Falling in love is a beautifully selfish experience. It brings the world down to a circle of just two people. Falling in love is an experience that we as a culture talk about all the time. Grief is another matter. Grief is hard, personal and difficult to approach. But in my experience, grief breaks you open. Grief gives you this deep need to connect more and to matter more to the world. And over the past two years, Paula and I have both lost someone very close to us. And I don't say this to play the pity card. But we've both found that this experience has significantly changed how we approach our work. And that's what we want to share today. This presentation grew out of a series of conversations that Paula and I have had over the past year about grief and connection, about museums and memory, about what we are here to do, about what we can do for people when they are in a time of need. And we have developed these presentations separately because they tell our own stories. And now I'm going to try to tie them together for you. So Paula sends her apologies for not being able to be here. She's a long-time NDF presenter and supporter and I really miss having her here. She's however really happy to be able to contribute and I think happy and quite nervous about sharing such a personal journey. So this is where Paula works and that's what Paula does. And this is what Paula is asking. What does this idea of a Caring Museum mean? Do we care about other sectors such as health in relation to our collections and sharing memories? And if so, what does this look like? What programs do we have to support those who are underprivileged or suffering ill health? What if we stopped for a minute to reflect on how far our collections and stories can potentially change or help people in ways we haven't already thought of? What if we could all think outside the box a little to realise the potential of how collections can help those less fortunate in need, sick or dying? How can our sector reach different audiences in new ways, ways that we haven't thought of before? How can we take collection stories to people who really need our help? If only to spark a conversation, a memory, to even just pass the time in a hospital bed, how could we do this and what would the benefits be to the people involved and back into our collections? As museum professionals, we all get to experience wonderful stories in our collections, but some areas of the community have no idea we have them or don't know how to get to these stories and how valuable they can be to people who are spending a lot of time caring for people in hospitals. Could we run programs that get museum study students to spend time visiting patients in hospitals with iPads that could connect multiple collections around place, time, interests or themes? What if you could search up the place that you grew up in and then allow patients to tell stories around that place? I was fortunate to spend a lovely afternoon with my father before he died, talking through all the memories he had of Liverpool, England. This experience has made me reflect on museum collections, memories, sharing stories and access to collections for those who don't normally know about them. We did this through History Pin. We spent the whole afternoon searching the map for content in Liverpool. This was an afternoon I won't forget. The stories were incredible. My father's memory of Liverpool from his youth was coming back to him and his knowledge of the area was astounding. I wish I had a recording of this afternoon of sharing stories through other people's content, including museum collections. So here is one idea based on the experience I have had of sharing memories with my father while he was in hospital. How do we as a sector allow people who are in hospital which are usually cold and depressing environments to relive memories through our collections? How can patients with short-term memory loss through sharing memories feel they have important stories to share with their families, carers and friends? I wish hospitals had access to providing this level of connection for patients so they could engage with memories sparked by content that is locked up in the vaults of cultural heritage collections. This is not a new idea and institutions have run pilot projects taking objects into museums. But it's not one I hear us talking about when we talk about reaching digital audiences. And it's not one that I often hear about when we talk about reaching any audience, or when we're talking about the ways in which memory can assist patients and their families while sharing stories through the use of collections. As we make our collections more accessible online, then perhaps we will see hospitals start programs themselves. But maybe we need to give a helping hand in running particular programs through our sector. Collections are really for everyone and we need to think of ways that they can benefit others who are less fortunate. And Paula says thank you. So me. I'm going to try to take kind of what Paula's said and then wrap it into a bigger context, but also do that through a couple of stories of my own. So exactly a year ago I stood up here and I made this impassioned plea for a museum of emotion. And this is what I said. We've become a little timid. Our visitors are hungry for experience. I want to explore what it might mean to have more emotion in our museums, to have more personality, to have more connection between our visitors, our staff and our artists. And then I described this idea of a museum of emotions. The museum of emotions is not about collections, civic pride or community involvement.  It's not a place to learn about emotions. It's a place to feel them. I had a conversation with Mike Edson about this idea. He talked about a museum where you programmed exhibitions and performances explicitly designed to elicit emotional responses. I talked about a room that you went into where someone would radiate an emotion towards you, like perfume rising off warm skin. It's been really lovely to see this idea embraced by some people in this community. And at the same time, I try really hard not to look back and kind of berate myself for being terribly naive. I still believe in a lot of the things that I said last year, but I think to a large extent I've sort of internalised the museum of emotion. It informs the way I work and the way that I lead rather than shaping what the douse puts out on the floor. One of the things that I talked about last year was about using the lens of the web world to look at the gallery world. And what Paula and I have talked about throughout the year and what we're presenting here today is a different lens, a different way of organising and understanding our work. Rather than making emotional experiences at work, I generally find myself having them. And I want to give you two that have changed the way that I view what I do. So, on my best day this year, I took some baking down to Yagata, who is the incredible woman who looks after our Potomely Setlers Museum all by herself down on the waterfront. And Yagata asked me if we could share the baking with the man with the bicycle. Every Thursday, a man on a bicycle comes to visit PSM and he is shabbily dressed and he doesn't smell very good and he doesn't communicate very well. He likes to look at the videos and the exhibitions and when he leaves, Yagata always gives him some of her lunch. So I went into the gallery and I gave him the brownie and Yagata told him that yes, the cake was for him, but he had to wait to leave the building until he could eat it because he can't leave crumbs in the gallery. And then I went back to work. It was a long email from Yagata. Thank you for giving the chocolate cake to Chimney Man. I call him like that because he reminds me of back home. We used to have an annual chimney cleaning and it was a saying that the chimney man brings luck and when you see him, you have to touch and hold onto any buttons on your clothing and make a wish. Yes, the chimney man ate cake in the east gallery. Maybe he couldn't resist or he was so hungry and he crummed on the carpet. On the way out, he told me, see you next Thursday. Goodness me. On Friday, Cynthia visited and I mentioned her PSM's Thursday regular visitor. Before I finished describing him, she told me she was familiar with him. He is a solvent abuser, she said. She saw him in the past sniffing a glue. English isn't Yagata's first language, but I'm just going to give you her email straight. That explains why I couldn't solve a mystery of the unusual smell in the air both galleries had after he left museum. For me, it's smelt of gas, solvent, not exactly sure. I am feeling for a man with the bicycle because he is badly damaging his health. I'm imagining him having a makeover like we can see on some TV shows. Having a bath, a haircut as well as wearing some decent clothes and shoes and still riding a bike. Except for the Hey Waka Waka Hono Tangata video he likes to watch in the east gallery. I realised every time he comes he expects to get some food from me. I have to think what is clever to do to continue giving him food or stop. What do you think, Courtney? Anyway, despite his unusual behaviour, I think he is harmless. And so I found myself asking that day, is it our job to feed homeless people? And it's not a question that I ever thought I would have to deal with in this job. So earlier this year, my division of Hutt City Council which encompasses libraries and recreation and museums as well as community development had a meeting with some external stakeholders to help inform our strategic vision. And at the meeting, Ann and Josh spoke and Josh is a social worker out in the heart and Ann is this amazing woman who with her husband fosters local kids. And Josh and Ann are working through their church and outside of their official systems to help make life better for a group of local teenagers and when I say make it better that means everything from buying them toothpaste through to helping a girl get out of a home where every time her parents host the weekly drinking event their friends rape her. And in this meeting, we were asking Josh and Ann what we could do to help them and to help these kids. And they basically said, just do a good job of what you're doing.  You can't love these kids and that's what they need. That's what we do. And after the meeting, I walked out with them and I talked to them in the street for a while and I felt that really the only worthwhile thing I could do was quit my job and retrain and learn to do something that was actually useful. And they told me not to be silly and they said that having people inside organisations who are aware and care is important as well. And I drove home that night in tears like those big messy ugly ones not the pretty ones, just horrible golfing, bad on the motorway tears. So later on I had a meeting with Josh and Ann and Jen, major cash manager at the Dows. And Jen's kids had been to the Dows on school trips and they had done school holiday programmes and she felt really at home there but I don't think Josh should have ever been in the building before. And I brought them into my office and Josh looked pretty uncertain and I was talking about how we want to extend our education programmes so we can do more with lower hut kids and families and how we've started fundraising to do this. And Jen talked about wanting to make the Dows a familiar and safe and happy place for kids who don't have many of those places but Josh kind of he leans back and I remember it so that he puts his hands on the table in front of him and he looks at us and he says I just don't understand how this is happening where did this come from and he really didn't understand why people like us would want to talk to a person like him. And I said to him I keep on thinking about what you said about being able to love those kids I keep on thinking what if a museum could be a more caring organisation what if we could care about people and we could create and he said that's not normal that's not what museums talk like and I thought yes I thought I've got it. I often feel like institutions like mine operate between two modes the academic and the tourist stick on the one hand we generate and share new research and insight and stimulate the creation of new art and understanding and on the other hand we have visited our business KPIs and we compete with other tourist attractions for attention and visitation and compete with institutions like our own for staff and funding and product and what I began thinking especially after that time with Josh and Ann and through those conversations with Paula was what if instead of seeing ourselves as a meld of academic and tourism impulses we saw ourselves as part of the health and community sectors what if we became part of the caring professions what would a museum of the future look like if it was focused on improving the lives of the people who use it and I found this really exciting and it sent me rushing off in all directions having these really impassioned conversations and kind of acting mentally I always think of it as being like a border collie inside a tank full of tennis balls just kind of frantically running everywhere and not really achieving anything and I get really righteous like I'm quite self-righteous and I start saying things like why do we employ educators and public programs people but not social workers and all this emotion is great but it's got to be tempered if you're going to use it and made me really reflect on Ann's observation that we need to do a good job of what it's our job to do the first is a research report published by the British Museums Association that seeks to capture what regular people want and expect from regular people want and expect from museums and it's called public perceptions of and attitudes to the purposes of museums and society and it was written after gaining feedback with a bunch of workshops held around Britain and the most actively selected polls of both museum visitors and non-visitors and this report found a strong positive emotional attachment to museums by both visitors and non-visitors and also that attitudes have warmed over the last generation as museums have shed their image of stuffiness and sterility and become more entertaining and interactive and one of the most notable findings was the trust that participants accord to museums with museums being perceived as more trustworthy than both the Government and the media perhaps given the current British cuts to cultural funding museums were widely seen as being under threat and concern was expressed that museums were spreading themselves too thinly participants wanted museums to focus on what they are good at in order to preserve the essential purposes for which they are respected and loved and so the question is what are those purposes and the museum sector had put forward a range of potential purposes for these workshops to debate and so they agreed that at the core of museums existence is our role as the caretakers of national and local heritage and this is strongly linked to national and local pride and seen as a key contribution we make to society in addition to caring for the collections they did emphasise their display and also the need to keep refreshing exhibitions to attract more visitors and they liked interactivity a lot we were seen as having an important role in public education we provide equitable access to education and we provide opportunities people can use easily rather than generating elite research while they did think that museums had a role in promoting well-being and happiness they didn't broaden this definition to encompass mental health and well-being instead this purpose was seen as being largely about entertainment and linked to the education goal and that's what makes us different from theme parks where it got almost hurtful for me with these nascent ideas about museums and social work was when participants got on to the low priority purposes which included fostering a sense of community and helping the vulnerable and this was a summary from the report both these purposes were seen to be aimed at specific individuals or groups in society and were therefore somewhat at odds with the essential purposes that provide accessible benefits for everyone in society the idea of museums reaching out to communities or sections of society isn't one that the public sees them as being best place to do as one attendee put it, social services should look after the vulnerable and museums should look after the history hardest of all to read were the purposes that were challenged by the workshop of 10 days two objectives were seen to not sit well with the core purposes of museums and were seen even to undermine their essential values of trust and integrity these were providing a forum for debate and promoting social justice and human rights this is where the report observes, participants consistently agreed that museums were not appropriate environments in which to hold controversial debates rather museums are regarded as places to go to to find out factual and unbiased information and for people to subsequently make up their own minds this is not to say that people felt museums cannot broach controversial topics but that they should remain neutral in the displaying of information as a leader in telling people what to think and I was initially deeply thrown by this finding and were gathered here today in a building that was originally made to help a society talk about a deeply divided past but for the participants in this particular exercise attempts to tell people what they should think threaten the perception of the privileged and trusted position that museums hold and as the report noted although museum professionals might question the notion of an objective truth that can be expressed through an exhibition the public as represented by the sample does not I was really dashed by that report it kind of broke my heart a little bit all the things that we've all been talking about for years all the things that the staff and our institutions hold so dear are clearly not communicating themselves well or there's just a mismatch in expectations I felt like I had all these great ideas and that no one wanted them and as per usual Nina Simon is about five years ahead of me on this topic and in April she wrote a blog post called Seeking Clarity about the complementary nature of social work in the arts and in it she unpicks what we're talking about when we talk about cultural institutions as vehicles of social and civic change the post grew out of a conversation she'd had with two of her friends who work in knock for profits she's focused on issues of homelessness and criminal justice and while all three work in organisations that care about making a difference in the community when you move from the why to the what museums and social service organisations are emphatically not the same thing and she writes their work involves a life or death situation museum work is mostly non-contact the consequences of risk taking and experimentation are incredibly different there is infinite demand for their services whereas we struggle to generate demand for ours there will never be enough meals for hungry people or mental health facilities for those who need them meanwhile arts industry leaders worry about oversupply of organisations in the face of dwindling demand social service providers often find themselves working in a reactive stance to unexpected incidents arts organisations can operate on their own timelines and internal values those that want to be more relevant often have to push themselves to work responsively to events outside their domain as both the participants in the museum associations research and as and the foster parent observed we're not social workers while we might be moving into the social sphere we are not doing social work and when I'd been beginning to get a bit depressed Nina gave me another way of looking at the topic and she wrote instead of asking whether we are focusing too little or too much of our attention on social work we should be asking how we can approach the work of community development in a distinctive way which makes me think that we're in a luxurious position few people rely on us to provide social services and few people expect them of us by drawing on our strengths and thinking about how we direct them we have a tremendous opportunity to create new value in our communities and then finally there came that kind of humbling but very necessary point where I realised that I'm far from the first person to think about all this stuff and that my brain part is someone else's 20-year academic career and in my case it's the work of Lois H Silverman as collected in a recent book which is very sensibly titled The Social Work of Museums and to be honest I'm still wrapping my head around it but what I've got from it so far is a framework for thinking about how I can channel all this desire to do more good and to connect more in a meaningful way in the form of four levels of social action that afford us different ways to engage with people and maybe to create change through the work that we do so social work at its broadest level operates on the level of culture the shared way of doing things that allows us as a species to co-exist with each other and as Silverman says at the widest angle the work cultural institutions do involves nothing less than the making and changing of culture and this is where we through the language that we use the collections that we make the programs we run the products that we create and the audiences that we try to reach social change on a macro level if you come down a level social workers is focused on relationships between groups and this is where we play a role in being as accessible as possible to all people in society and running the kinds of programs that bring diverse groups together with the aim of improving understanding and connection go down another level and you've got interpersonal relationships what opportunities can we create for people to form or to reinforce relationships and what can we do to strengthen connections within a family or within an environment like a rest home or within a refuge at the very narrowest angle social work is concerned with the individual self and the self is defined here as the fundamental building block of all social relationships and even more so the self is defined as being in a relationship already a person to a sense of the divine a person to another person or a person to his or her own experiences and memories and what I'm trying to do now that I've spent a year figuring out how to run a museum and now I'm going to try to spend a year trying to think about how to do that strategically is to use this all as a new lens that I can hold up to our work I'm trying to hold each of the possible projects that we could do up against these four levels and ask myself where can I see this project operating and making a difference because we can't be all things to all people and nor should we try to be and we can't just walk up to people on the street and start loving them really, I discourage it I discourage it, very hard but we can add value through our strengths through our collections, our buildings, our social capital and our staff and we can enhance our strengths by finding new ways to look at the ways that we look at what we do and our missions and this is the point where I realise that at one and the same time none of this is rocket science and I bet many of you are already doing it and you should come and teach me how to do it and that at the same time it's incredibly wofty it's just as wofty as that crazy ass idea about a museum of emotions so what does it actually mean well it means Paula using history pin with her father and history pin was made for exactly that purpose it's not just a site to upload in geotag photos we are what we do create at that site to address what they saw as a growing social problem around distancing between different generations and society and how that creates an environment of distrust and in a society that's not a good place to live in so with that aim they managed to create something that allowed a person who was losing his memory and a person who was desperately trying to hold on to a connection to give each other something I think if you want another example of what I'm talking about you look back at what Paul Tapsell was talking about yesterday with Māori maps and how perfectly aligned the watt of that project is with the why and how and look at the fault lines in society that that project has been set up to mend and to look also at the heart that lives inside of it yesterday also Simon Tanner mentioned in his opening that when we are thinking about value we should not ignore the impact of what we have done on our own selves and this does actually bring me back to the museum of emotions so we can't chase people down the street and start hugging them but we can however continue to find new lenses through which we can understand and test our work and just as university taught me to see the world as a post-modern construct and then the web taught me to see it as a user experience interface learning about social workers teaching me to see the world as a web of relationships that can be tangled or broken or enriched and I'm afraid that none of this is nearly as barnstorming as the idea of a museum of emotion but this is what I've figured out over the past year that every single one of us already works in a museum of emotion that these places that we work and they run on emotion and every day your emotion charges up that building and every day that building runs you back down again and we have to find ways of channeling this emotion so that the work that we do matches up with the emotional return that we seek and this is what makes social work now that I'm starting to understand it a bit better because it's a natural lens to me it gives me a way to see how my work can be meaningful for me and for the person next to me and the person next to them and the people that I can't see yet and this to me is why we as NDF come together every year and we choose this conference because we know that here we will spend time with people who care just as deeply as we do not just about standards and open access and APIs but about making good things that make a real difference in this desire but we can't always see a way of channeling it so I hope that Paula and I have offered you today forms a new lens or a new line of sight for you thank you


Kwa ni guest of one na kwa api? Guest of one na swana kuja? Oku ni yambian no rembu ifi? Sinil wambian taku jenga. Wei, amini, amini. Karibunisana. Kwa kwa? Mamayangu. Alright, waka, waka. When he said mamayangu, he didn't mean you're his mam. He was just... Meaning, you know the meaning. The way you can say Jesus, oh my God. The meaning was into. I don't need a translation. Thanks so I do. Alright, welcome. You can introduce yourselves, your camera is number three. Hai, my name is Nancy. I'm a YouTuber, entrepreneur, and I'm an MUA. YouTuber, entrepreneur, and M? MUA. I know YouTuber. Ok, ok, ok. M? MUA. Me as an artist. Naji, nasamaika mua. Ya. O mula mua. Wei. Usha hanza. Anyway, introduce yourself. Hai, I'm Davina Leonard. I'm an actor and producer. Actor and producer? Ya. You produce films? I do. Oh, nice one. Which one is the latest? And how can we share it? I've just been working on Kalamunandega, featuring Pascal Takodi. You might have heard about it. And Pocha, we won the best short film at Kalasha last year. So Pocha is for wildlife, ya? It is, ya. You're passionate about protecting? Actually, I'm just passionate about making good content. I like your honesty, by the way. Ya, of course. We don't want elephants to die. I don't want to talk to my children about what an elephant used to look like. But ya, I want good content. I want it made here. And featuring good Kenyan talent. Alright. Mula mua, keep your eyes in the sockets. No, so good. Ya. Kwa kusuhi di? Translate.  Ya. Mua mua? Ya. What type of content do you create? I basically create content for makeup on YouTube, lifestyle. Your makeup is killing it, by the way. Thank you. I also do vlogging. Ya. Alright, nice one. So if you'd like to know more about them, they'll be coming through in the next segment. We'll be having an interview for them. But right about now, Mula mua ali nida. Aka sema bari, wwe wwezi niosha kukatiana. Wwezi. Ali. Lamda wanzaka wu kuna max already. Badu daku Peter to speak. Kwanza sura, kwanza wla chik? Sura. Ihi. What have kiri wu kuna? Ujama. No, no, no. Nani ali lesha wujama. Ujama isiru. Atu isiru. Okay. So, Mula mua and I, we are going to go head to head. Head to head. Push, push, push, push. Kiasi. So we are going to go head to head. Yes. Ushai katiawa, right? Ya. Uka katika. Uka katika. Not all the time. Not all the time. You as well. You've been katiawad. Attended. Attended. All right, so we are going to go head to head. And if you are impressed, just show us your teeth. If you are not impressed, just do them. Still show them. All right. We are going to be tough though. 2019. 2019. Ladies and gentlemen. Okay, Mula mua. Ya. Umajifanya stanu waju kuna sura. Go, go ahead. I start. You start? No. I use kiswa. Do you understand full sumil? Ya. We need the same. I'm laughing already. Lisa, don't laugh.  That's the problem.     Okay? And you are blashing. You are shivering already. You know how to show the teeth. You know how to show the teeth. Okay. You know what? Because you come from another continent. I don't. She doesn't come from another continent. Yes, she's coming. I rewind and come back. Give me. Just move. Just move here. On again. Lisa. Oh, come on. Okay. I want to go. Say say what you want. Wow. That teeth are out. They are. They are. Okay. Mlamo. Okay. You know what would happen if I give you all my love. What? 30 billion for the account, yo. No. Anyway, Mlamo, go ahead. Okay, where are we? You want me to produce your life? I wanted you to produce my life and I told you so where's kukatia? We're not patiaiote. I want to take you to Kitale.  Maifu kawko. Kape, matisi, they are good countries. We can walk there, spread love, you know. So no, nimineta sa utia mapenzi. I just feel like that's a lot of travel. No, it's not a lot of travel. I'm tired already. We shall be traveling on tour. Wow. Sorry. You're cold, man. We shall be looking at them up. As ice. As ice. We don't like traveling. I mean, can we just keep it? I'm tired a lot. You know I'm old, yeah? So just local. I'm young. No, that's the problem. It's doomed from the start. You're old, you mean? From the start. Oh, but you don't look. She's old. She's old. Yeah, she can't travel around so much. Maybe you can travel. I'm tired. You're tired already. I'm here. Then you cannot travel. You don't want to travel. So you're only tired. Keep going. Let him try first. He needs a break. He needs a break. We did say we were going to be tough to be fair. It's 2019. My name is... Hello. Hi. What's your name? Nancy. My name is Barry, but you can call me tonight. That's a fail. That's a fail. An epic... I saw a tip. I saw a tip. That's the one for me. We don't care. We don't care. As long as you show the tip. You're impressing the wrong guy. You really are. I think I'm... I'm not compatible. Diagonally. Diagonally. But to be fair, and I hate to say this, but... Let me tell you. I'm sorry. You know what? I'm sorry. I'm not even wearing high heels. So what happens when we go out? And he has blocks on, by the way. He has blocks on. What? I'm sorry. I'm really sorry. Do know about the story about the monkey? Yeah. They shot at the monkey, you know.  This guy is good. This guy is good. But it's your turn. This is the last round. I've seen teeth so far. So far I think as three. Mulamoa as one. No, he's... I have three teeth. No. No. I think you're losing. No. No, you've got two. You've got one. Yeah. I thought you were on my side. I thought you were on my side. You've got wrong teeth. I've got wrong teeth. Yeah. Sorry, go ahead. This is the last round. Okay. Come on. Let's win this. Let's win this. This is a team sport. Come on. No. No way. Come on. Come on. You started. Don't stop. Come on. Don't give up. Mulamoa. Kitale is counting on you. Kitale. Yes. Kitale, we need to work on our mystery. You've got the link. You have not been exposed to this. Yes, man. I've got to try this. Aye. This is not easy. I've got not no physics paper three again. I'm out. Oh, no. You're out. I'm out. You're not doing physics paper three again. I'm not doing physics paper three. I've broken you. It's been two minutes. I've broken you. Aye. I'm broken. The first one, not even the second one. So have you four fitted? Aye. Let's win. It's official, man. I always win. But don't worry. If you think you can beat me to any game, bring it. That's how I do it. Mulamoa. As you wrap this up. As you wrap this up. Since umeshindwa, asha nisimu umeshindwa? Umeshindwa. Umeshindwa? No, man. Mwenyata shindwa apa. Okay. Wapatia this moja moja. Something light. Something light. Okay. So we gonna shoot out of? No, we will shoot. Please take out. It's a long story. Anyway. It's midu bantam. Hang it out with the ladies. So maybe you can share with the people your social media handles before I can tell them what's coming up next. Yes. So you can't find me on Facebook at Nansimule. That is NansimuleGranny. And on Instagram nansi. Nansimulegranny. NansimuleGranny. Nansimulegranny. Nansimulegranny. What about you? I'm on Insta at Davina underscore E-L-L-E. Maybe you can speak to them in Swaili because some people still don't believe it. You got to pay extra for that, bro. Extra? All right, so let me check. Masai, where's my wallet? Oh, I want an apple. My wallet is upset, so maybe after the break. Budget cuts. So after the break, I'm going to be paying extra during the break. So after the break, she's going to speak some Swaili to you guys. We are going to be having an interview with her and her with Hilda Wathifi and Joy Moochache, so you can get to know more about them. I think Mula Moa and I, we are done. So to nendako a men's conference, we get to talk about these shops that have been closed. And why we cannot see teeth. And we can see teeth as well. Y-254 channel on Twitter, Y-254 underscore channel on Instagram, and Y-254 on Facebook. Don't forget the hashtags Y in the morning Don't check that out there. Coming back. You see how lovely they are.


Hey Virgo! Welcome back to the channel. This is Kelly from House of Virgo. This is going to be your weekend reading. If you are new, please smash that like and subscribe button if you enjoy these readings that I do. If you want to get a personal reading, there is a link in the description box below this video. The rest of September, I do have a discounted reading going, a special going, so do go ahead and grab that. And yeah, if you want to buy me a cup of coffee, go ahead and do that too. And thank you to those of you who have been doing that. Okay, so let's take a look at Friday, Saturday, and Sunday. So starting with Girl with a Snake. Okay, empath and narcissist paradigm here. Being charmed or used, enabling, and boundaries. Okay, so let's take a look and see some type of dance between you and another person. Like this is like conjoined twins. They just told me. I don't even know what that means to people who just keep finding themselves drawn to each other, engaging with one another, kind of a codependent or very addictive type of a relationship. Let's see what message is showing up Friday. Okay, wow, the moon. Oh my goodness. Some hidden undercurrent. It feels like some undercurrent of emotion, mystery, mysteriousness. It's kind of like, what is going on? Someone seeing to themselves, why can't I get away from this connection? Why can't I stop with this person? Why do I feel like there's so much unknown? This is kind of, yep, there you go. The High Priestess. These are two very mysterious, unknown type of energies, secrets, things that are hidden. Okay, yeah, this definitely coming to light on Friday for sure, or at least over the weekend. It feels more like a pull, a magnetic kind of the thing, an energy. This is like behind the veil kind of thing showing up. What the heck? Let's see. All right. Wow. There you go. Eight of cups. This is, you know, Virgo, I feel like this is kind of like coming to an understanding that needing to separate from this kind of a connection or this type of a relationship, okay, or this type of energy, okay, needing to separate or get some clarity. That eight of cups is always about withdrawal or retreat or moving on or feeling abandonment in this feels like a very toxic energy. There's Pisces, double Pisces. So there could be a connection with a Pisces. Let's see here. You know, Pisces is very much hidden energies, hidden, very hidden. Let's take a look. I'm going to get a clarifying card for the moon. Okay, Pages of Swords. Okay, trying to get clarity about some, Virgo, I feel like, especially on Friday, this is really like you, I feel like whether it's you or another person trying to seek and get clarity and answers about something that is hidden within a connection within a relationship, really trying to cut through some BS. And I feel like you, if it's you doing this, it looks like Friday, you're walking away. Like, I don't know if you come to terms with something here, but it looks like you're walking away to try to gain some clarity, like you're withdrawing, you're treating, you're getting away from something here, whether that's your role in this, you know, your participation in this stance with another person. Yeah, that Pages of Swords, that's a rough energy. This is like curiosity. This is like an energy of constantly seeking answers. You know, with that moon, it's like always having that flashlight out in the dark, trying to shine light on the situation, trying to get some answers, trying to see in the dark. It's like, you know, with your eyes closed and when the light shines, you can see the light, but you can't make out any figures. You can't see anything. You just know that there's light. You know, I just feel like you're feeling your way.  I'm tired of walking around. Here you are. Tired of walking around by the night, by the light of the moon. It's so dark. You know what I mean? And that's what I feel like has been happening. It looks like you're getting out of the dark side of the moon. You've been walking along, walking around on the dark side of the moon in some kind of a relationship and it looks like this weekend, your retreat, you just at least get out. You go somewhere where it's daylight or the brighter side of the moon, you get out, you get away. You're not seeking these answers. You're just like, that's it. Forget about it. There's nothing to see here. Just keep it moving. That's really the energy. Because I feel like everything's hidden on purpose. Somebody does not want you to see something. They do not want to reveal anything. Whatever they're revealing, it's strategically chosen for you to see in order to kind of, it's like a deterrent in order for you to not to dig any deeper.  And when something is off, Virgo is more intrigued to find out what it is to some degree. Of course, depending on where your placements are, you might have Pisces placements. So you might have a water placement, or maybe you have Scorpio placement, which makes you very inquisitive. You could have air placement somewhere, as well. So yeah, Friday looks like, you know, it's kind of an energy of like, when you're putting a puzzle together. And the longer you stare at the puzzle, the harder it is to see the pieces that need to be put, you kind of have to step back, and give your eyes a break, and then come back to it a letter at a later time, with a fresh set of eyes, just to be able to refocus to see it again, if that's your choice. Sometimes you just need another set of eyes, to be able to look at something, a situation in order to because I just feel like you've been looking at something for too long or dealing with something for too long. And it's caused confusion. You're trying to get clarity.  So I can just kind of refresh and come back to it maybe next week or at a later time. Okay, so Friday is definitely the beginning of that energy. Now Saturday of coffin endings, bring new beginnings. So that's what I'm talking about. And that kind of segues into Saturday. Okay, so just remember this doesn't this is just an energy on Friday.  But either way, Saturday is like no putting the nail in the coffin with this thing. Saturday, it's like, you know, like I need to end this here. So I could have a new start with it. I need to change I need to liberate myself from this thing. So I can have like a new beginning with something here. So let's take a look and see. Yep. Move away from it. So I can have a fresh set of eyes to see to look at this situation from a different point of view. Absolutely.  Okay, a new opportunity for you to see this situation from a completely different point of view, but you you get away, you know, so the Six of Swords is more so like mentally getting away. Okay, this the eight of cups is more like, emotionally detaching yourself from it. And the Six of Swords is like mentally detaching yourself from it. Okay, so this feels like mentally relocating and putting yourself in a different place. And that's what that coffin is here, making change. Right? So once you do, and once you get yourself, it's almost like even if you put yourself in a geographical place mentally, I feel like that ace of pentacles is kind of like a light bulb, it's even glows kind of like you have a light bulb, like an aha moment on Saturday, about this thing you're trying to figure out, like it comes to you. And you're able to actually look at it and really study it and be and like, you just get this, this new idea, which is the page of pentacles. So the new idea comes to you, like from a different angle, you get this new idea, and you get, you get some clarity here, and you can it's, it's tangible, it's like you can touch it, you can, you can actually like fiddle with it and play with it. And you're like, Oh, I found the missing piece. This is the missing piece. So you find this missing piece, Saturday, it comes to you. You know, for some of you, it could be like something that you've lost and you've been seeking, looking for it for such a long time. So here it is, see how he's holding it? Here she here it is, here's the missing piece. It just suddenly comes to you, like from universe just brings it or spirit just brings it to you. Yeah, here it is. You've been looking and looking and looking like a, you know, like I said, the more you look for something, the harder it is to find. And when you let go and stop looking for it, it just magically appears and here it magically appears. So Saturday, boom, the answer comes. Now Sunday, you've got heartbroken, deeply hurt, sad separation, breakup, feeling lost, grieving morning. So if this is in regards to a relationship, well, let's see. Oh, geez, what's going on here? Okay.  All right. So okay, they're telling me right now here, with this temperance cards is such terrorist energy here. You also have Gemini, Libra, Aquarius. So I feel like what they're saying here is you got into some kind of relationship or a connection with someone that went really fast. Something went really, really, really fast, where it looked like it was love, or it was a karmic twin kind of thing. But I feel like it looked like it looked like or it looks like love, but it really was maybe lust, or it had the potential to go in that direction. But I feel like it rushed too quick. That's what I feel like. Something was off. That's what I'm saying. Something was off. And that's the clarity that you get. I don't know if this person that you connected with was already in another contract with another person. And they might have come in rushing in with this whole love thing. Now they might not have actually been another physical contract with another person. They may have just been in a mental contract, or they had another, so another where it's like, for an example, they might have still had reservations for someone from their past, or they may have said or given you the impression that something was going to go forward with you too. But maybe it was a rebound kind of situation. They're just something that, and these are just examples, if it resonates for you, it could very well be that. But at me, they're just mostly examples. I just feel like the person that you were connecting with, that you felt something was off with, I feel like you're going to come to realize that it wasn't, it was, it wasn't, it was the timing. It wasn't the right time. You know, something, it wasn't the right time. And I feel like this person was in some kind of other contract with another person. There's something wasn't finished. They had an unfinished thing with someone else, and they rushed into something with you. Maybe they were love bombing. That Night of Wands, very lusty kind of energy, especially that Eight of Wands, very, that's a love bombing energy. Oh, I love you, I love you, I love you want to be with you, but it's just something not right here. Something not right here. And I feel like you might have been kind of delaying heartbreak or delaying knowing what you need to do or trying to make something work here, but realizing this whole time that it wasn't going to work, but trying to kind of hold it up or hoping that it might work. So maybe we'll later, I'm not seeing that it won't. I just feel like this weekend is kind of like, you know, your energy is about dealing with the situation, like putting that nail in the coffin so you can get yourself free. So you're not focusing so much time on this relationship here with this page of sorts, trying to figure out what's wrong, what's wrong, what's wrong. And maybe you don't need to really have an answer. Maybe the answer is just that something's off and that's enough. That's the answer. Instead of trying to figure out what exactly is off, maybe just accepting that something is off and it doesn't feel right and saying, I'm going to just accept that as the answer and just let it go. Okay? That might be what you come to. And I think maybe you weren't accepting and you do finally come to accept that answer. And you might have been just kind of saying, well no, I got to find out exactly what it is because, you know, maybe my person just has like childhood issues and maybe if I just nurture them more, then the relationship, you know, I could save this but it's not your job to save that person. Because if someone, you know, if they're not healed to show up and be present for a relationship fully with you, that's not your responsibility to fix them. Do you know what I mean? You can receive them and you can give them love and you can direct them if you sense something is off and you can be compassionate towards them if they're struggling but if they're not opening up to tell you whether they know about it or not, like you're not a savior. Do you know what I mean? You know, I'm not trying to say that you don't have the gift of helping people, you do but I just feel like you're spinning your wheel, you're like a hamster, spinning your wheel in a hamster cage and time is going by here. So it feels like this weekend you kind of come to that, you know, like maybe I just need to say to myself, you know what, I give up, I don't know what's going on and I think maybe I just come to this idea on this weekend that that's enough for me. There's something's off, it's a big giant question mark over this person's head and they're not opening up and sharing things with me and that's the choice that they're making and I have to make my choice. And look, at the bottom of the deck here, this person might be a runner and maybe they do have like some kind of codependency issues or there's some manipulation or there's some kind of narc stuff going on or maybe they're like an empath but they use it for manipulation type of ways and stuff like that victim kind of stuff, you know? So I mean with the Seven of Swords that is a sense of trickery. That's a sense of betrayal, self dishonesty or someone who just runs away, you know, and the question why are they running away? Why are they running away, you know?  Oh my goodness, let me bleep that out. Calling a spade a spade rather than trying to figure out why it's a spade. Does it matter why it's a spade? Even if you find out why it's a spade, what does that change?  You have to look after yourself, right? And it looks like, I mean, I'm not trying to be preachy. I'm sorry if I sound like, oh my god, I'm preaching. Stop preaching. I'm not trying to be that way. I'm just saying, it feels like you take a look at that this weekend here. You know, and you can still love people. You can love people, even if they're a little off, but you can also love yourself at the same time. It doesn't have to be a trade-off. All right, let's see. We're in 20 minutes, so I feel like that's the message. I'm going to take a nap. You know what? I'm getting old. I just need a nap. I'm telling you, it's Thursday. Some people are like, no, going out, going to go have dinner, going to go do my thing. Nope. Ms. House of Ergo is going to take a nap. I love naps. Just get me in my blankets, put on some little crime show, get some popcorn. I'm good. Just cozy up in my sweatpants and my sweats and my hoodies and just the weather's getting a little cold now.  So yeah, you guys, go leave that there for you and I hope you guys have a fantastic weekend. I hope you sort some stuff out for yourself this weekend. Hope you love yourselves and hope you have a happy birthday and that you love each other. Have a great weekend. Do something fun for yourself this weekend or just something, you know, if it's not fun, just do something that you enjoy. Do something nice for yourself, Ergo, and I will see you back here on Sunday. Happy and refreshed and rare in to go. All right, you guys, take care. Love you. Bye.


The Jell-O Program, coming to you from Radio City, New York, starring Jack Benny with Mary Livingston, Phil Harris, Kenny Baker and yours truly, Don Wilson. The orchestra opens the program with For No, Rhyme, or Reason. From California to New York, from Maine to Texas, every home has one common problem, and that's meal planning. You want to keep the family happy, you want to keep their appetites interested. Well, there's where Jell-O is a great big help. Jell-O is one dessert the family always likes, because first of all, there are so many different ways to serve it, with fruits or nuts or whipped cream molded in shimmering layers of two and three lovely colors, or just served perfectly plain, a grand dessert any time. And second and most important, Jell-O tastes so delicious. It's a new treat every time, for Jell-O brings you that extra-rich fruit flavor, a wonderful real fruit goodness that makes every Jell-O dish a triumph. Just be sure to get genuine Jell-O when you buy, if you want to enjoy Jell-O's delicious extra-rich fruit flavor. Look for the big red letters on the box. They spell Jell-O. Let us welcome to New York that little ray of California sunshine. That shivering, quivering, ice-kissed comedian, Jack Benny. Hello again, this is Jack Benny coming to you through a suit of long underwear. Don, it's sure great to be back in New York again, but boy, this cold weather is really too much for me. Oh, Jack, I'll admit it has been pretty cold, but it's certainly much warmer today. I know that, Don, but I defrost very slowly. You know, coming from California, my blood happens to be thin, what there is of it. I can hardly stand it. I know how you feel, Jack. After the sun goes down, it does get pretty frigid. Frigid? Why, Don, the other night I slept under six blankets. I felt like the bottom wheat cake. But cold or no cold, it's good to be back in old Manhattan. Well, tell me, Jack, you've been in town now since Thursday. What have you been doing with yourself? Oh, I've had a lot of fun, Don. I saw some shows, went to a couple of nightclubs, and last night I was invited over to Fred Allen's apartment for dinner. Oh, Fred Allen, huh? Yeah, he and I are pretty good friends now, you know. Well, I'm glad to hear it. Has Fred got a nice apartment? Oh, how could I tell, Don, with all that laundry hanging in the living room? But, Don, you should have seen the meal he put on. Now, you know me, Don.  But after all, how often do I come to New York? Maybe once a year. Well? Well, you think he could have had Sardine some other night. Sardine? I wouldn't have liked him if he'd have opened them with the key to the city. I got even with him, though. When I left, I took three spoons back to the automatically. Well, he finds that out. Gee, it doesn't seem possible that Fred would invite you to dinner and serve that kind of a meal. Well, he did. And wait a minute, here's the payoff. No, the only ones there were Fred, Portland, Mary, and myself. And when we got through eating, Fred asked me to get up and make an after-dinner speech. After-dinner speech, what was that for? Well, he was hoping I'd say something that he could use on his program next Wednesday. You know. Oh, I get it. I fooled him, though. I got up and recited the Gettysburg Address in French. Let him use that. Anyway, Fred and I are friends now. I'm not going to start running him down. Running him down? What have you been doing up till now? Well, oh, it's you, Phil. Well, welcome to New York. Thank you. Say, keep bowing. Flack those curly teeth. Yes, sir. You know, Phil, I was wondering if you'd show up tonight. I haven't seen you since we got in town Thursday. Where are you living? At the Aster Bar. The Aster Bar? Well, for goodness' sake, why didn't you take a room in the hotel upstairs? Funny, the bartender asked me that when I was shaving this morning. Well, I can imagine the kind of time you've been having.  This, uh, this isn't your regular band, is it? No, Jack, these are local boys. What do you think of them? They're a fine bunch, they look like you picked them up at a rummage sale or something. What if I did? They're instruments are new. Oh, yeah, well, that's something, yes. But I can't understand why you didn't bring your regular band along. I offered to pay their expenses. Their expenses? That's rich. Well, I did. Sure you did. I got 14 musicians and you wanted to put them in seven up for births. Well, the births were opposite each other. They could have slept crossways. You know, the train was crowded. Crowded? Yeah, I had a share of my birth with an Indian that got on at Albuquerque. Kept me up all night trying to sell me a blanket. Happened to snore once or twice, he tried to scalp me.  Hello, Jack, here's your little glamour girl. Oh, hello, Mary. That's it, Mary. Keep bowing, show your silly hat. How do you like this New York weather, Mary? What a change. Burp, it's cold. Burp, that's burp. Burp. Hello, Don. Hello, Mary. Have you been having a good time since we got here? Oh, swell, Don. Gee, I love winter in New York. I've been taking long walks in Central Park every day.  It's almost gone now, Jack. Well, maybe it is, but I saw a picture of Mary LaGuardie in front of the city hall last week, and the snow was way up to his ears. Oh, how high is that? Plenty high, he was standing on Grover Wayland. Now that's silly. What was Grover Wayland doing under the snow? He was keeping his gardenia fresh. Well, hey, Frank, Mary, I never thought of that. Well, anyway, you can all have this winter weather. Every time I go out of the hotel, I just about freeze. Well, no wonder you came from California without an overcoat. Why don't you buy one? Oh, we're only going to be here a couple of weeks, say. Why spend $50 or $60, you know? That's right. You can get a can of sterno for a dime. Yeah.  You ought to see this one, folks. I think it's cute. Yeah, it sure is. Looks like something a bride would bake. That's what the girl in the store said. Well, she was sure clicking. Say, Phil, we got a long show to do. How about a number? OK, Jackson. Thank you. Hold it a minute. Come in. Oh, how do you do? Hello, Jack. Are you busy? Well, miss, right now I'm. Oh, for heaven's sake, I'll be doggone. Rosie Nicholson. That's me. Well, gee whiz. Come in. What a surprise. Hey, fellas, this is Rosie Nicholson, a girl I used to go with when I lived here. How do you do? Hi, Rosie. Mary, Mary, this is an old sweetheart of mine. Oh, yeah? Well, well, Rosie, Rosie, I haven't seen you in years. I knew you were in town, Jack, so I just thought I'd come up and say hello. Well, I'm glad you did. You're looking great. But Rosie, you've gained a little weight, haven't you? Yeah, now I go with a guy that feeds me. I saw the same sense of humor, but you haven't changed, though, Rosie, really.  That's right. A lot of peroxide has gone over the dam since then. Miss Livingstone, please. Guys, after all these years, it's sure good to see you again. Say, Rosie, are you married yet? No, but I'm still in there punching. That's the spirit, gal. Don't give up. Say, will you ever forget the fun we used to have?  Yeah. Remember the time you gave me a lock of your hair? I'll say. Don't you wish you had it now? Keep still, Mary. We're reminiscing.  All right, Jack. Play, Phil. Hey, Rosie, will you ever forget the time you got fired from the delicatessen for giving me extra pickles? Uh-huh. This one has an announcement of great importance to make. Take it, Don. Ladies and gentlemen, the scene is the residence of Mr. and Mrs. Homer T. Griddle in the thriving little town of East Irons, New Jersey. They've just finished their roast beef at an hour enjoying their dessert. Let us tune in and hear what they have to say about our product. Gee, darling, this is a swell dessert. It's so appetizing. What do they call it? I'm glad you like it, Homer. It's called. My, it's delicious. And tempting, too. Tell me, dear, is this the only flavor it comes in? Laughty no, honey. This economical dessert comes in. Well, it's simply wonderful. I hope you serve it often. Oh, sweetheart, is there any way of telling this from other similar desserts? Yes, indeedy, precious. All you have to do is look for the. Well, I must run along. I have an appointment at the office. Where is your office? It doesn't say here. Goodbye, dear. Goodbye. Ladies and gentlemen, I venture to say that this happy couple were eating jello. It is economical, easy to make, and comes in six delicious flavors. And now, folks, to resume in a lighter vein, tonight, as we are visiting New York, we are going to present an original murder mystery. A play that we feel. Hi, Jack. Am I late? Oh, a little bit, Kenny, but it's all right. All right. Now, look at those rosy cheeks. Say, Kenny, how do you, how do you, how do you like this kind of weather? It's a little different from Glendale, isn't it? I'll say it is. And you know, Jack, this is the first time I've ever seen snow. Well, well, it looks beautiful, doesn't it? It tastes good, too. Gee, but snow is funny stuff. Say, Jack, I wonder where it comes from. Well, it's very simple, Kenny. A snow is fundamentally rain, but due to atmospheric conditions, the moisture in the clouds condenses into minute crystals. And these tiny particles fall to the earth in dainty white flakes.  Well, it serves me right for even attempting an explanation. Now, why don't you tell them about the stork? No, keep still. He asked me a question and I answered it. I know, but ever since you bought that encyclopedia, you've been showing off. I have not. You have, too. The other day, I just asked you what time it was, and you told me how they make watches. Oh, forget it. And now, ladies and gentlemen, as I started to announce, we are going to present an original... Hey, Jack, is that Kenny Baker, your tenor singer? Oh, yes, Rosie. Oh, Kenny, this is Miss Nicholson, the girl I used to go with. Gee, yeah. Do you live in New York, Miss Nicholson? Yes, I do.  Kenny! You'll have to excuse them, Rosie. He's been reading the wrong kind of magazines. And now, folks, as I started to announce, Kenny stands still and stops scratching. Tonight, we are going to present an original detective thriller entitled Murder in the Movies. Now, in this gripping drama, Phil Harris will be Sergeant of Police. Don Wilson will be Lieutenant, and I will be the Captain. We knew that. Phil, if you're not happy here, I can arrange a taffy pull with your contact. You see, they'd like that. Now, let's see. Well, I think that before... Stop arguing, Phil. Jack should be Police Captain and nobody else. Why should he be? Just give me one reason. I'll give you two. He's got flat feet. Now, wait a minute, Mary. My feet are not flat. Go on. Your footprints on the beach have fooled many a duck hunter. Well, I can't help that. Now, let's see. Well, Jack, is it really true that you purposely flattened your feet the day the United States entered the World War? No, Don. The World War had nothing to do with it. It was an accident. An accident? How could you accidentally flatten your feet? I was hanging out of a window at the time, and I was so surprised at the war news that I dropped.  Why were you hanging out of a window?  Let me ask you something, Phil. Where were you during the World War? I was in kindergarten. Kindergarten? What are you laughing at? I bet he had a flask at his rompers. You said it. Any guy that'll put on rompers just to avoid being shot, I have no sympathy for. Now, getting back to our play, I will be the captain, and, Kenny, you work in a moving picture theater.  Okay. Can I wear them in new galoshes? No, Kenny. And, incidentally, you're not supposed to wear galoshes indoors, so take them right off. What? And go barefooted? Barefooted? Kenny, you mean to tell me you haven't got shoes under those galoshes? What do you think I am, a sissy? Well, you've got a high voice, if that's what you mean. Now, Mary, you're going to work in the same moving picture theater.  That's me. Short change Livingston. Well, there'll be none of that. And now, folks, our play, Murder and the Movies, will go on immediately after Kenny's song. Are you ready, Kenny? Yeah. Well, go ahead. And stop that scratching. Are you wearing long underwear or have you been to the flea circus? Both.  Thanks, Jack. Your kindness is exceeded only by your good looks. Well, wow. Hey, where did that come from? And now, folks, before somebody says something, he couldn't let that line go by without making a face at me. And now, folks, we will proceed with our original dramatic thriller entitled Murder at the Movies. Or please don't talk about me when I'm gone. The scene opens at police headquarters where we find Captain O'Benny and his assistants, Lieutenant Wilson and Sergeant Harris. Curtin. Music. Now, listen, men, things are going from bad to worse. The Chief just called me up and said we better clean up the crooks in this district or else. Oh, we're doing all right. Doing all right. Now, listen, Harris, you were on duty in Central Park last night when two men stole an elephant from the zoo. And you let him get away with it. Well, they told me they were Barnum and Bailey. I wouldn't care if they were Damon and Pithias. Which they probably were. Well, I'm sorry, Chief. Sorry.  Why are you wearing your badge on the seat of your pants? The patch fell off. Oh. Well, listen, fellas, I want action around here. Action. Well, now, I'll fill this jail if I have to serve a dollar dinner. That's what. I'll take it. Hello, Police Headquarters. I mean, hello, Police Headquarters. Thanks, and cash here at the Bijoux Theater. Oh, hello, Mamie. How's Tricks? Fine. She just had pucks. I don't mean that. What did you call me up for? Better get over here right away, Cap.  Gee was cute. Murdered, eh? How do you know he's dead? He doesn't wink back. I see. Well, tell me, when did this murder happen? Three hours ago. Three hours? Why didn't you call me before? I was selling a ticket to a Scotchman. Oh. Well, hold everything, Mamie. We'll be right over. What's up, Cap? Plenty.  We'd better get over there at once. Right with you, Cap. Now, this may be dangerous, so take everything you need. Oh, Harris, where's your bulletproof vest? At the cleaners. I'm going to a party tonight. Oh. Well, it's lucky you got an excuse. Come on, man. Let's go. Gee, it's cold out tonight. Sure, it's cold. You ought to buy an overcoat. Oh, I can stand it. There's the police car. Let's go. Murder at the Bijoux Theater. Also free dishes. That is all. Step on it, Wilson. I've almost got a set. Say, Cap, can we stop by Joe's pawn shop for a minute? What for? I want to pick up my gun. We haven't got time for that. Come on. Give her the gas, Wilson. Okay. Here's the place, fellas. All right. Break it up, men. I'll stand back, everybody. Where's the body, Cap? Yeah. Hmm. Help me lift him up, fellas. I'll take his overcoat for evidence. Evidence?  Now, let's see. Well, well, he was shot right through the little finger. Little finger? How could that kill him? He was scratching his head at the time. There's Mamie in the box office. I'll get the load down from her. Hello, Mamie. Hello, Cap. I'm glad you got here. Now, listen, Mamie. Now, tell me all you know about this murder. Well, Cap, I was sitting here selling tickets. When all of a sudden, how many please? Two on the balcony. Thank you. All right, Mamie. All right. What happened? Well, anyway, I heard a shot. And all of a sudden, how many please? Six. I want to lie down. Now, come on, Mamie. I got to get the facts. What did the murderer look like? What was the color of his hair? I don't know. He had a hat on. Well, his eyes, then. His eyes. What color were his eyes? He had dark glasses on. Oh, well, what about his face? What did his face look like? A veal cutlet. You're trying to shield him. Now, where did he go? Well, as soon as he fired the shot, he ran into the theater. That's what I wanted to know. Come on, boys. We'll go in after him. Where is he, Cap? There's the doorman. Hey, buddy. Did a man come in here a few minutes ago with a gun in his hand? Yes, sir. He did. Was the gun smoking? Yes. So I made him sit in the loges. Now, let's go in, man. This is a cinch. Oh, I'm sorry, mister. But you fellows will have to have tickets. Tickets? We're the police and we're after a criminal. Here, look at our badges. They're very pretty, but you've got to have tickets. Oh, all right. Hey, Wilson, buy three tickets. Okay. Now, see here, buddy. Did you get a good look at the murder? Yes. He had purple hair, yellow eyes, and light green complexion.  How could he look like that? It could have been something I ate, you know. Oh, you're no help. Here are the tickets, Cap. Here you are, buddy. Hold your stubs, please. Now, come on, man. The kid told us he went upstairs. Follow me. Okay, man. Here are the loges. Now, let's take it easy. We've got them cornered now. Stubs, please. Oh, here you are. I'm sorry, sir, but these tickets are for the main floor. Now, look here, buddy. We're the law. We're after a desperate criminal. He's sitting in the loges. Well, he can afford it, can't you? Oh, all right. What do we owe you? $0.45 extra for three tickets. Here you are. Make a note of that here. $0.65 for expenses. Now, let's see. Here are the loges. Hey, fellas, I bet that's him there on that end seat. He looks like a killer. Yeah. A quiet man. Let's sneak up on him. Darn it, there's the news reel. Philadelphia, Pennsylvania. Army beats Navy 14-7 in thrilling football game. The crowd is in a frenzy as Army scores its first touchdown. Harris, you're here on business. New York City, New York. Animal lovers mourn the loss of Oscar the Elephant, which was stolen last night from Central Park Zoo. Police are baffled. We are not. Then where's the elephant? Never mind. We'll find him. Hollywood, California. Bevy of beautiful girls arrive in Hollywood to take part in beauty contest. Look at those gorgeous creatures as they step off the plane. Now, come on, man. We've got to catch that murderer before he gets away. Hey, Cap. There's a fellow with a gun sitting over there with a door. That's the guy we want. Come on. Now, what's that? It's a feature picture. Look. Yeah, there's the title, Jack Benny and Artist and Models. Why, that's my old picture. We can't nab that guy now. We'll have to wait until it's over. Oh, no, you don't. I'm not going to sit through this. Take it away. I give up my surrender. What? I confess. I killed him. I'm the murderer. But I'm not going to sit through this picture. Graceless out of men and take him away. I'm staying for the picture. Play, Phil. It's quick and easy way to add new excitement to your dinner table tomorrow night. Serve the new Jello vanilla pudding with crisp toasted nut meats folded right into it. It's inviting. It's new. It's delicious. For Jello vanilla pudding has a marvelous flavor, creamy, delicate, and smooth as satin. It's made with real vanilla. That's why it's so tempting and good. Then try the new Jello butterscotch pudding. It's just as delicious as the vanilla. For it's rich with old-fashioned butterscotch flavor. The flavor your whole family will love. And it has a golden, taffy color that makes you hungry just to look at it. And then try Jello chocolate pudding. Every bit as tempting as the kind that mother used to make, but far quicker and easier. For all three new Jello puddings can be prepared in next to no time with just a few minutes cooking. Simple directions are in every package. So ask your grocer tomorrow for all three Jello puddings. Vanilla, butterscotch, and chocolate. We're a little late, so good night, folks. Kenny Baker appears on the Jello program for courtesy of Margalli Productions. This is the National Broadcasting Company.


What's going on everybody got Kyle here with latent sports cards and we are ripping so it's four boxes of 2023 bowman chrome choice These are all four gonna be for mr. Harper Harper B. Appreciate you sir. Let's see what we got Four boxes of HT a Get next up. I got Richard Jim and Neil watch them destroy the Broncos. That's awesome Spencer. That's awesome Yeah, I think next Sunday. We're going to um Oh, I don't think we are going on the shops going to the enter Miami and Orlando city games, so that'll be a fun time next Sunday. We're gonna hit that up. There's a one Benjamin first base auto For the Guardians, it's Cortes doing bro She's nice very much One Benjamin first base auto We got a gold gold shimmer is gonna be first of Wilfredo and to Nunes or Antunes Gold shimmer that one is one of 50 on the first bowman. I'm gold shimmer auto the guards his gold for you there and Purple the 250 is going to be Yosfer Zulu, wait a Zulu wait at the 250 Honestly, I wouldn't mind messy scorn against Orlando city, you know, I wouldn't mind Linda city had a really good comeback when yesterday, man. I was watching that Was unexpected we had two goals after the 90th minute come back and win Pretty sick. Come on Harper. See some fire for you, sir. We got a green in here This one is first bowman base auto BJ cook for the ace BJ cook We've got green lava. This one's first bowman to 99 Louise Serna for the Yankees there green lava first bowman auto and Clark Elliot gonna be speckle auto on the prospect for the ace at 299 Clark Elliot Prospect non-first Box three Why they always want to make me bet my CSP and always always putting bets up there When they always doing that, I'm sure sad those two. Yeah, I'm sure sad those two sad. Where you at? If I yell, he'll answer Abner your rebate first bowman base auto there for the brew crew nice-looking pitching prospect for the brews Abner your rebate We've got a first woman base auto Vincent Parazzo not ones for the Mets Parazo and to 499 refractor auto of Joey Estes For the A's In box four. Come on, Harper. Come on. Come on Had a Riley green auto dang No, I like Riley man. There's a first of Spence Kaufman For the Padres there Spence Kaufman thought that was a Buffalo Wild Wings logo on his shoulder for seconds Spence Kaufman base auto It's not it's not There's a first auto of Gordon Graceffo for the Cardinals Base out of there Gordon Graceffo and Purple auto on the back to 250 is going to be junior Franco. That one is scratched up. We'll send a box with this Harper That one is pretty scratched up next to his head there Pretty pretty noticeable scratches to send a box with that one Harper. Thank you again, my friend As always we will get that right out to you


If nice guys finish last, does that include cheaters? The following story has what it takes to prove that nice guys can hide a berserker inside. A wife, treated like a queen, add in a loving partner, cheating, regret, and a risky confession. And you might unlock the anti-simp instead. Before we start, switch the like button sleeping pills for caffeine ones. Warning, the following story will be triggering to cheaters. I can't believe I of all people would be writing this, but here I am. For confidentiality reasons, I'm going to speak in generalities and use fake names. For this post, I'll call my husband Winston and refer to myself as Susan. My husband and I are in our 20s and have been married over two years. We met by chance out in public, started talking, exchanged numbers, and the rest, as they say, is history. It was a case of love at first sight, at least it was for me. We dated for six months and then lived together for a year, prior to marrying.  They paid for everything except for the bar and our honeymoon, which his parents paid for. My parents love Winston and his parents love me. Our marriage has been wonderful and I wouldn't change a thing.  We just do this naturally to express our love. Now hearing this, you may ask, what's the problem lady? The problem is, I cheated on Winston. With a work colleague two months ago and I'm now overwhelmed with guilt. Now every time Winston does something kind for me, I just crumble inside. I feel so awful and undeserving. To try to make up for my betrayal, I've been extra attentive to him since returning from the trip. We're naturally so affectionate towards each other, but I'm now going way beyond that. My dad often jokes with us saying we should get a room as we're always engaged in some form of public displayed affection. As I set up front, I'm not going to get into specifics, but I need to go over how things developed with my colleague and hope someone can help me. I was selected to be part of a special assignment team for the company I work for. This program was a key initiative for the company and very important to our shareholders. Working on the project was very gratifying for me, as it was a great challenge. Yet, it was very taxing and extremely stressful. So much so, that one of the women on our team suffered a nervous breakdown. We primarily worked on the project remotely, but did meet as a team three times during the process. Nearing the end of the project, something went wrong on the portion I was working on. This necessitated me going to one of the regional offices for a week to work on resolving the problem. Originally three of us were set to go, but at the last minute the woman I mentioned, who had the nervous breakdown, had to back out for obvious reasons. This left me and another colleague, I'll call Steve, to fix the problem, so the project would be finished on time. We were on a deadline and worked non-stop from 7am to after 10pm for the first two nights, spending every waking minute together. We'd work at the office and ordered in food for lunch and dinner. I was completely stressed, and I too felt as if I was on the verge of a nervous breakdown. Thankfully by 4pm on Wednesday we fixed the problem. To celebrate we went out to a nice restaurant to celebrate, and both of us had too much to drink. After we got back to the hotel, one thing led to another and I cheated on my husband. It was a misguided spontaneous act, initially I didn't feel anything negative about it, as I somehow rationalized that we deserved it after working so hard. So the following night, Steve and I repeated what we had done the previous night. After we were together Thursday, the sobering reality of what we had done hit me first, then Steve, and we quickly came to regret our actions. Steve knew I was happily married, and I knew he was engaged to be married. We decided right there to put this out of our minds, as if it never happened. We also were concerned if information of this ever got out inside our company, it would ruin our reputations and potentially put our jobs in jeopardy, as we carried out the affair on a company paid business trip. We parted that night and agreed to not speak or communicate again for any reason, unless it was absolutely necessary. This wouldn't be that difficult, as the project we worked on was a unique situation, and we lived on the opposite sides of the country. So the chances of us ever crossing paths again was low, we ended things that night and I put it all behind me. Or so I thought. When I was flying home, I felt fine initially, but then started getting a pit in my stomach when I thought about greeting Winston at the airport. I held it together until I made it to the pickup zone, and I saw him there waiting for me with a big smile on his face. When I saw him, I just started crying and hugged and kissed him repeatedly, holding on to him for dear life. We were locked in an embrace for so long that an airport police officer came over and tapped on the window, motioning for us to move along to clear the pickup lane. Winston asked me what was wrong, and I told him I had been under such stress and missed him so much that I just broke down when I saw him. He accepted this, and that night we shared a beautiful night in passion. Ever since I got home from that trip, I've been taking extra good care of him. He's enjoying it and deserves all the special attention I'm giving him. But I am dying inside. My mind is being eaten away with guilt, and it's getting worse by the day. I have trouble sleeping and eating, and as a result, my work is suffering because of it. All I want to do is be near my husband and show him how much I love him. I've even had recurring nightmares of him finding out and leaving me. Last week we made the decision to try to get pregnant, and that has made me even more emotional about everything. I keep thinking in my head that I don't deserve him, or he deserves someone better. I don't think I can survive like this another week. It's eating me up to the point I can't function normally. No one knows about the affair, except for Steve and I though. This makes my situation even worse, as I have no one to talk to about this. That's why I'm here. I feel my inner conscious is telegraphing to me to be honest, and tell Winston what I've done, but I'm so afraid I'll lose him. I know if I tell him he'll be devastated and wouldn't see me the same way again. However, I do feel he'd eventually forgive me as he loves me so much and is such a kind, caring man by nature. So this brings me to my question.  Or should I remain silent and just continue to make it up to him in other ways? I'd really like to hear from those of you who've betrayed and how you handled things. Don't hold back, please. I'd like to hear about both the good and bad outcomes. Thank you. Your post brought back a lot of bad memories for me. I was you 31 years ago. That's when I cheated on my then wife of two years.  Since the woman lived on the opposite coast and I'd never see her again.  I was overcome with guilt, and I finally broke down and confessed to her. This broke her heart and completely changed how she felt about me. She tried making the marriage work, but she had lost all trust and would never let me touch her again, not even for a hug. She eventually filed for divorce. This set my life into a terrible downward spiral that lasted until four years ago. When I met the woman who would become my fourth wife. For the first time since my first wife divorced me, I can honestly say I'm happy and at peace with myself. If I had to do it all over again, I wouldn't tell my then wife, as she was truly my soulmate. If I didn't tell her, we'd be married today, and I'd have a big beautiful family like she and her husband have now. So my advice to you is don't tell your husband, and instead just be the greatest wife in the world to him. Good luck. You should tell him, but be prepared that your relationship will never be the same and may end. I cheated on my husband back in 2002.  My husband stayed with me, but he never fully trusted me again, and our love life was reduced to the occasional physical release for him. He stayed just for the kids, as he couldn't stand not seeing them every day. As soon as our youngest graduated high school, he presented me with divorce papers. He explained that he had been miserable for 12 years, and that he had no use for me, now that our kids were all young adults. I was destroyed by this, as I had put my full heart and soul into the marriage and to satisfying my husband, but it wasn't enough to overcome the pain I caused him. I don't think you have kids together, so your risk of losing him is very high, so again, my advice to you is to tell him, but prepare yourself for the worst. I created this account just to reply to you anonymously. My reply to you is going to be controversial, and I'm going to get a lot of hate for it. My recommendation for you is not to tell your husband. Reading your post made me cry as it brought up so many memories, memories that if ever discovered would end my relationship with my husband and destroy my relationship with my kids. 19 years ago, I cheated on my then fiance, with a neighbour in the building where we lived. This neighbour worked from home, and I was laid off at the time. Things just happened between us. The affair went on for nearly three months, and we pretty much were together every weekday at his apartment. Eventually, I came to my senses and broke it off with the guy. Four months later, I married my fiance. Today, we are the happiest couple in the world, and have three beautiful children that look and act just like their dad. I of course never had any additional contact with the guy, and it just destroys me when I think about what I did, and what I potentially jeopardised. I am, however, so thankful I never confessed. My husband is such a strong and prideful man who would never stand for cheating. Even if he were to find out today what I did all those years ago, he would leave me on the spot with no questions asked. So my advice to you is to not tell him, and instead make sure you meet or exceed his every expectation in every way possible, like I've done. It's worked out great for me. Thank you all for your heartfelt replies. I read each and every one of them, and really appreciate you sharing your personal stories. After much thought and three sessions of counselling with a great therapist, I've made the decision to tell my husband. It's going to be difficult for me and devastating for him, but I have to do it. To prepare for this, I have written out a full timeline of the affair which wasn't difficult since it was only physical for less than 24 hours, and was never emotional. My therapist has also provided me with a number of great articles about how to help your spouse, deal with your affair, specifically what not to do. I'm also prepared for him to want to be away from me for a time. From what I've read, this is perfectly natural, though I will be sad if he chooses to do that. As I said, my husband is a loving, caring man. He is very giving and protective, so I don't think he will react that way to this news. Rather, I think he will be hurt and disappointed by what I've done. I'm prepared for just about anything. Wish me luck, Susan. Hi, everyone. It's been a long time since I last posted here. So many of you have been reaching out, asking me for an update on my situation. I really appreciate your interest and concern. I wanted to update you before this, but I had so much to deal with, and just didn't have the time or energy to do so. Things just started settling down for me recently, so here I am.  If you recall, I was about to confess to my husband about the brief affair I had with one of my work colleagues. My plan was to talk to him that Saturday morning, and I ended up doing just that. Though we had plans that afternoon, I specifically made sure we'd both be together that morning, so that I could tell him without interruption. That morning, I was a bundle of nerves and almost backed out of it. Looking back now, I wish I had. I fixed Winston his favorite breakfast, and after we ate, I told him about the affair. He just looked at me attentively as I spoke, without saying a word. After I finished, he just stared at me, like he was looking right through me. He then excused himself, and went into the office and closed the door. I went over and tried the door handle, but he had locked it. I spoke to him through the door, and again told him how sorry I was, and how much I loved him. I then told him I'd be waiting in the living room when he's ready to talk. From the articles I read, one of the things it said for a wayward to do is to give the betrayed plenty of space, so that's what I did. After a few minutes, I thought I heard him talking to someone, so I snuck over to the door to see if I could make out what he was saying. I couldn't, so I just went back out to the living room. I then got a call from my mom, and I let it go to voicemail, as I didn't have time to speak with her. Then about 10 minutes later, there was a knock at the door. When I looked out, I saw my parents standing there. I opened the door, and was about to ask them to come back later, as Winston and I were having a personal discussion now, when my mom said Winston called, and told them everything. I couldn't believe it, and didn't know what to say. My dad asked if it was true, and I asked what. My dad asked, Did you have an affair with one of your coworkers? I said yes, and started crying. My mom asked, How could I do such a thing? Before I could answer, Winston came out of the office, and started talking to my parents, totally ignoring me, and referring to me in the third person. He asked my dad to please take me out of there, as he wasn't in a good frame of mind. I kept trying to talk to him, but he kept ignoring me, looking only at them as if I was invisible. Desperate for his attention, I went over and hugged him. While he didn't push me away, he didn't hug me back. After I released him, he went back into the office again, and locked the door. My parents started asking me questions about the affair, and I got upset, and ran into the bedroom. My mom followed me in, and we talked for a while, and then she helped me pack a few of my things.  I said I was going to my parents' house, and would stay there as long as he needed. I didn't hear from him at all for the rest of the day. I tried contacting him multiple times, but he didn't respond. In the last text I sent, I told him I was coming over, as I was worried about him. He responded and asked that I please leave him alone. I cried all day, and kept asking myself, how could something like this happen? When I got up Sunday morning, my parents were sitting at the table drinking coffee, with sad looks on their faces. I thought they were just upset over what I had done, but there was more. My dad said Winston came over, sometime earlier that morning. I was so excited, and asked if they talked to him. Dad said, No, we didn't see him. I then asked how they knew he was there, my dad said. Because he left your car in the driveway, with all of your belongings in it. I just said, What? And ran out to the driveway, where I saw my SUV parked and filled to the max with trash bags. Seeing that, I just broke down and fell to the ground crying. I couldn't believe what was happening. I told my parents I needed to go over to my house, to talk to Winston. When I got there, he was home, but didn't answer the door. I then tried opening the doors with my keys, but he had the internal dead bolts locked, and I couldn't get in. I then thought to open the garage door and get in that way, but when I checked the app I used for that, Winston had removed my rights. I then thought I could enter the garage via the keypad, but he had changed the code, so I was completely shut out of my own house. Since it was early on a Sunday morning, and I didn't want to wake the neighbors, I started texting him. At first I was nice, but he didn't respond. I then sent him a text saying it was my place, too, and he can't just lock me out. He texted back, sue me. I couldn't believe the once kind, caring man I loved with all my heart was treating me like this. Yes, I deserved punishment, but not like this.  Eventually I went back to my parents' house, locked myself in my old room and just cried my heart out for most of the day, totally bewildered by the last 24 hours. I again tried contacting Winston all day, but he didn't respond. On Monday morning, I called my boss and took three days off to deal with the situation. I went over to the house Monday morning and was able to get in. Winston wasn't there, and when I looked in our bedroom, I saw that all of his clothes were gone. I then went into the office, and there I saw something that just destroyed me. It was the cover of our wedding album, sitting beside the shredder. Winston had removed all the pictures and shredded them. I couldn't believe it. As I walked around the house, I noticed all the pictures of us were missing. Searching further, I found all the empty frames and realized he shredded them too. I was so broken, I couldn't believe what was happening. I called Winston's office and talked to the receptionist. I asked if I could speak with him and she told me that he would be out of the office for the rest of the week. She said he had taken the week off. I then called my mother-in-law. She answered and said, Winston told her and my father-in-law everything. I asked if she knew where he was. She said yes, but that she wasn't going to tell me where and hung up on me. I felt deeply hurt by this, as I was so close to my in-laws. On the Wednesday that week, I started getting calls from Steve. I ignored all his calls and sent them to voicemail. Later on, when I listened to his messages and he was asking me to please call him ASAP. Finally, in his last message, he said Winston somehow contacted his fiancé and told her all about the two of us. Hearing this, I called Steve and he was pissed. He said we promised each other not to tell anyone. I told him I know and that I should have told him before I talked to my husband, but I didn't think he'd react the way he did. Steve then told me he told his fiancé.  He said she was going to call me and that I needed to tell her the same thing. I told him I couldn't do that and he started begging me. I again said I wouldn't lie. Once he heard this, he started berating me, calling me terrible things and wouldn't stop. So I hung up on him and blocked his number. A few minutes later, I got a call from his fiancé and I told her everything. She was silent. As I explained what happened and when I finished the story, she just hung up. The nightmare didn't end there though. When I went to back to work the following day, I was called to the HR director's office. She's a friend of mine so I didn't think anything of it, but when I got there, she had an HR manager with her, along with the director of security. I knew something was up and I was likely in trouble. She asked me to sit down in a formal way and said they had a few questions for me. They said they were contacted by someone who said that Steve and I engaged in an affair while on company time using company resources. My stomach sunk and I started crying. Then told them what we had done but explained nothing happened during work hours. The HR director explained that when our salaried employees travel for business, the entire trip is considered work time. She went on to explain that the hotel room is considered a company resource since it was paid for by the company. They then went on to ask me about the second night that Steve and I were together. They asked if I ate dinner with Steve that night and I regrettably admitted that I did. They then asked if I drank wine. I said yes. They asked me how much and I said two glasses. They then asked if I purchased the wine and I said no. Steve did. The HR director told me that is against company policy as employees are not permitted to use another employee's card for food or drinks. In the end, I received a final written warning for the infractions and Steve was terminated. Before you say I received preferential treatment as a woman, I assure you that I did not. Steve would have gotten the same if that's all he did, but unfortunately for him, he did more. Steve was fired because he extended his stay by one additional day with no business justification and he expensed the entire thing including the flight change fee, the hotel and all of his meals which included the two bottles of wine. He extended his stay just to sleep with me the following evening. I feel horrible about what happened to Steve. He was a great employee with a bright future but now he's unemployed and his fiance left him all because of me. As for me any hopes of ever getting a promotion after this is slim. The following Monday at work Winston had me served with divorce papers at the reception desk. The receptionist called me that I had a delivery up front. When I got up there a man was waiting for me with a box of flowers. I hoped they were from Winston and they were however after I signed for the package the gentleman handed me the box of flowers and then handed me the divorce papers and proclaimed that. Misses you have now officially been served with divorce papers. My life shattered right there and I broke down crying again. I had to leave the office and took the rest of the week off. For the next seven months I tried everything to save my marriage but Winston refused to even speak to me. In fact he's never spoken another word to me since I made my confession. Our divorce is now final but I'm still an emotional mess. I love and miss the kind man he was before my affair but realize that man no longer exists. My actions have turned him into a cruel monster. I'm still holding out hope that one day he will have a change of heart and we can be a couple again. But that light is fading fast. A friend of mine told me that Winston has been dating one of our former neighbors from the town home community where we lived. I was casual friends with this woman and I couldn't believe she'd do this to me. I deserved to suffer for what I did but I never expected Winston to react the way he did. I knew there was a remote possibility. My confession would end our relationship but I thought the chance of this was one in a million. Tops, I want to end this by sending a message to my husband. Babe, if you ever read this I want you to know I'm truly sorry and will love you forever. Susan. That brings us to the end of Susan's story. Even though Winston treated her well and could be stamped as the traditional nice guy she didn't respect him enough to stay loyal. I'm curious to what Winston thought while Susan was showering him with the overload of extra affection after her trip as this could be seen as a red flag. Nonetheless, did you notice any red flags in her story? If so, what did you notice and how would you act upon them? As these stories are shared for your entertainment let's not forget that they can also hold lessons like this one shows that the truth is a precious thing. Thank you for staying till the end. You're the one I make these episodes for.  See you in the next one.


at Moe Party. This is Sunday at Moe Party and we have Frostbite right here and Storm. Both trucks. A lot of people have been asking for it. Right there we have a dyno. Now I don't know how accurate the dyno is going to be. This is a mobile dyno. But we're going to do it. We're going to put Frostbite and Storm on the dyno. We're going to see what they do. So wish us luck. Let's do it. All right we got project Storm getting on the dyno. Let's see what happens guys. Both of them are going to be loud. Especially mine because the pipe is going to rain in the tent. Not bad. No winter cooler. Just math. It's the first time in its life. Switch off. Let's see what it does on the motor. If his is reading 400, then I'm thinking it's low. I'm thinking it's probably going to be 475, 500, maybe 550. It just goes. It goes out of the hole. You can have all the power you want. I've never done this before. What's the pressure really need to be around us through this thing? We really just make sure as long as they're above 20 for these type of tires and they're even. A lot of times why we even check them is just to make sure they're even because otherwise they'll have a really weird bounce or something like that. 30-51 yeah. I wasn't scared. I told him to run it to 7, but I don't know. I didn't look. I'm nervous. I ain't never been on one of these things. I always see so many bad things happen. That's all you see on the line. Honestly it's easier to do it on here than on the track. That roll only weighs 2,200 pounds. The worst thing I've seen really on here is the drive shaft. If you have an active drive shaft, it's fine. That's a stock drive shaft. I've never, it's the eight speeds that are the ones. Appreciate that bud. We're frostbite. We're coming off the bus. I'm happy about that. Now we only ran the truck to 6,000 rpm on the first one and we ran it to 6,200 on the second pass. And we ended up doing 538 on the first pass, 558 torque, and we did 549 second pass and 551 torque on the second run. So I'm happy. We at least have some numbers for the first time with frostbite ever, so we'll continue to go. Project Storm did good. We got just over 400 horsepower to the wheels, which we were kind of guessing somewhere between the 4 to maybe 430 range, give or take, and that's pretty good. No intercooler on Storm. That was just water meth and it's hot out here guys, that's for sure. So I'm happy with the numbers so far. We'll continue to grow. Let's go check out some more stuff.