The National President of the Medical Women Association of Nigeria, Prof. Rosmerio Gu, has called for adequate budgetary allocation for private and public health institutions in the country. Prof. Gu made the call at a press briefing as part of the communique issued at the end of the 23rd Biennial Conference of the Association held in Port Harcourt. The newly elected MWA and President, Prof. Rosmerio Gu, however urged the government to allocate more funds to the health sector so as to address the problem of low-quality healthcare and eventually curb medical tourism in the country. Prof. Gu called on the government to prioritize the welfare of doctors in art in order to fight against brain drain and continuous training and retraining of healthcare workers body government at all levels so as to develop their human capital development skills and deliver robust healthcare in the country. The government should ensure adequate sustainable provisions and access to quality healthcare at all levels and improve welfare of healthcare workers in order to curb medical tourism and brain drain.  Now the current state of private and public health services should be compared with global practices and that funding is a perennial issue plaguing our health system. Therefore adequate budgetary education and private public partnership is proposed as a viable option to sustain, to tackle the funding sustainability issue. Prof. Gu while advocating for the inclusion of women in leadership positions in the political circle and workplaces emphasize that leadership positions of health practitioners should be based on merit.


This is Jason Porter with the Red Hat developers program here with Jeffrey Smith. Yes, yes. Very good. All right and Jeffrey works on OptiPlaner and kind of all things, well maybe not all things, but things related to BPM and business process. Yes. Very good. Now for those that may not be familiar, what exactly is OptiPlaner and how do I go about using it? OptiPlaner is a constrained solver. So you basically have a number of goals you want to you want to reach, like for example reduce your costs, have a better, have a lower impact on the environment, have better employee retention, have more, have a better service quality, right. And what you're doing is for example you're delivering items across the country, right, or you're assigning shifts to employees, or you're somehow planning your organization. Now if you have one of those planning problems, you have a number of resources to do that, such as the vehicles, or the buildings, or the rooms, or your employees, right. And those have a limited amount of time and you also have a limited amount of budget. You cannot keep buying vehicles, keep hiring employees. So with those limited amount of resources you want to do that plan as efficiently as possible. But the problem is you have a number of constraints. Constraints are things like a person can only work eight hours a day. So when you put the driver into a vehicle and a vehicle starts driving around the country, he needs to be back at the depot after about eight hours, right. So and this impacts in which order you can visit locations, you know how many items you can drip off, and the more efficiently you do that, the less, the more visit locations you can visit, or the less time you need, or usually the less time you need to drive on the road. So the more you can invest in actually doing something useful, like for example if you're installing cable, you could spend more time at your customers, or you could do the same job with less employees. So it depends of course what you do with the games, right. Okay, very good. Now one of the things that I've got a question, maybe others do as well. Where does OptiPlaner play in with drills? Does it use drills? Does drills use OptiPlaner? What's that relationship? Yeah. So in OptiPlaner you need to define your constraints. For example, you need to say if there is too much, if you're driving nine hours instead of eight, then we want to enforce a penalty, right. And there's different types of penalties. But anyway, when you want to implement that, you have three options. And one of them is drills. So and that that's the best one. Let me explain the other one. The other two are, so the first one is just plain easy Java. The problem with that is that it's from scratch calculation. So if you have a big plan and one little thing moves, it recalculates the entire plan from scratch. This is a huge scalability problem. Right. So basically, if you have a data set of n elements, right, you have 1000 variables, 10,000 variables, you the gain on that is just is usually the number of variables divided by two, if you're not doing that. So easy Java is not really useful for production. It's easy, but it's not all that great. Yeah. Yeah. Okay. So the other one is incremental Java, which is, well, it is the fastest, but it is basically a writing assembly. You have to write your own deltas incremental calculation. It's pretty much insane. And then the third option is drills, which is very very close to that incremental Java, where you write your constraints as drills rules. And the nice thing is they're nicely isolated. So you have one constraint that says, okay, don't go over that limit of eight hours, you have another constraint, which has this particular visit needs to be delivered by a vehicle which has, which is bigger, or has more armament or something like that. Right. And so forth. And so those rules are nicely isolated. And the big thing is, of course, they're also incremental. So but you don't have to write it, you, you don't have to write that, that part may code of updating indexes and maps and all that kind of stuff. Yeah, I can use a drill and all of its UI and whatnot to build things. All right, very good. Very good. Now, where, where do I go to to get started using up the planner?  There's two buttons on there. The green one is to download it. And then you can just run the examples on your machine and then play with them. And the other one is a blue button that's going to the documentation. So you can start reading. The documentation is pretty big. But there's also another link I would like to point out. That's if you click on the learn thing, there is use cases lists. And in that use cases list, you can see three use cases explained in detail, such as the vehicle routing problem or the employee rostering problem. And there's also a video about very other use cases. So every example that we have has a video. So for example, there's a video on on assigning hospital beds in the hospital. There's one about investment portfolio optimization. So you can choose stocks better that they given an amount of money that they are that you reduce your risk, basically. And there's many more, right? A task assignment is also very nice for where you are signing tasks to employees based on skills and affinities and so forth. So yeah, we have we have like 17 examples now. I can't go through all very good. Now on the on the product side, I believe optiplanner is part of the BPM suite. Is that right? Yes, it's so it's part of BRMS and BPM. Oh, it's both. Yeah. So everything that's been BRMS is also part of BPM suite. But BPM suite is a little bit more expensive than BRMS, of course, right? Right. So if you if you have a drills, a BRMS subscription, you get the drills rule engine and you get opto planner. If you have a BPM suite subscription, you get those two drills and opto planner and Jbpm on top of that. Very good. Very good. Now what what do you find most interesting about being in this in this planning space? I think it's fun.  Well, the most interesting part is definitely you see a problem, you optimize it. Given some or human planner optimizes, you get an optimization, you see a schedule, and you think, this looks pretty optimal. This this look looks optimal. I can, for example, there's an how to go to a number of locations, right with the vehicle routing problem, right? And you change one location, you change one order, or you start changing things. And you see, you cannot find a better solution. You cannot find a solution, which given the hard constraints that's that you have to do it within eight hours per trip. And and get you cannot find one that that's shorter, that does it in less time, right? But if you then give it to more and better algorithms, right, turns out there are will find something. Yeah. So and if everybody you can be in a room with managers and human experts and everybody and everybody can agree it's optimal. But it's like the whole room is colorblind, right? Because, yeah, if you do have the calculations, you can get there. Yeah. Now, if I've got a problem that I put into opto planner, is it something that I just know I hit the go button and let it run forever until it's complete? Or do I say I've only got half an hour to run this, I'm going to run it for half hour, see what happens? Yeah. So you can specify your time upfront, because it will actually keep running, it will start trying to improve, keep improving it. Usually, if you want, unless you try one that's exhaustive, where you try all the combinations or subset of all the combinations that might lead to the optimal solution. But those, once you start scaling out, takes millions and millions of years. So you're not going to wait that amount of time, right? So what you do instead is you just start it. And if you have five minutes, you're in five minutes, if you have 30 seconds, you're in for 30 seconds. If you have an entire night, why not? Right? What you do see is the first few seconds, it can easily find better and better solutions. As the time goes by, the there's a law of diminishing returns. So the first few seconds, you see that score going up 10%. In the end, it's an hour to go up even half a percent or something. I got it. Now, does it cash those results? So say I've got 30 seconds right now that I want to run it, and then maybe tomorrow I've got another two minutes I can run it. Can I pick back up from where I left off? Yeah. And you can even change the problem meanwhile. So you can do warm starts. But so for example, you've calculated for eight hours, you have your optimal schedule, right? Or near optimal schedule, right? And you're going to put that in production. And just before that trick is about to go out the door, there's a customer who calls and says, can you pick up something for me too? Oh, right. So then we've got to add that in there. Okay. And it warm starts on the previous solution. And it doesn't have to restart from scratch, right? So it's faster. Oh, very good. Very good. And again, if you're interested in getting started with OptiPlaner, that's OptiPlaner.org. Correct. Yes, very good. With an AI OptiPlaner. All right, very good. That'll do it for us today. Thanks for being with us, Jeffrey. Thanks. Take care.


We really don't know what's happening inside these models because they're black box models. They're neural networks that have many, many hidden layers. So the relationships that they're developing between words, between concepts, the patterns that they're latching onto are completely opaque even to the people designing them. So it's a kind of alchemy.


So, you owned some woods, and you got to wondering which trees to cut and which to leave in. That's the way it begins. Only in my case, my grandson Kevin asked the question. I was putting in these poles a few years back, and he was at that curious age. Well, a question. I was pulling some weeds, told him it'd give the desirable plants more room to grow. He asked me if you could do that in the woods with trees. That got me to thinking, and poking around for the answer. Always loved the woods, loved to hunt and hike, watched the animals and the birds. Enjoyed the peace and the beauty, but I never paid much attention to how the forest grows, and it never occurred to me that I could work it like my garden and make it grow the way I want until I started reading and talking to folks and watching nature at work. Did you ever wonder how a forest gets started? Well, there's lots of ways. One way is for trees to take over abandoned fields. This was farmland a couple of years ago. Then when the owner quit farming, nature took over. Weeds grew up in briars and woody plants, and trees began seeding in. Some of the seeds were carried in by rodents and small animals. Acorns, for instance, brought in and buried by squirrels. Other seeds, like cherry, were carried in by birds. And some, like the maples, were blown in by the wind. Now, here's another way to get a new forest started. This was forest land cut over just a few years back. Nature's competition went to work here, too. Seeds were carried in by birds and animals and the wind. And there were seeds already here in the forest floor.  This land was also clear cut, but some of the trees were left standing. That has a lot to do with what grows and what doesn't. Because the seeds and sprouts of some kind of trees need more sunlight to grow than those of others. You know, the sun's important for plants and that includes trees, too. Some trees need clear fields or large forest openings to grow. Foresters call them intolerant because they need the sun and can't tolerate the shade. And because some of our most valuable hardwoods are more or less intolerant, like black cherry and red oak, they grow well only where there's lots of sunlight down on the forest floor. So when this happens, you have an even-aged stand of mostly intolerant trees. Some trees don't need sunlight. Sugar maple, red maple, and red spruce are tolerant species that grow right in the shade of other trees. As the forest gets older, the tops of the trees fill out and become a canopy, shutting out the sunlight. Then only the shade tolerant trees can grow down under the other trees. This land was cut over, too, but only the big trees were taken. The loss of occasional trees won't change the pattern. With only small openings in the canopy, the forest will eventually be taken over by shade tolerant trees of all ages. But what happens after the new forest becomes established? This area was clear-cut five years ago, and now the place looks like a lot of brush. Thousands of seedlings and sprouts trying to reach up and grab the sunlight, like yellow poplar, black cherry, and red oak. These trees will be beauty someday if they just keep their hold on the sunlight. Some folks think they need to thin out a stand like this, but it's not necessary. Nature will do the job. And by the time the stand is 12 years old, the dominant trees are established, and lots of others, probably 3,000, have died. There's not much now for animals to eat. But it's a lot easier for you and me to get around, and we can begin to think about which trees to leave and which to cut out. But you need to know something about how trees grow, because not all of them grow the same. Not all the same trees grow the same in different places. You take this northern red oak, for instance. Doing fine, but it's got a lot going for it. Did you ever wonder why some trees grow taller than others, and why some trees are so big around, while others never mount too much, has a lot to do with the land itself? Some places are just better than others for growing trees. This hollow, for instance, where the top soil has piled up for years. How well a tree will grow depends on lots of things. The depth of the soil and how much moisture it can hold. The presence of rich nutrients. Where it grows on the slope. The direction that the slope faces, north, south, east, or west. And drainage. It's just like growing anything else. You want a good tree, you need good land. Another thing that affects growth is the number of trees trying to live on the land. Stands to reason that the more there are, the less chance any of them has of growing big around. It's like that garden of yours. If you don't thin it out, nothing does well. The trees that have the biggest trunks also have the biggest tops, or crowns, as the foresters call them. And if there's room for the crown to expand, the trees can grow bigger around. Trees need light and root space to produce food for growth. And when the forest is young, there's room for strong trees to spread out and up, and roots to go down and out. And as the forest begins to cover over, the location of a tree's crown has lots to do with the way it'll grow. The biggest trees get sun on their crowns, and even down their sides. They're called dominant trees. Those trees getting sun on their top, but less on their sides, are called co-dominant trees. Others, though, have to struggle to get any sun at all. They are intermediate, while some just limp along in the shade and are suppressed. But usually, there are only a few dominant trees. The stronger co-dominance will emerge as crop trees. The weaker co-dominance and intermediates will be lost. Trees that die and fall to the forest floor decay and are used again as nutrients by those that survive, ensuring that the biggest trees continue to grow. Of course, not all trees grow at the same rate. These are the same age. But look at this yellow poplar. Its leaves are taken in the light, and its roots are pulling in food and moisture from the soil. And nearby, this sugar maple, same age as the poplar. But it's growing slower, because it's underneath the bigger trees. Did you ever wonder how a tree grows? It's interesting. It grows in a long, thin cone, adding a new layer each year, growing out and up at the same time its roots are spreading and getting stronger. If it's a fast growing species in a good location with room to grow, its layers will be thicker than other trees. When you cut through a tree, you can see the year by year growth or tree rings. They show how old the tree is. And the wider rings tell you that growing conditions were good that year. Narrow rings tell you that a nearby tree was competing for sunlight and moisture, or there was little rainfall during the growing season, or insects ate off the leaves. So foresters use tree rings to see how well a tree has grown. This is the cross section of an oak tree showing the growth of the rings. And this is another oak, larger than the first. Both were the same age. But this one grew faster because of better growing conditions. Of course, you don't want to go around cutting down all your trees to see how well they're growing. But you might want to use an increment borer to get a core sample to look at growth or get a forester to look at your woods with you. Speaking of growth, these trees are beginning to crowd each other. So their growth will be slowed down. This tree is doing well, had plenty of light and good soil. Probably at an early age, it became dominant and reached a co-dominant position as the stand grew. It measures nearly 21 inches across on this special tape that reads the diameter. This tree is not as large. Its growth has slowed down and will probably get worse because it's in an intermediate position. The smaller tree will eventually die. And the larger tree will spread to take over its space. You know, a forest keeps changing as it grows. And thousands of little sprouts and seedlings which were there in the beginning are not around years later. Say you start with a stand of oak.  But now they're three to six inches in diameter and about 30 feet tall. When our oak stand is 40 years old, only 600 trees remain. But over 100 of them are 7 inches thick, some 10 inches. And they're about 50 feet high. Something else is happening too. Our 40-year-old woodlot is starting to produce soft timber, more than 3,200 board feet of low-quality lumber per acre. When our oaks are 100 years old, about 250 trees are left. But a third of them are 11 inches or more in diameter. And the soft timber volume has jumped way up to 21,000 feet. So in 100 years, our 7,000 oaks have been reduced to 250. Less than four in 100 survived. But they stand almost 80 feet. They average about 10 inches in diameter and contain six and a half times as much lumber as they did at age 40. I love the woods when it gets old like this. And the animals come and go. And the birds. There's something peaceful about these big trees. This one must be more than 100 years old. And most folks don't realize they can have a say in what kind of birds and animals come into their wood. Take this hole, for instance. It serves as home to a squirrel family. Real turkey little fellas. As the forest changes, so does the wildlife. In the early years, when it's a jungle, it's home to deer and grouse and young turkeys and lots of creatures. Then when strong trees take over and the undergrowth thins out, there's not much lives there except rabbits and rodents. Later in middle age, it's deserted until the trees produce acorns, beech nuts and hickory nuts. Then when the forest grows old and some of the trees die in cavities form, different animals come in to live. Coons and squirrels and owls and hawks to help control rodents and wild turkey and bear. Grape vines will bring wildlife too, but they also choke out trees. And once they develop a canopy, they block out the light and nothing will grow beneath them. So you need to look at each situation. Figure out what you want and make some decisions. And you need to remember how a forest grows. It can take over an abandoned field or a place that's been cut over. And the kind of tree that grows depends on whether the conditions are favorable for tolerant or intolerant species. And remember, how well it grows depends on lots of things. The quality of the land, the depth of the soil, the amount of moisture, the number of trees in competition, and the position of each tree on the land. The forest keeps changing too. From a newly reforested place with thousands of sprouts and seedlings, to a stand of healthy trees of significant height and diameter providing valuable lumber, the wildlife changes too. From deer and grouse and birds that nest and feed in the young forest, to cavity nesting species, owls, hawks, squirrels, raccoons, even bear that use the mature woods. So once you understand how a forest grows, then you can decide what you want to do to manage it. And figure out how you want to work with your own woods to get the kind of trees and wildlife you want. You might need to clear cut some patches so you can grow trees that don't like the shade. You might want to cut out some scrubby hardwoods in places where they don't do well and put in pines instead. You might decide to seed some old pastures or hillsides or cut timber in an older stand to encourage the kind of trees you want or remove trees from a young stand to give others more room to grow. Complicated, you say? Well, I suppose it is a bit, but there's lots of good folks who'll help you. There's lots of foresters. There's federal and state and company foresters and consulting foresters too. And the county agent can help you with educational and reference materials, workshops and tours.  Deciding which trees to take out and which to leave in. Making a home for the birds. Sending out invitations to the deer and the squirrels. And making a little profit too without hurting this beautiful place.


The challenge of the Yukon It's King swiftest and strongest lead dog of the north country Blazing the trail for sergeant Preston of the Northwest mounted police in his relentless pursuit of lawbreakers Gold gold discovered in the Yukon a stampede to the Klondike in the greedy race for riches Now back to the days of the gold rush when sergeant Preston and his wonder dog King battle through storm and snow To preserve law and order as they met the challenge of the Yukon Sergeant Preston of the Northwest mounted police Walked back to the cabin with young Phil Williams after the funeral of Phil's father The cabin seemed lonely and deserted and was filled with a stale tobacco smoke of the prospectors Who had helped fill with the final rites of the funeral? The sergeant's big lead dog was at his side and whined as they entered the room that still retained a scent of death My down king.  All right, Phil. I Can't stay very long Just wondered if you'd made any plans about your future thought maybe I could help you yes I have sergeant. I'm leaving Dawson Dad's claim isn't any good. He hadn't been sick. I'd have left long ago Selling the cabin and going up the Klondike River with Steve Randall Steve Randall But Phil Steve's bad medicine. What made you decide to do that Steve's all right now And then he gets into a little trouble Just because he has a lot of energy in a quick temper we get along fine I had an idea that I thought might interest you but maybe it won't what was it sergeant Well, I thought you might be interested in joining the Northwest Mounted Police me be a money me. Yes, I'd be glad to recommend you Of course, it's not an easy life, but it's exciting and interesting I never thought of it. I don't know anything about it. What would I have to do? Well, you'd have to go into training of course Here's a pamphlet that'll tell you about it if you're interested. I couldn't go back on Steve now I Promised I'd go with him. I'll let no rush about it. Take that along and read it Maybe if your venture with Steve doesn't turn out the way you thought it would you might try being a money. Thanks sergeant. I'll read this Steve's quite optimistic about this prospecting deal. Be wonderful if we strike gold. I'd like to be rich money isn't everything Phil To change your mind. Let me know. I'm afraid it's all decided Steve hasn't enough money to go by himself I'll get enough out of selling the cabin to help grub stakers added to what Steve has He knows the country well too and thinks he has aligned the good claim if we can get up that far. Oh, where is it? I don't know exactly. It's on the Klondike River somewhere Steve spent a lot of time up there last year. I think it's near Kramer's landing. That's the nearest trading post to it Well, at least I'll see you once in a while Kramer's landings in my territory. I patrol it good I thought maybe I wouldn't see again for a year or two You and King are the ones I'll miss most after I leave. I'm sorry. You decided to do this so quickly I'm afraid I never liked Steve much.  He said he'd come over. I have to go anyway Come on Hello, you don't mind if Diablo comes in with me, do you don't let him in Steve Sorry Diablo got past me before I could stop it. Come on, King outside Get out, King You're too bad we couldn't let him finish it They would have made a good fight if you want to have anything left of your dog You'd better teach him some manners attack King before King even son Diablo can take care of himself He likes to fight And that bet on him even against that money yours sergeant. I don't bet on a sure thing or I'd take you up on that Well, Phil, I'll run along. I'll see you before I leave won't I oh sure Take me a few days to get everything settled. Thanks for everything sergeant You need me for anything? Let me know I will. Thanks Goodbye sergeant Did you tell him you were going away with me? Yeah Anything wrong in there? Just that it ain't any of his business sergeant Preston's one of my best friends. Yeah Did you tell him where we're going could I when I don't know myself oh Well, it's best not to say anything to anybody keep your business to yourself I don't see what harm that can be and I told you I knew where we might strike gold. Isn't that yes Well, if you got a brain in your skill, you know that if people find out about it They might follow us don't you all right Steve? I won't mention it to anyone again. I'll see that you don't Now we got to make plans When you sell this cabin we'll buy a dog team and supplies We should be ready to go in about a week if everything goes all right Over a week had passed and Steve and Phil's row their dog team over the trail north It was almost dark one evening when they approached a small cabin near the river It was far from any other sign of habitation and even the trading post was back about five miles on the trail As they came nearer to the cabin Steve Chuck Well, I gotta hand it to myself. I didn't think I'd find this place as soon as it certainly is far away from everything Look Steve somebody's living there. There's a life. Oh sure. So John Avery's cabin He's living there. Then then this isn't the gold claim you told me about I suppose it's near here somewhere You'll find all about it in good time There's an old man you heard the dogs I guess Hello, John You don't sound very cordial Grandpa, but what are you doing back here? Just aiming to do a little prospect Aren't you going to invite us in? It's a friend of mine Phil Williams John Avery glad to know you mr. Avery. Hope we're not disturbing you too much All right, are you planning to stay here? I certainly Will I on its Diablo? He likes to stay in the cabin with don't bring that ugly beast into my cabin now John That's no way to talk about Diablo. We may not like it Steve why can't we camp somewhere instead of staying here this cabin's too small for all of us the Diablo to it's big enough Come on Diablo I get your car cuss out of the way John before I let Diablo eat you for his supper Steve Come on in where it's warm. If you'd rather we went somewhere else, mr.  That's Steve Do you think we ought to stay here? I feel it. I don't let old John bother you He's never offered to take anybody in with him. He let you freeze first I'd take lots of people in if they were the right kind of people Don't consider you one of them. No, it's not the way to talk to an old friend. Oh I Met your grandson in Dawson John Seems as if he couldn't stand your margely ways He said he had a prior fist loose for enough money to get back to the states and left you here alone He didn't like to work at Miley.  I'd better go out and feed the dog. No, sure go ahead.  I've lived alone most of my life.  What do you mean?   I didn't mean to kill him Guess I got a little excited. You seem pretty calm about it. Well Accident is an accident. We better go back to trading posts and report this right away So you won't get into trouble.  That's how we would get into trouble Nobody will know anything about it Steve I listen here John never sees anybody but twice a year he goes to the trading post for supplies He hasn't any neighbors who come to see him. How do you know so much about him? I was up in this neck of the woods last year His grandson was here then And now he's left to go back to the States Nobody can find out about this unless we tell him Steve This isn't a claim you meant when you talked about coming up here was it And what if it was you mean you plan to come up here because your new old John was here alone and Unprotected feel why don't you're smart enough? Here's a fortune lying right in your lap And you're worrying about an old codger who didn't have more than a couple of years to live anyway, but Steve You can't get away with this We start working this claim and somebody's bound to see us and start investigating who said anything about working his claim What else would you I know old John has plenty of gold hidden in this place, and I know where it is His grandson gave me plenty of information than Dawson We're taking that gold and skipping Steve Why did you get me in on this you could have had all the gold for yourself? You know I needed a dog team and supplies to get here And another thing and planning to hide out in the mountains for a while until all this blows over I Didn't want a chance traveling alone in the cold. I Was pretty sure you'd be reasonable about it. I didn't know the plan included murder. Nobody's gonna know it's murder What do you mean? After we find the gold we're going to burn this cabinet with old John in it Nobody'll know what happened to him Why it's so awful now listen Phil you're either playing along with me or not I'm in this right now up to my ears and one more killing won't matter too much It's only fair to warn you there's another bullet in this gun why Steve I didn't say anything about not playing along with it Just a shock that's all He didn't tell me what you're playing. Oh, yeah Hey, I guess you're right Just the same until I'm sure of you. I'm the one who's handling the guns. Oh and another thing Phil Don't forget Diablo He's gonna be watching every move you make Eat your fellow I'm sorry you don't trust me more than oh no hard feelings. It's just in shorts Now I'll tell you the rest of my plan the rest when they find out that old John has been burned to death in his cabin His grandson is going to be legal heir to this claim and it's a rich one, isn't it? You bet it is But John's grandson hates this country. He wouldn't come back here for all the money in the world So I'm going to write to him and offer him a price for it. You know where to find them I Took care of that when I talked to him in Dawson. I got his address then Before we left, you knew just exactly what you were going to do. You had this all planned. Yeah Now maybe you won't be worried about playing along with me You know, I'm a lot smarter than you thought I was I asked you You're a lot smarter than I thought you were Though it was early morning Darkness still covered the vast stretches of the North country as Phil and Steve finished packing supplies on the bags of gold on the dog sled Steve was careful to watch every move of Phil's Even when the only thing left to do was to start the oiled soak branches that were stacked against the cabin You stay over the sled Phil. Well, I'll touch it off Aren't you gonna put Diablo in harness? I sure I am. He's my lead dog, isn't he? But I'll have time to do it when I come back to the sled and certainly don't trust me much Do you see you've watched every move I've made or you can't blame me for being careful?  I can just pin this to the tree with my knife. I hope it holds There she goes and it'll be blazing in a minute. Come on. Let's get away. I'll be roaring in no time. Come on, Diablo Hey, what's he? I had some dried beef in my pocket. I gave him a little piece of it Oh, so you're trying to make friends with him, eh?  Sure is your dog. I didn't think you'd care if I fed him Well, don't do it again Phil. Nobody feeds that dog but me understand. Sure Steve You should have told me. Come on Diablo. Up front!  Fine, thanks You're up here a little early this trip, aren't you? Yes, I came straight up here instead of following my usual patrol He ain't trailing anybody, are you? You know a man with the name of Steve Randall? Steve Randall? Well, yes, he was around here last summer. You seen him since then? No, I haven't You after him for something? He came up this way with a young friend of mine, Phil Williams I didn't know much about Steve. After they left, I made some inquiries Seems he spent some time in Selkirk before he came to Dawson and was wanted down there for getting into a shooting script Not exactly the right kind of a man for this friend of yours to be run around with, huh? That's right Phil told me they were coming up here somewhere.  Yep, it was the only trading post from miles around Well, hello, Red Eagle Ring first to trade. You know, Sergeant Preston, don't you? I know I don't think he does Do you live in the Indian Village east of here, Red Eagle? No, we live in Cabin on River He lives about eight miles from here Red Eagle is one of the best trappers in the territory for me Me see Cabin on River all gone from fire me see today Cabin burned down. Who's is it? Old man. Him name is John him live there a long time Him burn up in Cabin. You saw his body. Huh? Say that must be old John Avery I don't think you knew him Sergeant. He lived alone out on the river towards Red Eagle's place Wonder how it happened. Did you touch anything Red Eagle? Did you take the body out? Oh me not touch me look Then come here. I'll go back with you when you leave. You can show me where it is Well, I'd be glad to help you bury him Sergeant if you want me to go with you That won't be necessary. Thanks Eric Red Eagle will help me. You can show me where the cabin is The cabin of John Avery was almost entirely destroyed and it wasn't a pleasant task to bury old John a Sergeant Preston bent over the body. He noticed something that brought a puzzled frown to his face. Just a minute Red Eagle Look at John's head Oh from bullet John Avery was shot.  I think someone killed him and burned the cabin deliberately going to have a look around here No cover all track then tracks me make when we find Cabin burn. Oh, I can see those tracks are fresh Red Eagle I'm not accusing you of doing this The wind's blown this loose snow over any other tracks might have been main What a knife in three Yeah, it's a hunting knife. There's a paper pin to the tree trunk. But that looks like You got it loose that picture of police on paper. It's the mother police pamphlet. I gave to Phil Williams.  I don't think so Phil left us here hoping someone would report it to the mother police What if he wrote a note on it anywhere? I have something If you use burnt wood to write it I'd make it out Must be an M Word might be And there's a letter N Maybe Where him go that's what it is ready go this means mountains north they've gone into the mountains north of here Oh, they're only one trail through pass All other trail not good.  Go just show me the trail Oh They show you good. Well, very old John first and we'll find that trail once I got on it I'm sure Phil will have it marked some way. Come on ready go Phil had to admit that the hideout to which Steve had led him was a perfect one The seldom used motton trail led to a cave high up the slope that overlooked the winding path below Anyone approaching had a pass directly beneath them and could be easily identified They'd been there three days, but Phil knew that Steve still distrusted him. I Guess you Diablo better stand watch for a while Phil.  I'm pretty helpless without one. Why do you need a gun? If you see anyone coming all you have to do is call me. I'm a better shot than you are Still don't trust me. Do you? Oh, it's not that I just cautious or ammunition won't last forever This one box is all it's left. I can't take any chances on wasting any but this dog Why does Diablo have to stay with me every minute? He's just helping you that's all If anyone comes Diablo get their scent before you can even see him watching me not the trail I can't even walk as far as that boulder without having him snarl at me. I don't know why he acts like there Maybe it's just your imagination How long do you plan to stay here a couple of weeks? By then it'll be safe to go back to Kramer's landing and get the news about old John's death I Keep this fire going. I'm gonna get some sleep. I didn't sleep a wink last night. That was Diablo's fault He'd start growling every two minutes Seem to me that you were prowling around little that's what bothered him. I think growl every time I turned over He'll get used to you after a while Diablo is always suspicious of everybody I keep an eye on that trail Diablo you keep watch oh boy Unguard for it It was early the following morning and Phil was busy folding up the bedroll in the cave when suddenly he heard the voice of Steve at the entrance Yes What's wrong Someone coming up the trail keep your head down Did you bring the bullets here? Here's the box. I'm going to get over behind that rock I don't think we can be seen up here with a sunshine and right into the canyon from the east It'll blind anyone who tried to look up here. It's a dog team one man quiet.  That's Preston Monty.  Oh, what's wrong with you? I had good reason for not pressing you. You knew that Monty was going to follow us.  Why would I want to be caught? I'm not as crazy. You thought I was Yeah, I was right to watch you. I Don't move or Diablo leech you alive. I watch a boy Stay back there after I get the Preston. I'll take care of you This rifle loaded Wait what? There's nothing but rocks in this box Phil What did you do with the bullets that were in here? What do you mean? That's why you were crawling around last night. You put rocks in here took the bullets out. Oh, you dirty double-cross it I watch him Diablo Don't move Phil I'm going to get that Monty with the one bullet. I have left and I'll tend to you later Steve. Don't shoot it Preston There's too late Phil I got him I start walking down there You'll have a gun on him and some rifle bullets on the sled and I'm getting them Won't do you any good to go down there Steve that dog of Preston's won't let you near him Diablo take care of King The Mountie is conscious and can shoot I'll use you as a screen to get to the sled and get the bullets and Get along now or I'll bash you over the head with this rifle Watch him Diablo Only Phil's cry of warning had saved sergeant Preston from a fatal wound The sun shining into his eyes had blinded him and he didn't see the figure of Steve above him At the sound of Phil's warning he dropped to the ground in the bullet from Steve's gun creased his head as he fell As Steven Phil approached the Monty's still lay unconscious his big dog King standing guard beside him The great dog bear his fangs as the men approached and Steve stopped uncertainly Don't try it Steve you go near that sled King will get you Diablo take care of him while they're fighting I'll get the bullets second As Diablo launched himself at King King met the attack in mid-air and the two animals rolled in the snow with roars of savage fury It was then that Phil turned on Steve though. He realized he was no match for the larger man He knew we had to keep him from the Monty and the sled Desperately he grasped him around the waist and held on stubbornly as Steve tried savagely to beat him off You're not gonna get it on your head It was an unequal struggle and Steve at last broke free leaving Phil on the ground trying desperately to get to his feet Steve rushed towards Sergeant Preston then the gray shadow of King leaped on his back Diablo crawled away thoroughly beaten Desperately fighting the big dog King Steve called to his dog for help as Phil rushed to Sergeant Preston's side Sergeant Preston, are you all right? I was afraid Steve. It killed you. It's my head. I have a stunned I guess Where's Steve? King's holding him. I threw all Steve's bullets away and Steve was trying to get your gun. My gun helped me up Are you all right? I'm a little dizzy. I'll be all right in a minute King is King of Steve pinned to the ground Did you find the pamphlet I pinned in the tree with my knife Yes, I did and I found the mark she left for me on the trail. Good work, son All right, King come here fella Phil has your coverage Steve. Don't try to get away.   Stay right where you are How's King Sergeant? Get a tough fight with Diablo. He has a couple of bad cuts on his shoulders bleeding a little but I think he's all right Aren't you boy? I guess Diablo is the one that needs attention. Where is he? He's over Behind that big rock like in his wounds.  You won't need him where you're going. You haven't got anything on me Oh, yes, I have you're under arrest for the murder of John Avery. Where's your proof? Phil was part of it all. He was the one who did the killing my word is as good as his Never mind, Phil, let him rave For your information Steve Phil left a message for me in a John Avery's cabin He'd hardly do that if he were guilty, would he and I must warn you anything you say he'll be used against you The gold up along to John Avery is up on the trail in the cave Sergeant Our dogs and sled are up there too. I think I'll take over now, Phil You better go up and pack the sled and we'll start back to Kramer's landing What about Diablo Sergeant?  No, we won't have any trouble with him now that he knows that King is master The proper training Diablo will be a good sled dog King will bring him back to our dog team and we're ready to leave and sergeant About that pamphlet you gave me The mounted policeman. Yes. Is that prop proposition still good? Do you still want a new recruit? I certainly do Phil Now more than ever If you can do this much without any training you'll make a fine money if I can rid the country of people like Steve I couldn't ask for anything better. Good. I'll make the arrangements for you and we got to Dawson I hadn't been for this rotten dog neither one of you would be alive right now Well, I guess he's right King old boy. Thanks to you this case is closed The challenge of the Yukon the copyrighted feature is a George W. Trendl production Directed by Fred flower day and written by Milford Merrill the part of sergeant Preston is played by Paul Sutton All names and incidents used are fictitious Listen again next week to another exciting adventure during the days of the gold rush Fred boy speaking this program came to you from Detroit At last the singing commercial has come into its own at least the jingle on David Harding counterspy has found a stellar role Recently Don McLaughlin who plays the part of Harding received an unusual fan letter Requesting a recording of the jingle that opens and closes the broadcast McLaughlin sent the record on its way, but the more he thought about it the more curious he became What was the jingle going to be used for? Stepping into his radio sleuthing role Don checked up on the listener who'd written Seems he was running dances to raise funds for a new parish house and in order to provide continuous dance music Uninterrupted even while changing records. He figured the counterspy jingle would nicely fill the pause It was catchy and you could also dance to it You can hear this tuneful little ditty on every fast-moving story of David Harding counterspy Don't miss this Sunday's counterspy story


Good afternoon. I have with me today Mr. Stuart Bowden, Global Chief Strategy and Product Officer at WaveMaker. Thank you Stuart for taking the time out. Stuart, firstly, when you took over as a Global Chief Strategy and Product Officer in 2021, your job profile read as this, to ensure clear communication, continuity and free flowing provocation between strategy where ideas are created and product where ideas are converted into growth for the agency's client. That's quite a read, but WaveMaker has had an impressive run since then. So what have you done right? Oh, well, yes, I think we have built the right tools and the right training to be able to bring positive provocation to our clients. It hasn't been an easy few years for many businesses, for many industry sectors. And I think as they start to think forward about how they uncover growth, how they find new audiences, how they create more value, they know they need to do things differently. And so our ability to bring them fresh data, fresh perspectives, fresh audience opportunities, I think, is critical to our mutual success. Stuart, now everywhere we go today, it's the 360 degrees consumer journey and life cycle is what is discussed. But when we go back a few years, WaveMaker with you as the driving force was an early adopter in making the consumer journey central to the way the agency and the brands operate. What have been the key learnings and what have been the implementations, any things that you've implemented? I'd like to take credit for our focus on journeys, but I think it's almost 14 years now that the agency has been really investing in understanding how consumers navigate paths to purchase and the foundational data for that is proprietary research that we've been carrying out annually. I think we're close to 1.4 million individual interviews that we've gathered over that time in some detail, 45 minute interview, we try and understand exactly what people thought they were going to do and the journey that they took through to purchase. Obviously over the last four or five years that journey and that purchase has become fully digitized and more complicated and so we've had to work quite hard to bring in fresh data sources and integrate them into the way that we research and think about customer journey planning. So the team have been working quite hard to bring in live platform data to bring in secondary research data sources and integrate them into our provocative planning process so that when we talk to clients we can see right the way through to the retail aspects of the funnel and we can really understand what that whole paid-owned-earned experience has been like for an individual consumer. You used the word complicated. Now with a consumer present across so many platforms and basically we live in an omni-channel environment, how do you ensure a consistent performing, sorry consistent communication and messaging across platforms? Yeah, I think it's such a challenge for marketers in particular I think. Planning across platforms is relatively straightforward from an investment point of view. We can bring the right modelling, the right analytics and the right data to help solve that question about how we budget and how we move consumers through that journey. I think executing consistently for clients themselves is quite difficult. They probably have separate agencies that work in different parts of the funnel, different parts of their own business perhaps work with PR, work with onsite, work with retail and work with advertising. So I think it's an integration task and almost an organisational redesign task as much as it's a technical challenge and obviously I think organisational challenges are usually harder to fix than technical challenges. Mindset? Yeah, I think it is mindset. I think organisations aren't used to integrated thinking, most organisations are structured into departments or into divisions. Those divisions have their own P&L and their own leadership and sometimes unpicking some of those tensions inside our organisations or in client organisations is the hardest part of the task. But I think if the business really wants to get it right and increasingly clients and agencies are understanding they have to get this right, they have to give a consistent experience across all of their touch points with the consumer if they really want to take them through to purchase. If the wills there inside the business then I think we're seeing clients restructure around that. Just a follow-up question to what you said. Everybody is operating primarily in silos and integration is the way forward. So any example you can share where this has been done and how it has worked out? I think we try and support it by building platforms that lots of different clients can join us to co-work on. So inside the WaveMaker business we launched the WaveMaker OS about three years ago now which is a single home for the 9000 WaveMaker people. All of our tools and our data systems are available there. All client projects are open to people who work on that client around the network and I think that first step to democratising data and democratising access to what's happening is critical. We're just launching WPP Open this year which is a client specific version so that different clients from different divisions in their own business can get a better understanding about all the work that WPP is doing on their behalf because if you can't see the information it's very hard to integrate. Just if you could just elaborate a little bit more on any of your upcoming or current or recent proprietary tools which we've launched which helps clients drive growth and engagement. We've got a very interesting roadmap through the end of this year into 2024. We're really trying to drill down into more MMM driven thinking across the whole funnel. I think we know that it's a difficult time for marketers at the moment. We know that efficiency and effectiveness are increasingly important and we're automating the collection and the modelling of sales data through the funnel and making that an integral part of our planning process so that every dollar that's being planned is being given the same attention based on its business effect as performance media would do and I think that would be one of the big trends is how do people think about their brand media with the same care and attention and optimisation mindset that they think about lower funnel conversion work. We're also in an era where there's constant disruption. Every six months you hear this sub as you would say there's a new technology which is taking over, people are talking about this it's kind of the spotlight syndrome. On the other side, a lot of people also say that the consumer is always at the top of, he's always in the front and the brand and the agency is always trying to catch up when it comes to technology. In this situation, how do you keep the agency and the client up to speed with the way the consumer is evolving at such a rapid pace? Thankfully we've got some amazing strategists and insight teams right the way across the WaveMaker network and between us we have I think a broad enough set of capabilities and skills to be able to respond across AI to platform innovations to retail to different forms of media planning capability. I think it's impossible for any one person to really have enough deep insight to be able to either build product or work with clients across all of those areas so I think diversifying our talent, diversifying their skillset diversifying their understanding of cultures and communities so that we're really able to bring enough breadth of thinking to clients is a really important part about how we try and organize our community. Also a word on the in what are you going to be your focus areas looking ahead and WaveMaker's investment where are you where is the money going in terms of proprietary tools if you could just give us an idea. Absolutely. We're very focused on how we can take clients data and how we can take our first party data and start to model those more effectively with second and third party data owners to give more choices really about how we invest clients budgets backed by data as opposed to backed by panel data or sales. That's obviously a very time consuming budget consuming exercise to build and evolve and train those platforms I think that will be the main focus both of WaveMaker but also of GroupM over the next 12 or 24 months is really continuing to build out that platform make sure it works globally and make sure that we're giving all of our people access to the right data to help them do the work with clients. Finally coming to your Indian team a word on them and they've had some impressive wins in the recent past what do you believe sets apart the Indian team from the competition or even from the other networks in your organization? You've met the team at a business there it's a brilliant leadership group Ajay is a fantastic leader and he brings in superb talents, superb specialists strategy to talent I'm delighted that our CSO in the market Premchit Soda is now being moved on to becoming our global head of analytics we've just hired a new Chief Creator Officer there so it's absolutely the spirit inside that group is unstoppable you sense it when you go into the office you can feel it when they're with their clients and I think when you're turning up to work every day with that talent and that energy then you're going to win year after year and that's just what they've done Last year was a phenomenal leader for WaveMaker in India how are they going to keep up with the pace? What's been your, is there any specific goal that you've given them for this year? I'm sure they're going to find a way I think they are doubling down on creativity and they're doubling down on analytics and those are the two power drivers of our business and our industry if we're consistently smarter and if we're consistently more creative in our problem solving we're always going to be a partner that clients will want to come and work with Finally you mentioned Indian creativity is there anything you believe from India that could travel across the world to the other markets in your network or even in terms of talent do you believe that that can also travel across something you've seen from India in terms of people, in terms of the work they've done 100% we probably show more work from our Indian team around the network than from any other market internally and to clients I particularly love the way that they keep doubling down on areas of core competence and specialism so they've got a great centre of excellence around generative AI and how data works into that and they've gone again and again in that area there is some great work for Centrefresh in February this year some on-pack QR generative voice AI and I think that capability having a demonstrable centre of excellence with a real body of work to back up our claims is really important and the rest of our network look at that capability and look at the success that the Indian team had deploying it for clients and I think it inspires everybody to want to get to that level of expertise and that level of confidence Thank you so much Stuart for your time it was lovely meeting you


Welcome to Toffee TV and this week's update of the Everton Stadium with all drone footage kindly provided by Barry1878 on YouTube. Go and check out his channel for more weekly updates, longer videos, a little bit of commentary as well provided by Barry and you will find all the links in the description and at the end of this video. This week on the update you'll see that all the terracing is now finally complete. It's been completed this week with the stand on the east side of the stadium completed. Also the roof on the east stand is almost completed as well. We almost have all four sides of the roof completed in terms of covering just a little bit to go. That is not the end of the roofing to be done as well. There is lots to be done on three of the sides with the different levels of installation to be completed but as you can see the stadium is starting to look absolutely fantastic as we roar ahead to completion in December. Also you can see now seating is in the bottom tier of the north stand as well. Everton said that all the seating will be done for Easter so we'll have to wait and see whether that happens or not. There you go enjoy the rest of this video and don't forget to subscribe to Barry1878 the links are in the description and they'll be coming up at the end of this video.


Now I want to discuss Dirk Bautz, because he's a very interesting Netherlandish artist. He lived and worked in the city of Louvain, and is documented there between about 1457 and 75, but he originally appears to have come from the Netherlandish city of Harlem, which is far to the north near Amsterdam. Bautz is known for producing several altarpieces, and he's also known for a number of paintings that show the Madonna and Child. And we're going to be looking at three that have an almost identical pose with the Virgin and Child, and we'll be talking about his technique, and in particular his use of ultramarine blue pigment derived from lapis lazuli, and some of the ways in which he approached his painting method in order to save money and to maximize the effect of that ultramarine. And some of those have sort of backfired today, hundreds of years later, some of the underpainting in his less expensive efforts has darkened and obscured the use of the ultramarine. I just want to quickly point out the distant landscape behind the Virgin. This appears to show some of the church towers in Louvain, and sometimes we have recognizable landscapes like this from painters. Sometimes they simply put in a fantasy landscape, and maybe that's meant to drive our historians crazy. I don't know. Now we're looking at a detail from the other side of the painting, and I want you to particularly notice this cloth of honor that hangs behind the Virgin. A cloth of honor is an early medieval convention used to distinguish an important person. It was generally hung behind the thrones of kings to mark their importance. And you can see lots of examples in medieval manuscript illuminations as far back as at least the year 1000. By the 12th century, a rich cloth of honor would be used to mark the most important person in a painting. And by the 15th century, like the example we have here, this convention had long been in use for religious figures like the Virgin Mary and for Christ. The elaborate silk brocade that you see behind the Virgin in this painting is a painted version of what was the most expensive and desirable types of cloth in Renaissance Europe. This is the actual cloth would have been made of silk with actual metallic threads beaten from gold and silver woven into it. And because of sumptuary laws that legislated what different people of different classes were allowed to own and wear, cloth like this was generally limited just for royalty, high-ranking churchmen and the very wealthiest people. So it is a signal immediately to someone that this is a person of incredible importance. And similarly, you see the same type of cloth being used as a cushion for the baby Jesus. In order to create the pattern for this brocade cloth behind the Virgin and also the cloth on the cushion for Christ, bouts probably would have used the pouncing technique that we discussed when we were looking at ochre pigments. What you would do is of course take ground pigment in this example. They're showing graphite or charcoal. And you would put it into a little bag and sort of smack it up against a drawing that had been pierced. And you're seeing here in my example an inscription done in text. And sometimes it's possible to identify particular artists by the brocade pattern that they used. And really elaborate brocade patterns that could be reproduced in paintings would be passed down from master to apprentice or from father to son left in wills. And so you can trace different workshops by the unique use of a particular brocade pattern. Now I want to discuss Dirk Bout and more of his painting techniques and the way that they relate to Lapis Lazuli. Conservators at the National Gallery in London found that like many other painters of his day, Dirk Bout tended to be very sparing when he used ultramarine blue. And I'm showing you here a detail in which I played around with the brightness level a little bit so that you can see the blue of the Virgin's mantle a little bit more clearly. You'll notice that in the painting itself, which I haven't tickered with in Photoshop, that her mantle appears to be an incredibly deep blue and not that vibrant electric ultramarine that we associate with the pigment derived from Lapis Lazuli. And there's a reason for that. And that is because Dirk Bout did his underpainting using a much less expensive pigment and that is azurite. Now it was less expensive than Lapis Lazuli, but it was still expensive. Azurite also had to be imported. It had to be crushed and purified, but it was less expensive. The azurite was used in the underpainting and it was meant to lay in the basic blue tones of the robe. And then on top, Dirk Bout applied a thick glaze of ultramarine. The problem is that azurite reacted with the linseed oil that was used to mix the pigment into paint. And it ended up turning black over time, turns to sort of a deep greenish black. So Bout, of course, when he did this, didn't realize what the problem would be. And he was doing this in a very cost-effective way in order to make it look as if the entire robe had been painted just with ultramarine rather than just doing the top layer. And this is a technique that numerous artists had used. Since azurite discolors gradually over time, and you can see that here in this section from that very painting, the layer there that looks sort of greenish blue and black all together, that's the azurite that has reacted with the linseed oil and the linseed oil is showing up as gold. The translucent layer of ultramarine is up on top of that. And then the white layer down at the bottom, that's the ground that the panel was originally painted with. So Bout probably had no idea this was going to happen. And probably would have avoided having this happen. But this is something that we see in a number of works. And again, it's a sign of the artist simply being a good businessman. They needed to live after all. I want to discuss a little bit more of Bout's work because he was the consummate businessman. What you're looking at here is a work that was made about five to ten years before the work we just looked at. And it's a fairly small painting, just eight and a half inches high. You might notice that there's really no background at all. And that incredible dark blue in the Virgin's robe is likely an indication that with this painting also, that Dirk Bout's was using underpainting in Azurite. This is a painting that is based on a famous type of Byzantine icon. Icons tended to be classified in types. And this particular one is called the Sweetly Kissing Madonna or Glycopelusa. Byzantine icons were incredibly important in Western art. They had a tremendous impact on the Western art market as early as the early medieval period, about the 10th century and even earlier. And when the Crusaders sacked Constantinople in 1204, they brought back lots of icons. And there were trade routes that continually brought works of art from the Byzantine East into Western markets. And so here, Dirk Bout is responding to the popularity of icons and their poses and this intimacy between mother and child and creating his own version. We know from his use of Azurite as an underpainting pigment for ultramarine that Dirk Bout was quite the businessman and definitely made sure that he practices his work very frugally. And here we're going to see another example of Dirk Bout as a businessman. Here are three paintings, the one that we looked at, which is in the Metropolitan Museum of Art in New York on the left. And then two copies in San Francisco and in Florence. And the two copies were made in Bout's workshop, but most likely by his assistants, according to conservation reports. These were probably, they're clearly based on the New York painting. And it's very likely that the workshop artists could have used the exact same cartoon and pounced it onto their panels in order to transfer that design. Certainly they were looking very, very closely at Bout's original. And I also want you to notice that works like this could be perhaps made to order for patrons with differing demands and differing amounts of money to spend. So the work from in the middle in San Francisco has a really elaborate cloth of honor in the background. The Virgin has a rich red robe and a bit less ultramarine blue on her, although her gown is quite rich. And so perhaps the patron here wanted to pay a little bit more in order to get a richer looking painting with the brocade. The one on the right in Florence looks like it's possible that the patron didn't have quite as much money to spend on ultramarine, because what we see here appears to just be azurite that has decayed to that sort of greenish blackish tone.  So there are a number of different considerations here. And we have to remember that artists had to make a living. They were businessmen and businesswomen. And they would also use the people in their shops, their apprentices and their assistants in order to economize on labor. Oftentimes a painting contract will stipulate that the principal faces have to be done by the master himself because people knew that assistants and apprentices might be working on pieces like this. So what I want you to take away from this is the fact that when you're talking about expensive pigments like lapis lazuli, you have to take that expense into account. We know that bright intense blue is an indicator of the most important figure in a painting. But there are also shades to that blue that can help us understand the way in which the artist navigated the economics of that very expensive color blue.


The Centera Breast Cancer Program is truly remarkable. It's made up of a multidisciplinary team of healthcare providers, physicians, surgeons that are dedicated to offering the highest level of breast cancer care to the people of Hampton Roads. If you're a patient with the Centera Cancer Network, you can expect to receive treatment plans that follow national guidelines for how to treat cancer, accredited programs, clinical trials, support groups. It's not just treating the body, it's treating the whole person. Centera puts us in a position to get advanced technology. We partner with the best in the business, the most highly trained, most well-respected specialist in this field. You can trust the patient will get the absolute best care when they come into our breast center. We're not going to send the patients back and forth. We actually set up and arrange everything, and we followed them all the way through so that no one would get lost during this journey.  We have board-certified, fellowship-trained oncologic surgeons and certified practitioners who treat each individual patient from the time of diagnosis and through their cancer journey. We also have a multidisciplinary tumor board that meets weekly that goes over every case. We discuss the pathology, we discuss the imaging, and we discuss our surgical plan. It's nice to be referring to a program where you know you're getting that kind of thought. The resources that we would need are here in terms of especially availability, personnel, ancillary staff, imaging studies, and all of those things are close by. The Centera program is really comprehensive in that once a patient has a screening mammogram, the process should be flawless from biopsy to diagnosis to every referral that they need. When you encounter an individual that you look and say, oh, she's high risk because of her family history or whatever, you can pick up the phone, have them make an appointment with us, and know very confidently that that portion of their care is going to be well-addressed. We have excellent oncology nurse navigators who are going to help guide their patients and they can rest assured during their patient that's having a good experience, that they're being watched over and taken care of and provided top-notch care with the top state of the art technology. Know that your patient is going to be taken care of by not only our doctors, but also staff. We actually have some ties to the oncology community, and so there's so much love and so much joy and compassion when it comes to coming to Centera.


And now a tale well calculated to keep you in suspense. The estate was remote and lonely. The fortune was theirs for the taking. The setup was perfect. The setup for murder. Listen now to The Impostors starring Reynolds Osburn and Charita Bauer and written especially for suspense by Peter Fernandez. Where can I take you? To the Cromwell Place, please. Cromwell Estate. You got that right, Miss? Well, I received this letter of instructions from the butler, Mr. Victor Hammersmith. I've accepted a job as Mr. and Mrs. Cromwell's housekeeper. Well, I guess it'll be okay then, but let me warn you, that Mr. and Mrs. Cromwell are a couple of spooks. What do you mean? If they want anything, they telephone. It gets delivered, but only to the gate, no further. No one's allowed in and no one ever comes out. Well, how about the butler on his day off? Doesn't he come to town? They don't keep a car and it's a long walk to town, so I never see him. Say, I thought it was clearing. From the direction of that lightning, it looks like we're in for more of the same. Well, maybe we can get there before it breaks. Uh, set your bag down there. That's it. Now turn around. Are you Mr. Hammersmith? Yes, turn around, I said. You mean like this? The agency said you were five feet four exactly. I am. Uh, turn around again. Face me. Face me, I said. Ah, yes. Yes, yes, yes. Listen, it was five hours on that train. I'm tired. Would you mind telling me where my quarters are? Oh, forgive me, Angela. I've been so anxious to see you, to find out if you measured up to what they led me to expect. And you're perfect. Just perfect. Oh, here, let me help you with your raincoat. Well, that's better. I'll fix a nice supper for us. You must be hungry after the train. As a matter of fact, I am. Good. And a drink first, huh? Why, thank you, Mr. Hammersmith. Victor. My name is Victor. Sit down. I've been preparing for your arrival. We're going to be friends, Angela, and I'm very anxious to know you. When you mentioned supper, I expected a few cold cuts, but this was fit for a queen. Thank you, Victor. I'm very glad that you can truly appreciate good wine and excellent food. You remember that was one of my requirements. My height, my education, my taste, my ambitions.  Mr. and Mrs. Cromwell had only two conditions. That you have good experience in service, which you do have, and that you're prepared not to make any personal contact outside the walls of this estate. You agreed to that in your notarized statement. Sure I did. Look at the salary I'll get in addition to room and board. So you accepted for the money? 600 bucks a month is good pay. Yes. Well, my dear Angela, it's after 11 and they'll be expecting breakfast at 8 promptly. I guess I'd better get some sleep. You'll have a lot to show me in the morning. Thanks again for that wonderful dinner, Victor. Good night. Good night, Angela. Yes, Angela. Your tea is served in the drawing room, ma'am. Oh, thank you. Will Mr. Cromwell be joining me, do you know? He's already there, ma'am. Oh, good. Walk along with me, Angela. Yes, ma'am. I wish to compliment you on the fine service you've given us these past few weeks. Thank you, ma'am. I imagine sometimes you will find it very lonely here. Not too lonely. Victor, hmm? He's good company. I'm relieved to hear that. We've had several other housekeepers, but Victor disapproved of all of them. Here we are, Charles. I've been telling Angela how pleased we are with her. That's a coincidence. I already informed Angela that because she's worked out so well, we were increasing her salary by $25 a month. Sit down, my dear. Oh, thank you. That will be all, Angela. Yes, sir. Close the door after you, Angela. Yes, ma'am. Agnes, I was upstairs in the attic this morning. I noticed a good deal of moisture along the beams. I'm afraid we're going to need a new roof over the main section. Oh, no, not more repairs. You know what that means, the workmen, the danger. Why don't we get rid of this place? And have to arrange all the financial details of such a move?  You're right, as usual. Very well, telephone for the carpenters. I'll start signing whatever must be signed. Good. I thought you'd see the necessity. Oh, Victor. I never thought I could feel this way about anyone. I love you, Victor. So now you have two loves, hmm? Two? No, no, just you. Two loves, I said. Me and money. Or am I wrong? No, you're right, my dear. Oh, to have both, I'd want nothing more. You can have both. We can get married and we can be rich. Victor, you don't have to hand me along. It's true, Angela. It's true. What are you talking about? I've got it all worked out down to the finest details. It's absolutely foolproof. It just depends on you. If it means marrying you, honey, I'll agree to anything. Anything, Angela? Anything. Would you agree to murder? Did you say murder? How would you like to be mistress of this place to own the fortune that belongs to her? Oh, Victor, how could we ever do that? By following my plan. It's a perfect setup. And, Angela, when both Mr. and Mrs. Cromwell are dead, you and I will have everything within the walls of this estate and all the money sitting in that bank in town. But won't they be missed while the police come searching? Not if we make no mistakes. You see, Angela, you and I will become Mr. and Mrs. Charles Cromwell. What do you mean? Angela, can't you see the resemblance between Mr. Cromwell and me? Well, yes, I guess so. Yes. And Mrs. Cromwell is five feet four in height, brown hair, light complexion, brown eyes. You are five feet four, brown hair, and eyes, light complexion. I made very sure before I hired you, remember? Tell me, Victor, how can we get their money from the bank? Suppose other members of the family show up, suppose there are doubts about it. I've checked very carefully. There was a brother, but he died last year. He left his money to the Cromwells. Now, there are no relatives. Good. I'm a very skillful forger. I can sign his name so that even he can't tell the difference. I tested him once. It's true how to forge her signature. You see, all transactions with their attorney, with their bank, all their contacts with the world outside these walls are made only through the mail. Perfect. And it gets better. No one is certain anymore of exactly what they look like. The fools have built their own little world within this estate. Only it's going to turn out, my dearest Angela. They built it for us. Perfect. Perfect forgery. A required speed and facility. The lines no longer appear studied or uncertain. Perfect forgery.  July 25, 1948. Ah. What's the matter? Too pat. People remember birthdays, but seldom the days of death. Forget the exact date. Just remember it was the summer of 48. All right. He died in the summer around July or August 1948. Bless his soul. Very good. That's one of her phrases. Victor, when? When? I've learned everything. I can write exactly as she can. I can move like a talk like a... Your perfect is Mr. Cromwell. It's been two months, Victor. When? When? You're right. Yes. It is time. Very well. Tonight. Tonight? I'll say you're insposed. You can stay in your room or touch a virus. I'll serve them dinner. Roast capon with wild rice. A robust red burgundy. And arsenic. Tonight. Tonight. Angela. Angela? Yes, Victor? You can come downstairs now. They're dead. And buried. In the center of the plum orchard. I covered the area with sod. The ground looks hardly disturbed. Oh, Victor. And we're rich now, Angela. And this place is ours. And we can have everything we want now. Come, Angela. We'll dine in the dining room. And toast the future. Angela, I've just been to the mailbox outside the gate. Well, did it come? The bank accepted our signatures as I knew they would. Look, Angela, our first withdrawal of $5,000 in cash. Oh, let me hold it. Oh, Victor, the feeling of money. The glorious, green, luxurious feel of so much money. It even smells rich. I know exactly how you feel. Now, think of it, Angela. There's $2 million more where that came from. I thought of nothing else for weeks. What can we do with this, Victor? What can we buy? I want to spend and spend and spend. Well, I have some dresses sent here on approval, some perfume, some jewelry. Here's the rest of the mail which came. Stacked catalogs, pamphlets. Look through them and order whatever you wish. I'll be down by the pool if you're here to join me. Victor? Hmm? What's this? That envelope. Where'd you get it? It was stuck in the fold of this pamphlet. Well, I must have overlooked it. Let me see. Huh. Addressed to a Mr. Frederick Mason. Well, I guess the mailman must have dropped it into our box by mistake. But it says in care of Mr. and Mrs. Cromwell. So it does. Return address Zurich, Switzerland. Open it. Yes. Then we can burn it. Whoever sent it will think it was lost. What does it say? Just a minute. Dear Father, you shouldn't have paid the entire four years tuition to the university here. I tried to tell you when I last saw you years ago that I had serious doubt about my ability to get a degree. Now, I have quit and they refuse to return any of that money. I have enough, however, for a flight back to the States. I'll see you soon to ask your forgiveness. Paul. Victor, who are these people? I have them the biggest notion. But he says he's coming here to see his father. I know, I know. I read it, didn't I? Victor, could you have flipped up somewhere? Not anywhere. But I don't understand this at all. We've got to do something. I mean, if he's coming here... He's not. I won't let anyone pass that gate. Let me see that envelope. It tells us nothing. Some fool has made a mistake, that's all. Frederick Mason. Well, now we... we mustn't let someone silly mistake bother us. I'll burn the letter. Just forget all about it, my love. I'm going to see the gate. I'd better check. Who is it? Who's that out there at the gate? Father? Is that you? Please, take that flashlight off my face, I can't see. I'm not your father. No one lives here but my wife and myself. Oh, Mr. Cromwell, I didn't recognize your voice. I'm sorry to disturb you. Who are you? Paul Mason, if you'll just tell my father that I'm here. I don't know you or your father. But... but you must. I'm Frederick Mason's son. The butler. The butler? It's been a long time since I visited, Dad, and I guess I have gone.  You haven't? When did Father leave? When? Well, I... It's been very recently. If you'll just give me his forwarding address. Young man, I never even heard of your father. What? Now, if you'll just get back into your taxi over there... Just a minute, Mr. Cromwell. You're making a mistake. No, no, my young friend. You're the one who's making a mistake. Now, get out of here. Stop bothering me. Dad? Mr. Cromwell, this is Lieutenant Russell of the Township Police Department. Oh? Well, what do you want, Lieutenant? I'm sorry to disturb you so early, but I must talk to you as soon as possible. I should be out there in a few minutes. Talk? What about? I'll tell you when I see you. Lieutenant, I'm sorry, but we never admit anyone here. I know. That's why I called first. When I get there, I expect that gate to be open for me. It won't be? Just because you're a policeman, don't think you have any more right than anyone else to trespass on private property. Mr. Cromwell, I have a search warrant. A search warrant? I anticipated your attitude about talking to anyone. Now, I expect you to have that gate open. Goodbye, sir. You'll listen to me. Hello, hello. What is it? What do they want? I don't know, but some cop's on his way out here. A cop? Well, we've got to get out of here before he comes.  We have nothing to hide. That young man from last night. I'll bet he put the police up to this. What if he did? He's making a mistake. Victor, I'm scared. Then control yourself. If you just remember that you're Mrs. Cromwell, nothing can go wrong. Here. Put on this sunburnet. I'll wear these dark glasses. We'll go outside and make ourselves casual by the swimming pool.  I'm positive I've never heard of anyone by that name. Here comes the cop, Victor. I see it. It's the cops, all right. And that young man from last night is with him. Stay right there, Paul, while I talk to them. Yes, sir. Take a look, Mr. Cromwell. Here's the warrant. I see it. What do you want? Just some information. What kind of information? I'm looking for Frederick Mason. He was your butler. That's what that young man claimed last night. But I assure you, Lieutenant, I don't know what he's talking about. Well, that's very peculiar. Why do you say that? Well, this letter that Paul Mason gave me, it was mailed from right here only two weeks ago. You're certain? Take a look at the envelope. Yes, I see. But this envelope doesn't indicate that it was sent from our mailbox out by the road. Yes, I know. So I checked with the mailman who has this route. He doesn't handle many letters which is sent to Switzerland, so he couldn't help noticing them. He told me that every two weeks for years he has picked one of them up from your mailbox. Then someone else was using that box. Look, Lieutenant, you're here on a wild goose chase. I told you, I don't know Frederick Mason. Well, he could have worked for you under an assumed name. I doubt that. It's possible, isn't it? Here, Mr. Cromwell, Paul gave me this snapshot of his father. It isn't a very clear picture, but maybe you can recognize him. Take a look. Yes. I'd like to see it, too. What is it, Mrs. Cromwell? You... you recognize him? I... No. No, of course I don't. Obviously, this is upsetting Mrs. Cromwell. I must ask you to leave us alone. Then you don't know the man in this snapshot. No, I don't. Now will you please go? All right. Probably some mistake. I'll have another talk with Paul Mason. I'm sorry for disturbing you. Goodbye, Mr. Cromwell. Goodbye, Lieutenant. Victor, you saw that snapshot. Didn't you recognize that man? Yes. We knew him as Mr. Cromwell. He's the one I killed. He was the young man's father. I'm afraid he was. You've made a terrible mistake. I only know that for years they lived here as if they owned this place. They must have been impersonating the Cromwells just as we've been doing. That would account for the isolation, some secrecy.  What's the matter with that cop? Why doesn't he pull out of here? He's talking to the young man. I don't like it, Victor. It's all right. Just don't panic. Smile. Smile, I said. That's it. If we pretend, nothing's wrong. Victor, they're both coming over here. I can see. Mr. Cromwell, I thought you were through bothering us, Lieutenant. Paul just told me that he couldn't see you in the dark last night and he hasn't been able to get a good look today. But he's not interested in me. He's trying to find his father, isn't he? Paul, what do you say now? I still can't be sure. Mr. Cromwell, would you please take off those dark glasses? Why should I? You've imposed on me enough. Now get out of here. I recall that Mr. Cromwell was taller and he had less hair than this man. What kind of nonsense is this? When I was about 15 years old and my father was the butler I visited here. I can remember Mr. and Mrs. Cromwell very clearly. You are not Mr. Cromwell. He's lying, Lieutenant. And her, I've never seen her before in my life.  We can prove who we are. Victor, go and get the... Victor. Oh, is that your name, Victor? Of course not. She's upset. She's... Exactly. She's upset and she didn't take the time to think. No, I... What's your last name, Victor? My name is Cromwell Charles Cromwell. And she calls you Victor. And this young man can't recognize you. And you deny that until two weeks ago Frederick Mason was sending mail from here. I tell you, we're Mr. and Mrs. Cromwell. Well, maybe you are, but I'm beginning to doubt it very much. Nothing adds up. Come on, I'm taking both of you into town. I intend to find out just exactly who you really are. All right, you two. Come out of that cell. So, you're finally letting us go. You're satisfied now that we're Mr. and Mrs. Cromwell. I'm taking you over to Judge Slater to be booked for murder. Oh, no. Murder?  Is it? We took up the cement floor in the basement. We found the bodies. The... cement floor? Man and woman. Killed by gunshot about four years ago. From dental charts, we've identified them as the real Mr. and Mrs. Cromwell. You have. I see. I see. What's the matter with you? Don't you realize what we're facing? I realize very well, very well indeed. Come on, the judge is waiting. Is he? Well, we certainly can't keep him waiting. But Lieutenant, you can't book us for the murder of Mr. and Mrs. Cromwell. It's impossible, is it? You said they were killed about four years ago. Well, four years ago, I was finishing a term in Atlanta for forgery. I know. We've got your records. You... Well, you can book me for forgery again or ford or any of those lesser crimes. You might be able to pin on me, but murder? Oh, no. I did not kill Mr. and Mrs. Cromwell. Oh, I never said you did. Huh? Well, I thought you... We also did some digging in the plum orchard. And we found two more bodies recently killed by arsenic. Paul Mason has identified his father. Those victims were murderers themselves who impersonated the Cromwells. They're the ones you killed. We'll have no trouble proving that. And you'd forget this for years, you said. No one would ever know a perfect setup. It was. It was. Only someone beat us to it. Suspense. You've been listening to The Impostors, starring Reynolds Osburn and Charita Bauer and written especially for suspense by Peter Fernandez. Suspense is produced and directed by Bruno Zirato Jr., music supervision by Ethel Huber. Featured in tonight's story were Cliff Carpenter, Arlene Blackburn, Melville Royck, and Bill Lipton. Listen again next week when we return with The Black Door, written by Robert Arthur. Another tale well calculated to keep you in suspense. Enjoy the Gary Moore Show weekdays on the CBS Radio Network.


Hello everybody! This video will tell you about deleting files and folders from your hard or removable disk without the opportunity to restore them. There can be various reasons why you want to do it. For example, when you lend a computer hard disk or flash drive to another person, when you send a computer or drives to a repair shop, or when you sell them. Conventional deleting of your data with standard operating system tools or even formatting the drives cannot guarantee that the data is deleted forever. In most cases, deleted data can be recovered with special utilities such as Hetman Partition Recovery. For ordinary users, the most popular way to delete data permanently is using specialized software. There are many free products to help you do it. Looking ahead, I'd like to say that they are not the only way to prevent recovery of your data. Please watch this video till the end. As sometimes spent on searching, we managed to find out that the most popular products of this type are Eraser, Ciklinr, FreeVersion, FreeFileShredder, FreeRaiser and others. You can find the links to download these programs in the description. I'm not going to show you all the programs, but I will concentrate on the most popular tool. In order to delete data forever with Ciklinr, start the program. Go to the menu Tools – Drive Viper. Check the box next to the drive where you want to delete data forever. In our case, that is USB Drive E. After that, decide what you are going to erase – free space only or entire drive. Specify the Erase method. One pass, three, seven or 35 passes. The more passes, the more reliable is erasing. But it will also take longer time to complete. After that, click on Wipe. Enter a standard code word to confirm and click OK. The Erasing process starts. The operation is completed successfully. Now it will be impossible to recover any data from this drive. In order to delete data forever with Eraser, start the program. In order to erase data from a drive, click on the arrow next to the menu Erase schedule. Then select New task. In the window that opens, assign a name to the task – Disk E. Select Run manually. After that, click Add data. In the window that opens, specify the data you want to erase forever. Data type – files in folder, recycle bin or drive partition. I choose drive partition. Now erase a method. This section is more varied than in Ccleaner, but the principle is the same. The more passes, the more reliable is erasing. You should also select the drive. So select Drive E again. OK. In order to start erasing, right-click on the task we have created and select Run Now. You can see the progress bar on the right. Now erasing is complete. One of the standard functions of Windows is the reset function. It can be found in the menu Settings, Update and Security, Recovery. If you click on Get started, the system will suggest you to choose between keep my files or remove everything. You can also clean the system drive or clean all drives in your computer. Anyway, the main function we are interested in when talking about removed files forever is this one. Remove files and clean the drive. When you select it, all data on a chosen drive will be deleted forever. Watch another video on our channel to see how to reset your computer with removed files and cleaning the drive with the help of this function. You can find the link in the description. If you want, you can use another Windows integrated tool, BitLocker, to make files in your computer inaccessible to anyone but you. Here is what I mean. You need a password to get access to files in the disk encrypted by BitLocker. If the password is lost or entered incorrectly, you will need a key. If there is no key or password to the drive encrypted with BitLocker, the only way to access such drive will be after formatting it, but it will delete all data. Even after that, all encrypted files will remain encrypted, and they can only be recovered if you have the key. You can learn more about protecting a drive with BitLocker in another video by our channel. You will find the link in the description. That is all for now. If you liked this video, click the like button below and subscribe to our channel to see more. We'll be glad to answer any questions in comments. Thank you for watching and good luck.


For more videos on people's struggles, please subscribe to our YouTube channel. 20 years of Quantanamo Bay. The detention center at the US Naval Base in Cuba opened in January 2002. At its peak, it housed around 780 people, most of whom were imprisoned without trial. In these 20 years of operations, only 12 detainees have been charged and just two convicted of any crimes by the US military. Between 2002 and 2021, nine detainees died in custody, two of them died from natural causes and seven reportedly committed suicide. The prison remains open despite several calls by the UN and human rights experts around the world to close Quantanamo. UN experts said in a statement on the 20th anniversary of the opening of Quantanamo Bay that two decades of practicing arbitrary detention without trial accompanied by torture or ill treatment is simply unacceptable for any government, particularly a government which has a stated claim to protecting human rights. 39 detainees continue to be held at Quantanamo. 13 of them have been cleared for release but remain jailed. The trial of the five that were charged with helping plot 9-11 is yet to begin. In April 2011, Pikiliks released a cache of classified documents called KITMO files. These files reveal details about this Defense Department operation, which had been shrouded in secrecy for the nine years before that. The files show that the US believed many of those held at the offshore prison to be innocent on only low-level operatives. The files described Quantanamo's system of military detention to be based on torture and coerced testimony. There was no significant screening process to decide which prisoners will be transferred to Quantanamo Bay. Every prisoner who ended up in US custody was sent there even though the majority were not seized by US forces but by US allies in Afghanistan and Pakistan at a time when substantial bounty payments were being offered for Al Qaeda and Taliban suspects. Parvez Mushara, former Pakistani president, admitted to handing over 369 terror suspects to the US for bounty payments totaling millions of dollars. The KITMO files also include the section on 22 children that were detained at Quantanamo after it opened. 20 years after it opened, the calls to shut down Quantanamo are only growing louder. The UN experts further stated, Quantanamo Bay is a site of unparalleled notoriety defined by the systematic use of torture and other cruel inhuman or degrading treatment against hundreds of men brought to the site and deprived of their most fundamental rights.