thanks for watching. Hit subscribe, and we'll see you next time.


proudly we hail now another proudly we hail one of radio's outstanding dramatic half-hours starring Lee Tracy and presented transcribed by your army and your Air Force Radio City New York here is your star and host on proudly we hail the distinguished Broadway stage screen and radio star Lee Tracy bang heart and hello everyone welcome again to proudly we hail our play it takes us to France in 1793 for a tale of suspense and terror during the French revolution at the Ken short message we'll be ready to begin the first act the United States Air Force needs trained veterans now yes the Air Force needs radio and radar technicians engine mechanics communications technicians weather technicians and many others specialists if you have such a critical skill you can reinlist if qualified in the grades you held when you were honorably discharged or even in a higher grade for complete details go to your nearest United States Army and United States Air Force recruiting station today and now with your star Lee Tracy in the role of John your army and your Air Force present the proudly we hail production of ride by night 1793 and the reign of terror holds all France in its terrible grip madam guillotine is queen and the world has gone mad within her kingdom the revolution has reached its bloody climax and no one within the borders of France is safe from its terrible rat a new calendar has been adopted the days of the month changed old religion has been swept away and in its place has been instituted the worship of reason reason where there is no reason only chaos and a madman named Robespierre rules the citizen is in a hurry wrong the citizen is not in a hurry he didn't see you squatting there like a beetle your papers and be quick the citizen is in a hurry hold your tongue from America John Nathan Holt s square and what brings you to France I wanted to find out if it was true that everybody was interested in everybody else's business it is true citizen Holt we are all equal here where are you bound for the moon now thank you for my paper not so fast how do I know these are not forged how do I know you are not in a restore how does an American speak French so well my mother poor woman happened to be born in your fair land thus my knowledge of the language as for the other you'll have to take my word why should I take your word for anything I can see from your ugly face that such a suggestion is pointless so hand over those papers before I put a bullet in your head all right now throw your rifle over there in the bushes come on come on I don't have all day the citizen will regret this hand me those papers and no tricks I mean business now friend guard listen well in my country we treat our visitors with kindness we make them welcome you should learn a little of it you want to know where I'm bound for ask with courtesy and I don't mind telling you this road leads to Paris that's where I'm bound good day a friend from across the sea you you are Jonathan Holt at your service ma'am well come in quickly you must not be seen here but the square no one saw me I'm sorry I can make no light come into the back we have a candle there give me your hand I'll lead you they don't know we're here sorry I wasn't able to get here sooner we had a rough passage that you have come at all as a noble thing what about Phillip here we are you were you're our Haleen yes who's that my father he's asleep he's not well he's very weary you live here in this shell of a house yes there's nowhere else to go they do not come here is Phillip still in prison have you seen him only from a distance poor Phillip he's been there for over six months they'll kill him soon and maybe that will be better than we can stop this foolish hoping and go away is it possible to bribe the guard must your Holt in France today it is possible to bribe anyone this is the age of reason I must go now we can never thank you or we pay you for coming here like this somehow now that you're here I do not feel it is so so hopeless my father will be most happy when I tell him I can't promise a thing but regardless of what happens I'll see to it that no harm comes to you or your father you're a very gallant man and probably not a little foolish you must watch your tongue and go very carefully that's good advice for anyone I'll be back tomorrow night now remember madam of all the Bastille could be broken into then this prison can be broken out of good morning citizen is it citizen well better than some not as good as others you're in charge here the the commandant so my papers an American one would ever know from the way you speak the inheritance of a French mother you do not come to France in a very happy time so I've been able to see where will it end I don't know a citizen Holt perhaps Robespierre can tell you what do you wish in this place may I shut the door it is better not to people get suspicious and before you know it citizen Ducro is riding in a car to the guillotine I'd like to see one of your prisoners I thought as much it's against the rules would this change the rule get another sight monsieur who is this prisoner you wish to see his name is and Ray Dave Bill Moran ah yes the Duke the Vilmor has little time left I was it that you know him I might have an America I heard he was here and I thought the least I could do was to try and make what few hours he has left a little more comfortable such a gracious gesture you Americans are touching well quiet citizen Ducro is thinking if you want to put what I saw you take out of your pocket between the open pages of this ledger I think it might be arranged in a few minutes the prisoners will be allowed to air themselves in the courtyard I shall give you the pass of a prison inspector go through that door and down the steps the guard at the gate will let you in when you're through and they would not stay too long return here agree agree how am I ever gonna find him in this crowd Philip don't turn around don't turn around it's me Jonathan Jonathan how did you know never mind that I'm supposed to be seeing a Duke the Vilmor wrong I didn't want him to know I've seen you just answer my questions you know how much time you've got no you never know been here a long time I shouldn't think I had much all right I brought a black wig and a pair of spectacles can you keep them hidden yes but that won't work don't argue don't argue put your back to me and I'll hand them to you stuff them up your sleeve how'd you get in here commandant and I are old friend can you tell if anyone is watching us without it it's too crowded all right now walk around in front of me I'm going to give you some money and a prison inspector's past how can you get out without the pass well let me worry about that the man who let me in here I'm gonna find it prudent not to say anything about a missing slip of paper which might cost him his head is there any way of finding out if your name is on the death list before it's read off no not that I know of and we got a trust to your luck for another day tomorrow as soon as they let you out here put on the wig and the spectacles you can't help someone seeing you do it but try and arrange so they're your friends I can do that without any trouble then what after you've been here about half an hour go to that gate there give the guard your pass and when he asks to see your papers hand him the money but my clothes look at them they're in rags he wouldn't dare let me out money or not I'm gonna leave my cloak and my hat on this bench carry them on your arm Jonathan it's wonderful of you to try and help me like this but it can't work or if it does fail you can be no worse often you are right now it's worth the chance Philip only chance that I can think of now when when the guard lets you out of the courtyard go along the corridor as boldly as you can as though you own the stinking pest hole the way this place is laid out I'm sure it'll bring you to the east gate I'll be there to help you out now how are you going to get out of here without a pet my papers are all in order and I found that money is the key to many doors I gotta go Philip there's still much to be done have you seen Aline and my father yes yes last night it was her letter that brought me good old Jonathan more tricks than a monkey I'll see you tomorrow Philip at the east gate if you're not there I'll know something went wrong we'll have to think of another scheme if I'm not there I won't be any more schemes I can't let you out without a pass I will listen to you for a path would have my head for this but the man must be reasonable tomorrow after noon I can't believe it here is what you must do hold on citizen you seem to be over anxious to leave our little palace this truth enough in that the stench would drop an elephant unbother gate unbother gate citizen it is easy enough to unbar for those who enter but for those who wish to leave it is another matter your papers are weak stomach perhaps this pass will satisfy you citizen inspector I'm beginning to think all of France has made up of citizen inspectors perhaps you can tell me how this happens to bear yesterday's date since we have seen fit to change the calendar around I don't wonder the days get mixed up don't blame me for your incompetence open the gate I haven't all day not so fast let's have a look at your papers mr. no at all you think I'll get away from here you're done you bet I'm drunk what else can a decent Frenchman do dogs like you're giving authority if you don't hold your tongue I'll report you to the prefect out here hold it for me I'll mop up the gutter with you we'll see about that ah Lee Tracy starring in the role of John in the proudly we hail production of ride by night will return for the second act in just a moment here's a word about the vital job young women are doing in the United States Air Force women in the Air Force work on equal terms with the men are doing interesting jobs jobs of vital importance in support of the United States Air Force how about you young women between the ages of 18 and 34 can you qualify in the WAF stop in at your nearest United States Army and United States Air Force recruiting station for full details you are listening to proudly we hail now your army and your Air Force present the second act of ride by night did Philip get here yes yes he got here oh where is he huh what what's the matter he's in there with father father won't be going oh I see I'm I'm terribly sorry thank you he was very tired Eileen's told you yes Philip I I don't like to rush here but time is precious every second of it we've got to leave right away I know perhaps it's for the best father would have been only a burden never would have wanted to be that you mean we we can't even he's with God that's all that matters Eileen the rest well it's ceremony we have no time for it John you were superb I thought my goose was cooked I didn't even recognize until you started to howl at the guard we can talk about that later Eileen you look fine in those peasant clothes but you look too clean get your hands good and dirty and smear dirt on your face pull your hair down make it look straggly you look yeah just right Phil I should after six months in that stinking hole I'll change my clothes and we'll get started I gotta get out of Paris before they close the gates the sundown with luck they won't know you've escaped until tomorrow we've got to put as much distance between us in this place as we can are you going to say goodbye to my father how'd you ever get this rig I bought it from a hungry farmer as well as the clothes how how can we get through the gate without papers I have papers now here's what we'll do here are my papers out of those two sleeping beauties back there they they have no papers they're escaping a ristole I can believe that you should I can tell you another I'm I'm not really Pierre Blanchard I'm the ghost of uh of Louis on its way to England listen to this one shock he's got a belly full of wine or he's gone mad ah no they're they're the ones that are full of wine I'm just in a hurry to get out of here before someone accuses me of plotting against the Republic and goes yes I know France is mad we're all mad here pass on the air Blanchard you just made it from time the sun is nearly down we'll close the gates now can't go any faster we'll attract attention somehow we got to ditch this thing and get hold of some horses we should be almost a Sancho man why don't we leave the cart on the outskirts and walk into town we might be able to buy some horses no we're apt to be noticed and these clothes people can't afford to buy horses after dark no one buys a horse unless he wants to arouse suspicion what do you suggest then I suggest that we skirt send your main all together and head north that'll leave us two escape routes either Calais and a ship to England or crossing over into Belgium well that still doesn't tell us how we're going to get horses I know well we'll just have to go on like this for a while trust the luck that must be the stable there I'd say the town was tucked in for the night Eileen you stay right here we won't be long but suppose something happens to you nothing is going to happen to us if it does try to get to the border oh the man jokes come on Phil we'll be back soon Eileen and with horses who goes there here here here's some rope time up gag him I'll get the horses it's almost daylight had a long ride that pine woods there looks like a good spot to hide for the day what about food that's what's in the sack not much we'll have to make it last is there anything that you don't think of I can answer that no we ride along the bank of the river and cross by 40 since flood we could never do it this is the only way but there are guards at either end of the bridge and if that patroller went by during the day was looking for us they'll be on the lookout down there yeah yeah true enough still we've got to cross or make a wide detour men forget about Calais in the bargain well if we rush them no no good the bridge is too long waiting for us at the other end it seems hopeless well bluff has worked before gotta make it work again Eileen tie up your hair in this neck plop Philip give her your jacket you can wear my pants don't worry I wore these things over the clothes I had on now this is our this is our plan stop gaping like the hollow-headed ape you are has anyone anyone passed over this bridge in the last two hours why I know sir not that I've seen are you sure fool think hard your dirty neck there was only the coach sir but that was just after sundown cope the coach you imbecile and you let them cross there their their papers were all in order they were stamped by the stamp by the devil they were forged didn't the patrol give you a warning to be on the lookout for an escaped enemy of the republic well did they yeah yes sir but they said there were probably three of them and there were four in the carry ah you idiot one of them was a prisoner of the other three lift the gate and thank your patron saint that I'm in such a hurry open it up I say forward what are we doing to get ahead jump and ride for your life I say we make for the border they can't watch every foot of it whereas they can watch they dock to Calais I agree that seems our best hope our horses are only done in we've come a long way in four days do you know of any particular place it would be best to cross over well this is the road to Cambrai I say we pass to the south of it and head for the Cato then make for Moberg and cross on the north side of the sombra you know the country somewhat good now we'd better find a place to rest for the day they seem to be as impatient as we to be gone we owe them a lot are you ready Philip ready all right who knows perhaps by tomorrow we'll be in Belgium we've made good time let's look at tow back there yeah I know but where's the river the sombras over there to the right we'll uh we'll parallel it are we gonna stop soon it's getting late I say let's keep going we're nearly there we have no more food the horses if we let them stop probably won't be able to start again another two hours should put us across it's not safe Phil nothing is safe Jonathan we've had good luck so far see nothing of any patrol since we crossed the bridge why dolly our luck won't last forever well something in what you say but I've always found it's better not to take a chance unless you have to what do you say oh it would be wonderful to cross the border today I guess I'm overruled well we better get as close as we can before sunup nobody's paid much attention to us no now how much farther huh oh no right into the arms of a patrol the patrol they couldn't be behind us they would have to be in front of us we'd better start moving north is best they trap us at the river come on they're gaining on us do you see do you see where the road makes a sharp turn around these woods yes as soon as we reach it pull into the woods and stop the brow of this hill will hide us when they come over it they'll think we've gone on around the curve they'll stop shooting they can't do much shooting over the top of a hill all right now rain up follow me here they come oh start crying easy there old boy following the road we do have a moment to lose forget the road we'll take to the fields and head straight for the border come on I think we gave them a slip where's the border seems we've been riding for hours I don't know seem we should have been there long ago I Jonathan put down your pistol it's no good they've got us good morning gentlemen you look like you've ridden foreign hard I come upon many like you these days welcome to Belgium Belgium I beg your pardon mademoiselle I mistook you for a man in those clothes captain do you mean we're really in Belgium but of course you'll follow me I'll take you where you can eat and rest then you can tell us about yourselves you know it's a pleasure to meet you a real pleasure lead on captain we're at your service our star Lee Tracy will return with a word about next week's program in just a moment here's a word to Air Force veterans if you've had the necessary training and experience you can enlist in your old grade or better skip basic training and be assigned initially to a nearby Air Force base this holds good for veterans of other services too we've had the kind of special training the Air Force needs if you are qualified in radio radar maintenance weather armament photography and many other fields there's a place for you stop at your nearest United States Army and United States Air Force Recruiting Station and find out where you are needed on one of the world's greatest teams enlist in the Air Force now this has been another program on proudly we hail presented in cooperation with this station by the United States Army and the United States Air Force Recruiting Service proudly we hail stars Lee Tracy ride by night was written by DeWitt Cough the music was composed and conducted by John Guarnieri this program was produced under the supervision of Charles and Rogers Productions and directed by Charles Wilkes this is Kenneth Banghart speaking and here again as your host and star Lee Tracy join us again next week for proudly we hail over the same station won't you our play is a moving drama entitled final choice a story of a man's decision a decision which might mean life or death until then goodbye