Now, Roma Wines, R-O-M-A, made in California for enjoyment throughout the world. Roma Wines, present. Suspense. Tonight, Roma Wines bring you Mr. Vincent Price as star of The Name of the Beast, a suspense play produced, edited and directed for Roma Wines by William Spear. Suspense, Radio's Outstanding Theatre of Thrills, is presented for your enjoyment by Roma Wines. That's R-O-M-A. Roma Wines, those excellent California wines that can add so much pleasantness to the way you live. To your happiness and entertaining guests. To your enjoyment of everyday meals. Yes, right now a glass full would be very pleasant, as Roma Wines bring you Vincent Price in a remarkable tale of Suspense. News and views in the world of art. Yesterday at the Doveville Galleries, a record-breaking crowd attended one of the most sensational exhibitions of recent years. Masterpiece of the show is a portrait by James Dorrance titled The Name of the Beast. It's a savagely candid work, a face from which violence has shattered the last vestige of humanity. The tragic circumstances of the artist's death are too well known to review here. But at the same time one cannot help speculating upon the essential mystery surrounding this remarkable canvas. What is The Name of the Beast? The Name of the Beast was Krebs, Elmer Krebs. I found him in an evil waterfront dive, took him to my studio and made the first sketch for the portrait that night. I gave him money and he promised to return the next day. When he didn't show up I went in search of him. He wasn't hard to trace. My search came to an end in a squalid room of a waterfront hotel. He didn't look up when I entered the room but continued to sit there on the sagging, dingy bedstead, holding his head in his hands and gently moaning. I crossed the room and raised the blind light in the daylight. Then I saw it. Blood on his hands, on his shirt front, in his hair and beard. A horrible, sticky mass of blood. You didn't show up for our appointment today. I'm the painter you met last night. Remember? You were going to sit for a portrait. What do you want? You want your money back? Certainly not. I want to finish my painting. I want you to come back to the studio. It must be crazy. Look here, it's very important for me to finish that painting. I'll make it worth your while. Money? I don't need money. Not anymore. Maybe I can help you in some other way. You're in some kind of trouble, that's obvious. What business is that of yours? You'd better wake up and pull yourself together. You'll have to get rid of those clothes some way or other and allow to think of some way. What happened? I told you it's none of your business. Why don't you leave me alone? I'm sick. I'll have blood. The first thing we must do is clean up this mess here and get those clothes off. And the shoes, too. I'll make a parcel out of them and dump them in the river after dark. You'd better shave off that beard, too. They'll be looking for a man with a beard, you know? Who will? By the police, of course. What makes you so sure of that? I know more about you than you think I do. You're bluffing. Maybe. Maybe not. But you're in no position to take chances. For all you know, I might be a witness. I might have seen you kill...  Temper, temper. I told you I'm sick. I'm liable to do anything. It wouldn't be smart for you to do anything to me, Elmer. I'm your only hope. You know that, don't you?  You were clumsy. To get away with murder, you need a clear head. Look at the mistakes you've made already. Blood all over you. As good as a rope around your neck. Where did you hide the loot? That's what you're after. Then it was robbery. Somewhere close by, too.  Well... It was in a shop, I imagine. That means they probably won't find the body till Monday morning. What's all this third degree? You with the police? On the contrary, Elmer. I'm going to save you from the police. I told you. I want to finish painting that portrait of you. That'll make sense.  Ah, but what a picture, Elmer. I've waited 20 years to paint this picture. Everything I've ever painted has been merely the preparation for this. I've worked alone. Never exhibited a single canvas. Do you know what it is to work alone? Yeah, I know. Nobody knows your name, but one day quite suddenly a masterpiece explodes in the face of a jaded world. Like your murder, Elmer. After a life of petty crime, vast and active yours really means something. Newspapers will headline it. The whole world will be clamoring to know your name. Exciting, isn't it? Exciting? Well, that's the way I feel about this portrait. I must finish the job. Just as you want to finish it. I know you won't take those clothes to the cops instead of dumping them. I'm taking a terrible chance walking out of here with a bundle of bloodstained clothes, as it is. They'd fit me about as well as they fit you. Okay, that's fair enough. By the way, where... where did it happen? A hawk shop. Number 23, next to the alley. Was it necessary? An old man came in and started firing a revolver right off. I don't pack no rod. There's nothing else to do.  Oh, my. And I suppose the police have your fingerprints on file? Yeah, I've done time once. What did you do with the axe? Just dropped it there. I was sick, all that blood. I suppose you left nice red fingerprints all over the place. I didn't touch nothing. Maybe the windowsill going out. And that's the first place they'll look. And you're obviously in no condition to go back there now. What are you trying to do?  My dear fellow, any intelligent man can get away with murder if he keeps his wits about him. You ought to be very grateful to me, Elmer. I'm going to take your clumsy crime and make it into a work of art. For Suspense, Roma Wines are bringing you as star Vincent Price in The Name of the Beast by Robert Talman. Roma Wines' presentation tonight in Radio's Outstanding Theatre of Thrills. Suspense. Between the acts of suspense, this is Truman Bradley for Roma Wines. Yesterday, a happily married friend told me one of his favorite formulas for enjoying life. He said he never eats dinner while still burdened with the pressures of a busy day. Instead, he sits down for a few minutes, takes it easy, chats with his wife, and enjoys with her a glass or two of Roma California Sherry, the perfect first call to dinner. Yes, Roma Sherry before dinner is a pleasant custom millions now share with family and friends. For Roma Sherry is a glorious golden amber wine, soft and mellow on the tongue, so inviting with its pleasing nut-like taste. Roma Sherry makes mealtime more welcome, helps you anticipate the good food to come. And when friends drop in, there's no more gracious greeting than a glass of Roma Sherry. Tomorrow night, before dinner, share Roma Sherry with your family. It costs no more to serve Roma, America's favorite wine. So insist on Roma, R-O-M-A, Roma Wines. Remember, more Americans enjoy Roma than any other wine. And now Roma Wines bring back to our Hollywood sound stage Vincent Price as James Dorrance with Elliot Lewis as Krebs in The Name of the Beast, a tale well calculated to keep you in suspense. The shoes of the beast were just my size. I wore them when I went on my errand that night. It was fortunate I did. Getting into the place was simple. It was an old-fashioned lock and the skeleton key to my studio fitted it perfectly. The shop bell jangled when I opened the door. I made my way quickly along the dark rows of counters to the rear of the shop. A pair of dusty porters provided it from the back room. I pulled them two behind me and snapped on my flashlight. The body, or what was left of it, lay in a heap in the center of the room. The floor, while it was lucky I hadn't worn my own shoes, there would be tracks out of that place. Red tracks. The axe lay near the old man's head. I picked up the axe and carried it over to the sink. I washed off what I could and smeared out the prints with cotton gloves on my hands. Then I made a quick circuit of the room, taking in every surface. With the wet gloves I smeared the prints on the safe handle, the windowsill, and the jimmy the murderer had so stupidly left behind. Then I dropped the cotton gloves on the floor and left them there. No way to trace a pair of cheap cotton gloves. Now there was only one last thing to do. Walk around the block to dry the soles of those shoes and burn them in the stove when I got back to my studio. The handiwork of the beast would remain, but the name of the beast had been expunged. I didn't burn the shoes. Nor did I throw that bundle of clothing into the river as I had first planned to do that night. No, no. This would be an authentic portrait of a murderer in the very bloodstained garments of his crime. That will be all for today, Elmer. How much longer does this go on? Until the painting is finished. You can't set a time limit on the completion of a masterpiece, you know. Don't look much like me. You've forgotten.  I don't like this picture. Did you have to paint in all that blood? My dear fellow, no one in the world would ever recognize you as the man with the beard. I don't like this picture. I don't like staying here. Look, what about that stuff? When can I start cashing in on it? I should have thought I was paying you enough to live on. Well, I don't want to get married. Well, what? Oh, good lord, man. You mustn't even consider it. In the first place, I can't afford to support another person. Who's asking you to support anybody? I got that stuff, haven't I? Well, I'm going to cash it in, that's all. Listen to me, Elmer. If you try to unload as much as one piece of that loot, the police will be on your tail so fast. Oh, no, my friend. That stuff has got to stay where it is for some time to come. You just say that so I'll have to depend on you so you can paint that lousy picture. Maybe. Oh, by the way, Elmer, I've never said anything about it before, but you never told me exactly what you did do with the loot. The suitcase, I told you. I know, in a locker at Grand Central, but where's the ticket? That's one secret I'm keeping. Well, all right. But you will promise me not to unload those jewels. Not for a while, yeah? She keeps asking me, why aren't we going to get married? What am I going to tell her? Oh, by the way, who is the lucky lady? Jeannie. Her name's Jeannie Baker. Hey, wait a minute, though. She don't know anything about me. Not anything.   Well, not a friend, exactly. I'm afraid this will be rather a shock to you. You're very close to Mr. Krebs. We're engaged to be married. What is it? Is he in some kind of trouble? Are you a detective? Well, not exactly. You see, I represent the insurance company. What insurance company? State indemnity. Our policy holder doesn't want to prosecute, but at the same time... Prosecute? Well, after all, the jewels were of considerable value. What jewels? Why, the jewels in the suit case, in the locker at Grand Central. He did leave the ticket with you, didn't he? Well, yes, but I mean, he didn't tell me that... Well, he did say it was valuable, and he didn't want to risk losing the ticket, but... How did you know about it? My dear Miss Baker, we insurance investigators have ways of finding out these things. Now then, if you're a sensible young woman... and I can see that you're not only a sensible young woman, but a very beautiful one as well. Mr. Dorrance, what has he done? Well, I don't think he regarded it as a theft exactly, more of a loan in all probability. After all, his aunt was a very old lady... You mean he stole this jewelry from his aunt? Well, I wanted to spare you those exact words, if I could. Actually, the lady would prefer not to prosecute. But of course, if we can secure the return of the property with no other way... I suppose I'd be arrested too, as an accessory or something. I must say it was rather thoughtless of him to have involved you in this manner. How do I know you're what you say you are? I have credentials, of course. But I would rather take care of this unofficially, especially since this little talk with you. You're much too fine a person to be involved in a sorted affair like this. I don't even know that suitcase has any jewels in it. Then supposing we go there together and get it. Jeannie? Well, now, let's have a look. How are we going to... Well, I think I have a key here that'll open. Those must be worth a fortune. Yes, they are, Miss Baker. You understand our concern? Yes. Close it up. I don't want to look at it anymore. I'd like to have spared you this. You understand, of course, that I wouldn't dream of prosecuting... not now that I've met you. I don't know how to thank you, Mr. Dorrance. This is such a shock to me. How could he? How could he? There, there. You're not the first innocent girl to be deceived by an unscrupulous fellow like that. How did you happen to become involved with him in the first place? I was lonely. I have no friends here, and he came into the cafe where I waited. Oh, there, there now. You won't let anything happen to me. I promise you, I'll do anything to keep you from knowing another moment's unhappiness. That night I worked feverishly, like a man possessed. But as I worked, an uncanny change came over the man in the portrait. There was something about it, something that terrified and at the same time fascinated me. Yet the more I tried to make it come right, the less it really looked like Krebs. I began to regret I had had him shave his beard in spite of the risk involved, being clean-shaven altered a man's appearance more than I thought. But that wasn't the real difficulty. The real trouble was Jeanne Baker. How could she ever have loved a beast like Krebs, a girl so gentle, so lovely? I tried not to think of her, but the image of Jeanne stood between me and the canvas, and the painting just would not come right. And as Krebs sat there, suddenly posing for me, his eyes began to grow more and more cunning and suspicious. As though he could actually read my thoughts, he would jump up every time I laid down my brush and circled the portrait like an infuriated animal. Until finally, around four in the morning, he dropped off to snoring. I let him stay there. In the dawn light, I looked at the picture for the last time and draped the easel to shut it out of my sight. My masterpiece, for which I had become accessory after the fact of one murder and sowed the seeds of a second, was I knew it now deep in my heart a failure. I was obsessed now with only one resolve to prevent the second murder, which by some instinct I knew was in Krebs' mind, that whatever cost to myself, no harm must come to Genie. Mr. Dorrance, I've been told that artists are full of romantic notions and the Bureau has dealt with a number of them in this neighborhood as you can well imagine. But I must say that of all the pipe dreams that have been brought to me, yours is the most fantastic. But listen, Inspector, you've got to believe me, that girl's life is in danger. We're checking on that. Now, let's check on a few other things, Mr. Dorrance. You say that on the night of the 12th, you met this man Krebs at a place called Louis, and after you went with him to your studio and made a sketch of him for a portrait. All right, so far so good. He promised to return the following day and sit again for the painting. But he failed to show up, so you sought him out at his hotel. Now, the story really becomes incredible. He tells you he's committed a ghastly murder. He's covered in blood. You offered to help him get away with the murder in order to finish the portrait. You painters need publicity as bad as all that. But, Inspector, I tell you, I have all the evidence. Where? At my studio. Where's this man Krebs? Except for the portrait you say you've painted of him, I can't find a shred of evidence that he exists. Just a minute. Yes, Sergeant, they've picked up the girl. Go, send her in. Oh, she'll tell you. She'll tell you who Krebs is. Oh, come in, Miss Baker. We won't attend you long. Miss Baker, do you know this man? I say, do you know this man? It's all right, my dear. Speak up. Yes. His name is Elmer Krebs. A few minutes later, they let me go, dismissing me as a harmless crackpot. Jeannie walked out of the station with me, clinging to my arm with solicitude, as one might act towards a beloved and mentally ill relative. Why did you do it? Elmer came to my apartment last night. He told me the whole story. Why? He was boasting about how he's pinned the crime on you. Don't you see?  Oh, I'm tired. I don't know. Oh, listen to me. He'll always be a threat to us, to our happiness. He's safe. The police don't even know he exists. They don't even know what he looks like. They're still the portrait. It's not a masterpiece, but they can identify him from it. I see. Darling, you didn't mind my re-christening you? You once loved a man named Krebs. And I still love a man named Krebs. Then it's all right. For that, I'd do anything. Put this in your overcoat pocket. It'll keep you safe, darling. What? Oh, no, no, I... It'll keep you safe, darling. He was there in my studio when I got in that evening, waiting for me. I had more or less expected it. I hadn't expected to find him in such a cheerful frame of mind. He had pulled the drape off of the painting and was walking around it, viewing it from every angle. Hi, Dorrance. How did you get in here? Through the door. No more window jobs for me, Dorrance. Here's the picture. How about that? Get a new model, huh? What? The picture? Oh, it's no good. By the way, it's finished now. You won't need to come here anymore. You don't say. I'll get you the suitcase. I suppose it'll be safe for you to cash that stuff. I already found the suitcase, Dorrance. Oh, well, take it along with you then. It's over there on the table. I opened it up. Well... You just think I'd take it without checking on the contacts? What are you talking about? What'd you do with the rocks, Dorrance? Rocks. You took the rocks. The jewelry. There's nothing left there with the settings. A pile of junk. Listen, Krebs, I swear I never opened that suitcase, but once, just after we took it out of the locker... Wait! She's in it with you. Listen, Krebs. You can think whatever you want to about me, but keep Jeannie out of it. I keep Jeannie out of it? That's a lie. I mean what I say. Krebs, where are you going? Oh, her place. If she has those rocks, I'm going to get her. Krebs, come back here. I got a job to do.  All right. God! What are you doing? He dragged his body inside the door and left it there. Then I dropped the revolver Jeannie had given me back in my overcoat pocket and left my studio. For the last time, as I closed the door on the room, it seemed that the face in the portrait was grinning at me in hideous mockery. I had to go straight to the police and give myself up, but I must have known in my heart that I wouldn't. Instead, I walked and my feet took me almost against my will to the house on Grove Street, the house where Jeannie lived. I had roused her from sleep and she seemed rather cross. What's the big idea, barging in here this time of night? I had to see you, Jeannie. Well? That was an unlucky name you gave me, Jeannie. What's happened? I shot him. You gave me a murderer's name and now I am a murderer. So you really did it. I wondered if you'd have the guts. Jeannie! Oh, je... What do you want me to do?  You loved him once. Who said so? You were going to marry him. Maybe. I thought he was smart once. I said I'd marry him if he pulled a really big job. I might have kept my word, but he bungled it. What's worse, he involved me. When I found out, he planted that stuff on me. You knew. You knew all the time. So what? So what? You'll get your cut. Oh, Krebs was right. You did take those tones.  What did you do with the gun? It's in my overcoat pocket. I was going to the police. Oh, you sap. Why didn't you leave the gun there? It looked like suicide. It was, in a way, wasn't it, Jeannie? I'm Krebs now. Doran's is dead. You planned it very nicely. Oh, stop. Stop trying to be deep. It doesn't matter what your name is. Either way, you've messed it up. Anybody have a key to your place? No. And we still have time. Time for what? The body. Any intelligent person can get away with murder if he keeps his wits about him. You told Elmer that? Yes, I told Elmer that.  Do you want me to do it for you? No. No, I'll do it. I must do it. Here. You mustn't forget your overcoat. No. No, I mustn't forget my overcoat. It'll keep me... It'll keep me safe. Goodbye, Jeannie. Two steps. What a shambles. Looks as if he chopped this guy and then bumped himself off. Who are they? I don't know the other one. This is a guy that came in the headquarters Saturday. You know, the artist. Well, there must have been something to his story after all. Here's a note he left. You see. Dear Inspector, the portrait I told you about is standing on the easel facing the window so you can see it in the light. James Dorrance. I guess this must be it here. He said it identified the murderer. Is it a good likeness? I don't know. You look at it. Well, it's a woman. Yeah, it's a dame we picked up. It's a little weightless. But look, it's got men's clothes on. Bloody. And the way he's made the face all twisted and ugly. She was a good-looking kid. Yeah, she was. He must have been cracked. I guess he must have been.  Yeah, a thing like that makes you wonder. The discerning art lover will recognize Dorrance's painting as more than a mere portrait. It's the human soul stripped naked. And it's dark and deep and secret places shown in all their morbid brooding fascination. But still one cannot help wondering, what is the name of the beast? Did the woman in the portrait exist? Or was she only the creature of the artist's favorite imagination? Our only clue is in a quotation which the artist calls to be printed in the exhibition catalog. And he calls it all to receive a mark in their right hand or in their foreheads. And that no man might buy or sell save that he had the mark or the name of the beast or the number of his name. Let him that hath understanding count the number of the beast. For it is the number of man. Suspense. Presented by Romer Wines. R-O-M-A. Made in California for enjoyment throughout the world. Before we hear again from Vincent Price, the star of the name of the beast. Tonight's suspense play. This is Truman Bradley for Romer Wines with a tip for you men. Every wife loves surprises. Little unexpected deeds that reflect thoughtfulness. So tomorrow night, boost your stock with her. Solve her problem of how to brighten weekend dining. Add to your own mealtime pleasure too. Take home a bottle of delicious Roma California Burgundy. One sip will convince you both that red, robust Roma Burgundy is the perfect table mate for stews, spaghetti or baked beans. Our Roma Burgundy brings out hidden flavors. Adds rare goodness to every morsel. Yes, gentlemen, Roma Burgundy can make a hero of you on two counts for being thoughtful and for solving a mealtime problem. And Roma wine, America's first choice, costs no more than ordinary wines. Remember, for greater dining pleasure tomorrow, take home Roma Burgundy. Insist on Roma. R-O-M-A. Roma wine. Made in California for enjoyment throughout the world. This is Vincent Price. Next Thursday, our friend Keenan Wynn will be your star on suspense in what sounds like a very exciting play which all takes place on a bus, a bus making a return trip from the state insane asylum. I know you won't want to miss it next Thursday. And now, let me add my voice on behalf of a very great and wonderful cause. The pennies, the dimes and the dollars that you give when you buy Easter Seals give crippled children their chance for happy living. Help a crippled child to walk again. Buy your share of Easter Seals tomorrow. Thank you. Vincent Price appeared through courtesy of 20th Century Fox and will soon be seen in their production, Dragon Week. Next Thursday, same time, Roma wines will bring you Keenan Wynn as star of suspense, radio's outstanding theater of thrills. Produced by Williams Spear for the Roma wine company of Fresno, California. This is CBS, the Columbia Broadcasting System.


An inseparable combination on mine property, truck and driver. No matter the type of material being mined and hauled, or the size and type of truck, it's the movement of material to the crusher, storage here, preparation plate, mill, railroad siding, or the reclaiming. It's this combination of driver and machine that gets the job done. This video is designed to help you the driver to better understand truck braking systems, to highlight important principles of mine haul road design and maintenance, and to show you safe procedures in the event of a runaway truck. Please note, as with all training material of this type, the procedures presented in this video should be thoroughly discussed with your instructor, and emphasis given to your truck haulage equipment and local mining conditions. I'm Mike Lawless, District Manager with the Mine Safety and Health Administration. I'm John Radomsky, System Manager, Mine Safety and Health Administration. The video that you are about to see will emphasize the need for you to maintain a good braking system on the trucks that you are operating. It will also emphasize the need for you to be constantly aware of the grades that you're operating on, as well as the type of actions that you should take in case of a runaway accident. Mike, I agree with you. The haulage trucks in use today have very excellent service brake systems. However, the steep grades that we see them being used on and the poor conditions that we sometimes encounter make it extremely important that the drivers have everything properly maintained and working. It may also surprise several of you that your chances of survival during a runaway accident are much greater if you stay with the vehicle rather than jumping from it. Mike, our experience shows that drivers who regularly wear their seatbelt have a much greater chance of surviving a runaway or any other serious accident. Maintaining your trucks in good condition, knowing what to do and when to do it is something that we all should practice. However, even that is never a substitute for good judgment and common sense. Mike, I couldn't agree with you more. Being in control of your haulage truck at all times is the key to having a safe day. Brakes are one of the most important safety devices on your truck. Before operating your truck, you as the driver must ensure that your brakes are in good operating condition. So that you can better understand how truck braking systems operate, let's take a few moments and go over some key points. Today, most off-road haul trucks are equipped with air over hydraulic systems. Many of these trucks have spring applied and hydraulic or air released brakes. These are known as fail-safe systems. These systems require hydraulic or air pressure to keep the brakes released. Therefore, a loss of air or hydraulic pressure will cause the brakes to automatically apply. Off-road haul trucks generally have one of three main types of brakes. Shoe and drum, usually air or hydraulic applied. Pressure forces the shoes outward onto the surface of the rotating drum. Caliper disc, usually air over hydraulic systems. Hydraulic pressure forces the brake pads against the rotating disc. Full disc or wet disc systems. These brakes consist of multiple discs, alternating, rotating and stationary, which operate in hydraulic oil. Hydraulic pressure squeezes the discs together. Are you familiar with the braking systems designed to slow or stop your truck? Let's look at them. The service brake, or foot brake, is the main brake for stopping your truck. The emergency brake is for use only if there is a problem with the service brake. This brake is sometimes called a secondary brake. The parking brake, which, as its name implies, is used only to hold the truck while parked. Off-road trucks are also equipped with retarders or dynamic braking systems. These systems are used primarily to slow the truck and maintain speed on grades. They protect the primary service brake system from excess heat and extend service brake life. Various types of retarding systems are used on diesel electric trucks. With retarders, it is important that you maintain specified engine RPM to ensure the retarding system does not stall the engine. Truck haulage roads are developed in the initial mine planning. Consideration should be given to grades, roadway widths, slope of grades, length of grades, curves, berms, ramps, drainage, equipment size and type, traffic patterns, and site distances. The truck manufacturer is an important source for road design information, and should be consulted by the mine operator to determine maximum recommended grades of haul roads, and truck braking distances at various speeds and loads. Use extra caution when driving on any slopes or steep grades. As mentioned earlier, roadways should not be built so steep as to require the constant use of service brakes to maintain a safe speed. If long grades require constant application of service brakes, overheating may cause brake fade and or damage to the braking system. Therefore, auxiliary retarders or dynamic retarders are usually preferred as the first means of speed control when traveling down grades. While driving over hilly terrain, be especially alert at crests in the haul road where your line of sight may be limited. Again, roads should be designed to minimize blind areas, but if such areas do exist, reduce your speed to where you can safely stop in the event you meet another vehicle. Besides the grade of haul roads, roadway width is another design consideration. One way traffic is best because it reduces the risk of collisions. The least desirable condition is two-way traffic on a one-lane road with pull-offs for passing. This is especially hazardous where visibility is limited. As you can see, this requires frequent stopping and the risk of collision is increased. It also increases wear and tear on trucks and haulage cycles are usually slowed. How is adequate room for passing on the haul road determined? Roadway widths are based on the width of the largest trucks using the road. Berm width is not considered as part of the roadway width and should be provided in addition to these recommendations. Width recommendations are, single-lane roads should be twice as wide as the truck, thus providing a clearance of one-half the truck's width on either side. Multi-lane roadways should provide this same clearance from the edges of the road, plus one-half the truck's width between traffic lanes. For example, a two-lane roadway should be at least three-and-a-half times as wide as the truck. Additional roadway width is needed on curves to provide necessary clearance, particularly where there is two-way traffic. Also, all roads should be sloped to provide proper drainage. The very nature of mining causes the location of mine roads to be continually changed. Hall roads require persistent attention. Be alert to motor graders, dozers, or other equipment maintaining the roadway. Adverse weather conditions also play a major factor in the maintenance of haul roads. Until the surface mud can be removed by the graders, rain or snow can turn an otherwise gentle grade into a mud-slinging hazard. Of course, on dry days there isn't enough moisture in the ground to keep the dust down, so water trucks make their rounds from pumping stations to the haul roads throughout the mine. Berms or guardrails are required on the outer banks of elevated roadways, where there's a drop-off steep enough to cause a vehicle to overturn. The minimum height of berms must be axle-high to the largest vehicle using the roadway. This mid-axle criteria should also be applied to guardrails or other roadway barriers. Safety berms should be constructed so as to provide resistance to a truck going over the edge, but you should not rely on berms to stop your truck. You should use berms as visual indicators. Use them for guidance to let you know that you are within the safe zone of the haul road. Berms will serve to alert you that you are near the edge and to assist in redirecting your truck back onto the road. Remember, a truck striking a berm at a right angle is more likely to travel over or through it than if the wheel stayed parallel with the berm. Berm restraint is provided from a combination of the tire penetrating the berm and then riding up the berm material. The face of berms should be cut at an abrupt angle to raise the wheel after it hits the berm and to minimize any ramping effect that could permit the truck to ride over the berm. The berm works by giving you the opportunity to keep your truck from leaving the roadway. If berms are repeatedly cut along the inside, the stability of the berm will suffer. The base of the berm must be wide enough to maintain the height of the berm. Berms require continuous attention to maintain adequate width and height. Roadways should be wide enough to provide for adequate traffic lane widths plus the berm. In cases where the roadway is not wide enough, berms are sometimes extended over the outer slope. This does not give you a berm that is as strong as one that is built on a solid base. Berms may have small openings to provide for drainage, which is important for proper maintenance. Boulders are sometimes used as a form of berm, especially at mines where they are a natural product of the operation or in areas where large rock formations are present in the over berm. If you drive on haul roads where berms are made of large boulders, be aware that an impact with them could possibly cause injury. Smaller boulders used to minimize impact will slide a considerable distance and therefore should not be placed close to the edge. For these reasons, boulders are not the best means of providing vehicle restraint. Guard rails are sometimes used in locations where the installation is permanent, such as at a mine entrance. Guard rails may also be found where the road is not wide enough to install berms. Guard rails must be substantially constructed and suitable for the type and size of equipment being used. Center or straddle berms are used in addition to edge of road berms or guard rails to provide a greater degree of safety. Center berms cannot be wider than the distance between the wheels of the trucks. They can also serve as an excellent means of traffic control to prevent head-on collisions. Escape or runaway lanes are sometimes used on steep grades and are the best restraint system in terms of minimizing injury and equipment damage. A loose base material, which a truck can sink into and the steep upward grade are effective ways to stop runaway trucks. A runaway truck is potentially one of the most dangerous hazards that you may face as a driver. But there is much you can do to prevent runaways. And if you do experience a runaway, there are ways to protect yourself. A key precaution is to buckle up and stay buckled up whenever you're driving. Seat belts can keep you in position to control your truck. Seat belts keep you out of the windshield in collisions. They protect you from being ejected from the can or thrown about inside the can during a rollover. And they can keep you alive. Your truck shouldn't be overloaded at any time, especially if you're running on steep grades. This is something that can contribute to a runaway. If the load or grade exceeds the manufacturer's design specifications, your truck's braking ability and your margin of safety are reduced. Always obey posted traffic control signs along the haulage roadway. They are there to assist and remind you of safe operating procedures. As you operate your truck, drive defensively and think ahead. Picture the road ahead and mentally review your options in the event of an emergency. Keep in mind the location of other traffic, escape lanes, banks, berms and turnouts. Plan ahead and you will be better prepared to react quickly. Before you start down a grade, slow down. Select the proper gear and be sure your retarder is functioning. Don't depend on your retarder and service brakes to slow your truck down after you've started down the grade. If your brakes were to malfunction, you can easily lose control of your truck. Generally speaking, a loaded truck should travel down grade in the same gear required to travel up grade when loaded. This rule of thumb will vary somewhat depending on conditions and equipment. If you start to lose control of your truck, don't panic. Apply your retarder or dynamic retarder systems. If your service brakes have failed, use your emergency brake. Pull near the bank. Stop and turn your wheels into the bank. Set your parking brake and summon help. If your braking systems fail to stop your truck, don't jump out. Are there any center berms, escape lanes or other options to slow you down? Use these berms or lanes as soon as possible. Your chances of survival are much better if you stay buckled up and stay with the truck. Well, the haulage equipment seems to be the most dangerous because you're always moving. The most dangerous time is probably when it freezes or starts freezing and the road gets a little slippery. The worst part of driving is when it first gets wet. Then it gets what they call greasy and it slides. And in the winter time, if it's bad, you know, we take the grader. We got gravel stuck on the side of the road here. We take the loader, put them down on the ice. Well, generally we got a thing called a retarder. It retards the back half of the truck. You know, when you're driving on the red road instead of using the brake, you use it. And give it fuel all the same time to keep it under control of the front wheels. Because if you make sure the brakes and the brakes are on all four wheels, it'll cause the front to lock up too and they have trouble guiding. There's a lot of different road conditions that we have. If the slick roads or whatever, that they could turn the truck into the berm and it'll keep them in the roadway. Well, we maintain all of our berms and we keep them at least half the diameter of the largest vehicle. They might carry a high berm, but then things will go over. Chats in all of our safety regulations that they all wear their seat belts. With seat belts, the policy with our company, as you wear them, when you're on mine property and in our equipment. When I operate my hauler, I'm always got my seat belt on.


Hi everyone, my name is Jamie Henn and I'm the strategy and communications director for 350.org and we are here in Bonn at the United Nations Climate Change Talks which are just wrapping up. You can see that negotiators are still stumbling around after a full week of many late night negotiations. Our team was here to really meet with a lot of our partners around the world to prepare some big actions for the Paris Climate Talks that are coming up in less than a month away. First kind of a report back on what's happening here in Bonn. It was a frustrating week for a lot of people. They came in with a text that was presented that was too short and left out key issues. It ballooned to over 88 pages and then they've shrunk it back down again. But there's still a lot of disagreement around the key elements. The two things that we're watching are the level of ambition. Is there going to be a strong long-term goal that sends a clear signal to the world to move away from fossil fuels? Is there a way to really increase ambition? What people are calling a ratchet mechanism to really strengthen commitment since we go forward? The second really big area is fairness. Will there be enough finance for developing countries to help them make the transition? Will there be finance to help countries deal with the impacts of climate change? More than tracking the negotiations though, we've been talking with partners about what happens outside of these halls with all of you. There are huge preparations underway for Big March in Paris, the opening weekend of the talks, as well as actions around the world on November 28th and 29th, that first weekend. We're also preparing for a major action, the final day of the negotiations, where people will be taking escalated action and potential civil disobedience to make sure that negotiators know that this movement is going forward no matter what and to send a strong signal that we're ready to keep fossil fuels in the ground and transition to renewable energy. So, if you're watching this, no matter where you are, you can play a huge role in this movement by continuing to keep pressure up for strong action in Paris and beyond. And if you're in Europe or in Paris, get ready. There's going to be big actions, big mobilizations, and we're going to need your help there. Everyone here doesn't agree on much, but they definitely agree that the only way we're going to see progress is with a strong Grassford's movement that can take on the power of the fossil fuel industry. We've seen how people here are talking about the divestment campaign and the impact it's already made. We can do even more as we go forward to Paris and really keep this movement going. So, thank you all so much. Your work really resonates in these halls. And as we know, change is going to have to come back from the streets. So, here's to a busy month in the buildup to Paris. Let's go get it done.


The news is available in a different form, which is news in shorts, in short format through Twitter, but that doesn't take away the trust from it. So what takes away trust? I'll tell you what takes away trust. What takes away trust is that, you know, I get a WhatsApp message which says that during, say, ex-government time, 99% appointments were for a certain caste and religion. So that you have to filter information in your head, you know, and you have to filter out information and see what is trustworthy and what is not trustworthy. So I know where the source is, so I know that, you know, this is the platform.  Yes or no? I would say it will grow. It will grow on a news channel going forward. Of course, yeah. So Sai, my question to you on this is that when you have, you in the policy bazaar, right? So let me take the essence of policy. You have the finance minister doing a Facebook live. You have the chief economic advisor coming on Facebook, Twitter, and using these as the mediums. You do not have the prime minister of this country doing a single press conference for the television. So somehow don't you believe that for brand building as in a sense the monopoly that television or news had say three years in say 2012 and is no longer valid and somehow the advertising budgets and the brand point of view also it is more distributed and somehow do you agree with what Rajiv is saying that even three years down the line the quantum of advertising revenue will be same for a news channel? So first of all as a marketer, you know, you don't look at brand building in isolation. You don't look at brand building in news channels. So I build a brand and news is one of the mediums, one of the important mediums where you advertise. So brand building in news channels per se, I would say is not the question. The question is that as a marketer I build brand and news is one of the important source. Coming back to the second question, you said that FM is on Facebook live and everyone is on Facebook or their Twitter pages. So as a marketer I have to be true to where my audience is. You're right, the audience is moving to digital, audience is on social, audience is on mobile all the time but even today as per my data TV is the single largest medium in this country. Sorry to interrupt you, the TV is the single largest medium but TV is not the single largest medium to consume news. So the question is in context of a news channel which is TV driven. So TV is the single largest medium in the country in terms of penetration followed by the fastest growing medium which is digital and this number is reported everywhere and this number I'm talking from the people who are coming to my site. By the virtue of being an online player we are blessed with data which consumers drop on my site and we can even track it by source. They're coming from a direct source or a digital source or whichever source they're coming from Facebook, they're coming from Twitter. I clearly know from where they're coming. So now coming, drilling down to the fact that is news channel where I will invest more. The answer to that is I will continue to invest in news channel mainly because I see audience coming from there. Will you continue to invest in the same rate as you were doing right? Now that's my question, yes or no? Okay, so what has happened? Let's quickly look at the landscape, how the landscape has changed. I started my career in advertising and at that point of time digital advertising was miniscule and people were hardly even talking about what they should do. A lot of people were learning on the job. To be honest, I learned on the job. The entire team that we have set up, everyone was learning on the job. At that point of time, people were spending 95% of the budgets on above the line media, which includes TV and print and everything. There were around 4-5% on digital just because everyone wanted to experiment and all marketers and everyone was saying that I know digital, that's why I'm investing. But no one knew it at that point of time. But cut to 8 years now, 8 years hence, it is clearly the budgets have shifted. But having said that, the percentage of budgets has changed but I still continue to invest heavily on television as a medium as of today. Things might change. Maharaj, my question to you is, you have a lot of other brands like Zeke and there is news and other content-generating platforms. So when the same advertiser wants to build a brand, how does he view building a brand on a news channel, vis-a-vis building a brand on another channel? Say it's not news per se. Suppose your Zeke Music company wants to build on Zeke Music or they want to build on news. What kind of differentiation do they have? So Pradeep will come on to that but you mentioned Prime Minister Modi that not doing press conferences and going on social media first. We recently had a situation where his interview on Zee News brought in unprecedented television viewership in the history of Bach. Prime Minister Narendra Modi is the biggest brand ambassador for TV news as of today. For social. So I think every time he's on TV news and viewership grows and there's of course a reason for people to watch. So I don't think that's going anywhere, TV news and that's anyways a different debate and we've had enough of that in the last session. So coming on to the point when you're saying that why would someone come to news? I think there are many reasons. One would come perhaps unfortunately because this is relatively cheaper. So I'm sure our friends on my left when they are making their spend pie, they realize that every day the news media still comes relatively cheaper to other mediums perhaps because of reach numbers etc. But I think the bigger reason for coming on to news for brand building is serious news viewing. The keenness of the viewer is so deep when he's watching news. Stickiness today is so low. So if an individual was viewing television for an hour or a year before, he would be viewing it for a few minutes. So what about the stickiness? So the attention is definitely a problem on all mediums. Somewhere deeper, somewhere smaller. Attention on digital perhaps attention is even bigger problem. There are so many brand communications that don't even register when we are on the web or on our mobile. So that is definitely a challenge. Definitely perhaps easier on TV if you were to talk only about TV. But news media as such definitely offers a great absorption opportunity for a brand before a consumer. And then of course there are so many other things. Every brand these days is trying to build causes. They're trying to associate with causes. They just don't want to know whether it's a soft drink brand or a clothing brand. I just have a counter question. Again the point of PM coming on social media to make big announcements. But as an advertiser, I cannot advertise there. Exactly. I can advertise only on news channels. It's the issue. If I'm not advertising, I can put my... So it's the issue that there's no credible ratings. Like you have a box for the news channels. So you do not have any institutional mechanism when you as an advertiser look at digital. Rajeev, you could come in there. What's the problem? Why are you preferring news? Why not on this? Why not on say digital giving you a million views, two million views reaching to every corner of the country. Why this differentiated mindset of looking at a bigger screen from another point of view? I'll give you one very bad example. So there is a... US examples are usually bad for this country. That's something bad. Because if you look at the targeting done by say some popular US stores and how many... At what frequency do they operate? To make one brand move into a consideration set of a person. In typical FMCG format, you would try to expose one person in a given point of time about five times. So that catches attention. You know how many times does it need to be shown in digital format? By a big store. The average is between 33 to 50 times. Same thing if I show 33 times, then it becomes relevant for me. That's why it's not so relevant today for us. I think the attention debate is back. So I'm just coming to the attention debate. So first of all, it's not news channels versus other channels. The topic says... The topic is like... We don't look at like that. We don't have... New channel is there. It doesn't work like that. First of all, what you look at this is the forum. These are all the target audience. And these people I'm going to target. So I'll go and target these people. I will not say that these two people talking in the corner, I want to target these people only. No, I want to target everybody. Everybody is a target audience. And I'll go and look at each and everybody. So then you filter down further and then you see that... Then there is, you know, there's one part which is expensive part of reaching out to certain people. And there's one cheaper part. A frequency part. Then you get to that part and then you try to build frequency. The problem happens is when you try to do just reach through one medium. Okay? Suppose you say that, I want to build my reach through Sadhana channel. That's not going to happen. Please, I mean, it's a good channel. Religious. You have to take top channels, you have to take news channels, you have to take regional channels, you have to take digital and you have to take Jai Jai's channels. So the integrated strategy is what you are suggesting here. So let me take this conversation to a bit. So let's, we've agreed on a point here where we're saying that fine, still television news is a very significant proportion where individuals use for brand building. I want to take the second part of the conversation to futuristic. So let's imagine that this panel is happening in 2022, say 2023. What are the changes that you believe would take place with respect to brand building and news, say five years down the line, beginning with you Saith Singh and then Maharaj can step in. So I think one big step, if you look at the current scenario, what is happening is that the small elephant in the room, the big elephant in the room, sorry, the mobile and television, for the first time they are coming face to face.  So that's a phenomena these days. So if you're watching TV, you have a mobile in your hand. So it means there's a second screen phenomenon happening. So, and what happens when there is an interesting piece of content that is coming on TV, be it news, be it ad, be it any gossip or anything that's happening, you start searching on it. You instantly start searching on it. So what's happening is because of the second screen phenomenon, people are watching the television at the same time searching. So clearly there are two mediums talking to each other and there are a lot of, in fact we have used technologies to try and bridge the gap between these two mediums. So there are technologies like Silver Push, where you can put audio beacon in your ad and you have SDKs on your mobile and the moment your ad runs on TV, the mobile will usually catch that signal and you can serve ads on that network. So what I'm trying to say is the futuristic view on this is about how can we bridge the gap between two mediums? How can I as a marketer start investing in technologies which provides Omni presence, Omni as a brand, which provides a complete scenario where someone is watching television, watching my ad and coming to mobile and also looking at my communication. So that's a complete seamless experience. So that's where in 2022 we're sitting, a person consuming on mobile and then going on TV. So all this, the entire line will be blurred by then. Mehraj, what's your viewpoint on this? I think you can't do it without news. So coming back to your question about news, like I said, the serious viewing opportunity a vis-a-vis consumer is there and if you want your brand to engage better with your consumers, especially when you're building a brand, so all the more necessary. So if it's a new brand, the news is carrying a sort of a newness and new brands actually might click. Of course, like I said, because of prices, it brings in opportunities of better frequencies on news networks in the same budget for a market year. So there are a lot of opportunities. But other than that, going forward, like you're asking in future, there will be many more opportunities, more than just placing an ad in a news network. It's going to be more of context-synced ads and that's something that every marketer is now, that's what we all have learned from digital. We are more better targeted now. So I think that's very important where you can get more context-synced advertising opportunities because of news media. Because news media is something which is giving you a dynamic content. Day after day, there's something new, there's something changing. So Dengue is happening, so there is an opportunity for Audomars. Something like Diwali is happening, so there is an opportunity for Coca-Cola. And then integration. So many advertisers on our network are asking for integrations. So I'm not saying that there will be a day where news anchor is sitting with a Coca-Cola on his desk, nothing like that, not going to happen. But let's say Vistara advertised on our anchor's chair because their whole campaign was about the comfort in their aircraft's chairs. So there's more and more content. That's something, because an entertainment channel wouldn't have perhaps easily provided them. So there are ample opportunities. The only thing is we'll have to see all brand-building professionals have to look at news in a dynamic way, the way news is. So you also agree with the integrated screen part which Sai is mentioning that futuristic brand-building even from a news point of view will not just be television-centric but it would be more distributed. Rajeev, what are your viewpoints on this because you have products which go on to the rural areas very significantly. So in an environment where multilingual regional content is the biggest driver of growth for content-generating platforms, how do you see in a futuristic context this aspect of brand-building vis-a-vis news? Let's say 5 years down the line because say 5 years before nobody was talking about putting money on Facebook, every news channel in West heavy amount of advertising budget on Facebook which is a media platform not necessarily news but let's say 5 years down the line how do you see building and reaching to say geographies which are more regional, rural-centric where you try to not do it through on-time advertising. How do you see the future in this context? So I'll just say something we are already working on this thing which in our own terminology we call it micro-marketing. So we are trying to look at where the sales are happening where the quantum of sales are happening in terms of down to the distributor level down to the stalkers level and try to track where all the poking is happening to that level and then look at what is available in terms of media because your national channels are available everywhere your then the regional channels are available everywhere but there is something more to it suppose there is a sorry shop in say Indore for example how does he become a big brand how does he become a 100 crore brand he must have done something right nobody has gone to tell him something he has his own ways how does he do that it starts locally he starts advertising on local newsreapers starts advertising on local cable channels starts advertising on local news channels so that's the future more local it becomes bigger your business pie will be you have to understand your consumers and understand what they are watching so BART presents a certain kind of picture which is quite national so AI is making everything very personalized if you see it is disrupting like New York Times it's all heavy text, newspapers, heavy business they've got an AI room where they know each of their viewers advertisers in US are reaching in a very personalized format so if I as a viewer advertiser knows what the viewer consumes and advertising is also moving towards a very personalized direction in the United States do you believe that even in India advertiser will not look at investing a lot of money in a general news channel vis-a-vis a platform which is more personalized in nature where you can know there's more convertibility of your viewer so personalized what New York Times is doing is more I think it's very very micro level and going to a certain kind of people in our kind of business we want to reach out to as many people as possible too much of micro targeting going to two specific target audience that has one side effect that's what is probably happening in digital to some extent and if you don't go mass you're probably losing out on a lot of potential people if I just target say for example 23 to 27 year old woman living in say city of Noida living in sector sector I'll reach out to say just a few hundred people you have to broad based your audiences you have to look out then only you'll be able to go to your potential people that's how our business is but the moment you look at other categories like maybe a car maybe a Mercedes s-class you might target only 100 people so it varies from category to category for our kind of categories we still would want to go to more number of people we may look at geographies we may look at specific geographies but we would still like to go to as many people as possible so before asking other questions I would just ask if there are any questions in the room if you could entertain I would like to entertain more and more questions if there any and then we could otherwise it would be just three people talking yeah for sure go at least if anyone can pass the mic to the gentlemen sitting there so I was just going through few of the pages of various news channels and media house and social media and what I observed was there are 20 posts or article being post in a day and out of that content going on social media 50% or 40% of the content was a branded content related to brands as I come from a social media background you are also handling various brands so I wanted to know is this practice where brands are moving from two posts in a day to one post in 15 days we have live examples like Durex and Zomato they are doing fantastically well on social media do you think news brands or news channels who are following these practices of posting 20 articles in a day is it worth investing in these brands because I see Apple am I investing all these brands coming up so do you think in future you like to invest in a brand which posts 20 articles in a day because it's totally spamming the audience you are compromising on your Meharaj would you like to answer that question actually it's about it's targeted at news media you really want me to answer so I think like Raji mentioned micro targeting versus mass based approach you know if a website is updating with 20 or 20 plus items in a day the numbers tell you a lot I mean targeted the specific communities are reading specific news items on digital and that's pretty much clear who is reading what and so you can target your ads so I think in fact it's much easier than what you are seemingly sounding on the other hand I don't think 50% branded content I don't know what were you saying I don't think 50% of branded content is there anywhere the viewer would go away from the respect there's no value so it could be more context sync like I was saying in my last answer it is more about let's say if I am an international traveler and I go to a news website or a TV channel which is giving me more news about international travelling or international scenarios then that's what better targeted for a particular brand so that targeting applies much before digital came in this was largely done with news channels before it also depends on consumers are very smart they can clearly make out a difference between branded content and real content you might want to and as a marketer I will try and stay clear of branded content pushing my own agenda it also depends from how you want to spend the money you want to do branded content or you want to actually put your own message clear message out there according to me a slightly convoluted way of putting your brand message across and not the real essence of any communication comes out of that so it just depends on marketer to marketer any more questions we have questions there is a question there is a hand going up there good afternoon sir I am Jayaraj I am a first year student of generalism sir my question to you is 2 years down the line nobody knew Karni Sena but today everybody knows them thanks to media channels in promoting because which played a very important role in promoting them it played a very important role in promoting Padmavati also does media channels get paid for promoting a movie like that if I could talk about Karni Sena as a brand if Karni Sena can forgive me I could say they have built their brand through news media now everybody knows of course news media exists so that people can know things that they did not know earlier this question was how many people knew Arvind Kejriwal before you knew him so news media all of us are news consumers I am also one and we all go to news media to know what we don't know I could perhaps predict what an Akshay Kumar movie is going to be like but I cannot predict what a 9pm bulletin tonight is going to be like so that is what the newness like I was saying that is what we bring to a brand and the engagement and the seriousness and the keenness of movies as such I should rather answer because you are a journalism student so you better know about it actually they do place ads in news media and that is of course paid space so that is advertising for film industry or for a movie producer but no it has to be very categorically explained to you that just for running a film story we don't get paid for it so we use our editorial discretion to run a Padma Vati story or not to run one I am sure there was important news going on at that time but every news channel was covering this Padma Vati there were important issues going on at that time I think I will just I don't do this question so there are elections going on this is again in Tripura and it is like very big the pulse of Tripura and it is very ignored state in northeast so you don't see this context comes from the point that how you don't see a Tripura you do not see other relevant issues but you see a Padma Vati or you would see a Karni Sena driving the news agenda for days to come so how does the news channel decide on this context is that your question I would just it will be unfair to answer on behalf of all news channels here I think we had full debates a lot of seniors and editors were sitting in the last debate but what happens is when you when you are presenting a news channel you wanted to be a space where people can debate different views can be expressed and discussed I mean again coming on to Padma Vati I take that question what did you know about it and what did you not know about it you came to news channel to know and so it is as a content provider news channel's job to let you debate on that film whether this is right or that is right or this historian is right I mean there are so many historians suddenly become popular right that's because of news media they came up and they talked about it whether Padma Vati was there was actually a history book much before Jaisi who mentioned Padma Vati but that was news media telling me right so I think it is unfair to just say so many people are sick or so many people are having an accident and you are presenting Padma Vati that's territorial discretion and one is free to watch one channel and other channel so that's a completely consumer's decision thank you any last questions we will entertain if one more question if there is any with the floor to the panellists for closing comments no question fine so I will begin with you and if you could give your closing comments on this topic and the problem that you identify right now and with respect to brand building in news channel and the opportunity which lies ahead if you could keep these two things in mind while giving your closing comments so the biggest pain point as a marketer for me is every there is no dearth of news channels there is more news channels than I can even invest on them because pain point is the real availability of real data and who is watching what that is completely missing it's a complete black box for me as a marketer more perceptions that's what happens news have been chatting with you guys news have been bought on perception but thankfully what happens at our end is because we advertise and consumer come to my site and they leave a data point or leave an impression on my site I know where they are coming from, which channel they are coming from to that level so I can actually decide where they come from but the biggest pain point is the huge black box so there needs to be efforts made in terms of making the real data available one is that and I think going forward the point that I mentioned the convergence of mobile and television so I think a lot of people are not talking about it but this is going to become a reality soon I have even after advertising a lot on television I use music and don't consume TV that much but that's where it's moving so it's a convergence of television and mobile is the future Rajiv, closing comments he mentions about data and convergence my biggest challenge what I see is that there's too much of clutter what is that there is a clutter in terms of the total advertising time per hour which is done on news channels as a function of what kind of rates you can come out in the market and second is the clutter which happens while the news is on so that is one thing which really worries me as an advertiser because it's very difficult to have a visual relief on a channel you don't get any visual relief you get always getting something on your face and I think the only time when the news channels are calm and quiet is when some advertising is running so that's my challenge clutter is a big, big opportunity and opportunity is that the regional and local news channels which are propping up if they are sustainable on a long-term basis I think that becomes opportunity for us to go to our consumers on a local level and micro level and another opportunity is that trust and credibility news as such brings I'm not specifically talking about news channel or one news channel as such I'm talking about news as a content that's concerned Maharaj, problem and opportunity so you have data, you clutter you've integrated screens you have regional and hyperlocals two opportunities what do you feel but before that I must assure Raji that you must prize the media and we have a portfolio of news brands 14-odd channels advertising your own brand there is enough choice available for his targeting but I think news media let me rather say it this way every brand marketer wants to have a human face to his or her brand they want engaging receivers of the brand communication and the brand building and for that they must try news media you can't just pack it and leave it this is the newness and there are various opportunities that I talked about do exist with news media now of course the news media itself also would need to remain responsible like you said you need more data and more profiling of the viewer and I think they must work about we are running in fact a program to help our advertisers and we are sensitizing our content teams of the sensitivities of advertisers profiling of the viewer and who is watching what so yes that is definitely needed and I think as time goes there will be a lot of opportunities more homogeneity in certain segments of news channels that we see because there is enough of opportunity in terms of media let's say if I can't run a TV channel I could run it on internet there is print nothing is dead there is so much more to come I mean I think latest IRIS data if I am right is saying about 80% of Bihar still does not have TV am I right nearly that much 76% so that's a huge market waiting to be tapped I mean I would advise you guys to also go to the northeast and equally for news equally for you as well absolutely so I think integrated is the way forward is what is the take away from the panelists and exciting times ahead for news so that is something that concludes the panel thank you so much everybody for sparing your time out there thank you so much I would request you all to stay on stage and I would invite Mr. N. Ravi Kumar director


Hello, this is Nick from Laptop Media and today we will show you how to open the Asus Zenbook 14 OLED UX3405. If you want to have a look at the internals, you need to undo 7 Torx head screws. Then use a plastic tool to pop the plate in one of the top two corners. After that start prying the sides and then work your way around the front and the back. Please remember, it would be of great help to us if you just hit the like button and subscribe to our channel. That would motivate us to make even more and better videos for you. This notebook has a 75 watt hour battery. To take it out unplug the connector from the main board and undo the 5 Phillips head screws that keep the unit fixed to the chassis. The capacity is enough for 25 hours of web browsing or 14 hours and 17 minutes of video playback. The result is astonishing. To achieve that, you have to apply the balanced preset in the Windows Power and Battery menu. Apply the standard fan mode, turn off noise canceling completely and use the Dynamic Refresh Rate option in my Asus app. For storage there is just one M.2 slot for Gen 4 SSDs. Sadly the memory is soldered but at least you get up to 32GB of LPDDR5X, 5600 MHz RAM that works in dual channel mode which sounds future proof. The cooling system seems good enough for an IGPU only device. It has one large fan, a long heat pipe, two heat sinks and a heat spreader.


this week in February for my creative year to talk about our topic of the month, which is color, and this week our specific color is yellow. So as I spoke earlier in the month with the other two weeks that we did already with color, y'all know by now I mixed this custom watercolor palette. For those that don't know, I'm going to insert some clips right here of mixing it. I took all of my tubes of watercolor paint, and I mixed all my reds together, all my yellows together, oranges together, all my yellows, my greens, my blues, and my purples, and this is what I came up with. Now I got the idea from Sifia Nygaard's makeup videos where she mixes some of her makeup all together, then somebody else did all of their, I think, acrylic paint. In any of those links I can think of, I'll link in the description below for you all here on YouTube. I thought it was really interesting, and I thought also though to take it one step further and thought, hmm, what would happen if I, instead of mixing all of my colors together if I separated them out, which I did. So I didn't separate out warm or cool reds, I mixed all the reds together. If it was red it got mixed in there. The same with the yellows and the blues and the other colors in the palette. Now with the yellow I didn't differentiate between really golden brownie yellows and bright lemony yellows, I mixed them all together. I was expecting a muddier, more gray toned palette than what I got. All of these colors generally are pretty bright considering all the different colors that are in here. I didn't differentiate between artist and student grade paint and it got all mixed together. And I really kind of like the palette that came out from that. So this week we are going to experiment with the yellow one and we are going to see what we come up with. So again like the other weeks I have two watercolor ATC cards. These are scraps. These feel like thick scraps, so I'm wondering if these are 300 pound watercolor paper. They might be. I did get some of those scraps about a million years ago from Claudia Rossi and that's what these may be. So I already sprayed a little water on my yellow paint and we are going to start with a flat brush like we did before and we are going to get our cards wet and then we are going to take just a little bit of the yellow paint which is pretty bright, right? It's pretty bright. For a yellow that's got all these other crazy colors in it, a yellow, it's so much brighter than I thought it would be. I'm going to just put a little bit of texture in the paint by lifting some of it with a crinkly rag. You could of course spread the paint out with the water and sprinkle salt on it and that's going to give you an interesting texture, let it dry, then brush the salt off and add another layer. There's a lot of different ways to do this. Piece of my hair in there. So this week, instead of adding a bunch of layers of drying in between, I think I'm going to just work with, show you what you can do with just one layer without all the drying. If that's okay with you. So I want it to be sort of lighter in the middle and darker around the edges so that's what I'm shooting for. So I'm going to, in between putting color on, lift some of the paint. I like that so now I'm going to dry it and I'll be right back. Now we're going to take some Distress Ink in the color Mustard Seed and this is stamp set from my design line number six and you can see the sort of citrusy shapes here in this particular set. We are going to take this one and not do that with it. So I've got that off. Alright, so we are going to stamp this on our little ATC cards sort of randomly. We have, I have a multi-pen here that has yellow, a yellow, a dark, like golden yellow color in it. So I am going to write on the card, of course now it's decided not to write. You know I need to just get rid of that pen. I have another pen that has a color in it that's almost exactly the same. So I'm going to use that one. Have a zest for life. I'm going to sign the back. I'm going to take one of the arrows from the same set. I have these two arrow shapes on it. I think I want to just do one in the same Mustard Seed color. So there's that two cute little ATC cards. Let me show you one more thing that you can do. So of course I have another scrap piece of paper. This is another one of those large bookmarks. This one happens to have like some splotches of paint on it, but we're going to use it the way it is. I am going to take a little bit of water. I don't think it'll do anything because I think this paint has been on here like a long time. Yeah. Okay, so that's, don't do that. So I'm going to take my round watercolor brush. First I'm going to go grab, let me grab a yellow pencil. I don't want a yellow pencil that's going to move much. So let's grab a regular yellow pencil. This one is Deep Cadmium. It's just a plain Derwent watercolor pencil. And let's draw some lemony shapes on our paper. These would make cute gifts like if you had a holiday or something coming up or maybe you were having a party and you needed to do little favors, little bookmarks, are always, I think always a good gift, but I'm an avid reader and when I don't need them for marking my place in a book I stick them in my journal, so it could just be me. Alright so I have just two, let me see that, okay. So we are going to take some of our yellow paint and I have my palette here. Grab some water. If you need to Google or go to Pinterest for pictures of lemons for inspiration, if you need to remind yourself what they look like, it's a pretty easy shape though. You want to be careful about putting too much water here because there is a white line under the skin, between the skin and the fruit. So you don't want to put too much water there or the paint is going to cover up your white line. We are trying to leave the paper white where we want those white parts to be. If you don't do that and you make a mistake, never fear. Don't be afraid to get your white gel pens or white acrylic paint involved and fix it that way. No shame in that. So once I have the shape drawn, it's really just a matter of me sort of filling it in. But I'm filling it in in a way that I'm on purpose trying not to color it in completely so it just looks like a coloring book page. Just like we did the other one, I put the line of the skin on and then I'm putting some water. So it blends just a little bit towards the inside, okay. And then I'm going to do the fruit part. Grab some more of the sort of purer, thicker pigment. With watercolor, if you, the more water you add, the lighter it's going to be, the less you add the darker, generally, that's how that works. So now we can go back and add maybe a little bit of the dark in a couple of places. Got a little bit of paint right here but I don't want it. So I'm going to put some water there and go in real quick and lift it up. I don't mind this little bit right here where the water got it and it bled a little bit. I'm going to on purpose do it over here or try to anyway. I like that. I do want to cut off those two crazy ends because they bother me with the other colors on there. At least the blue one did. The red one, not as much but I'm going to cut a little bit of it off too. I really like that. I'm going to take my pencil again. I really like that. Let's take our pen again. I like that. That's really cute and let's get it signed. Let's dry it first and let me sign it and I'll be right back. Okay, so there you have it. Stick around for just a minute and I am going to show you here really quick how I created the watercolor box that my paints are in. Right here we're going to cut away and as I've said before, I created the colors themselves by taking all of my purple paints, watercolor tubes and mixing them together, all of my blues, all of my greens, all of my yellows, oranges and reds. I didn't differentiate between cool and warm colors in that category. I mixed all of them together. The only exception was I did not mix any metallics into the colors. So if I had metallic purple paint, I didn't stick that in there. I didn't want these to be metallic. So then I used watercolor full pans and then I thought, okay, what am I going to put them in? So here you'll see a clip of me with a pencil box that I had saved from pencils that I bought and I took the box and I sprayed it with white enamel spray paint. After I took a hammer to the bottom of the box, which had an indentation in it, so it made it so that the watercolor pans just kind of didn't fit. So I took a hammer and a punch that I had and I turned it around actually to the backside and I used it to hammer out and flatten out the bottom of the box so that my pans would fit better. Then I painted it with the white enamel paint and then I used some glue to decoupage one of my jelly prints to the lid and I created this cute watercolor pocket box. And before I was done, I created a sample card here that you're going to see right now as we come back to the table. A sample card of the color so I can remember what they were. And I just left it out to dry for I think like a week before they dried all the way. I did attach the pans to the box with a little bit of blue tack putty, which is an adhesive putty, and they are stuck in there really well. So I'm pretty happy with this. I can't wait to play with it more in the weeks coming up. I really love the way the colors turned out to my surprise. I expected them to be all muddy as I've said so they're nice and bright. I love them. I do have three little things here in yellow like with the previous weeks. I'm going to be keeping one and sending the other two off so if you want to get a random act of kindness like that, which is what it's called, we have a mailing list for that in the files over in the Facebook group. So make sure your name is on it if you're in the Facebook group. If you're not in the Facebook group and you would like to be, the link is in the description below. That is where we support these videos and the students. We encourage daily art activities and have activities over in Facebook just for that. And it's a caring, supportive, creative community that I think you'll all enjoy. So if you would like, go join and we'll accept you. Don't forget to answer the questions. If you don't answer the questions, you might not get in. If you want to buy any of my rubber stamps or support my channel, my Etsy shop link is also in the description below. Along with any of the other videos I've mentioned like Safiya and IGuard's makeup mixing videos that I originally saw that prompted this whole idea. And don't forget the most important thing besides like, share, and subscribe, if you will. Go out and have a great day. Do something nice for yourself because you deserve it.  All right. Thank you for it right now, everybody. I'll see you later. Bye, guys.


The National Center for Telehealth and Technology, or T2, developed three mobile apps to help veterans dealing with PTSD. The Virtual Hope Box is a digital version of a psychological health tool. The app helps collect items the patient and psychologist determine are beneficial, soothing, and therapeutic. Another app is PE Coach, which is a tool for veterans who are between treatment visits. PE stands for prolonged exposure therapy. You can use the app to record your sessions for playback, take notes after the session and help you prepare for your next visit. The third app, PTSD Coach, is designed to help service members and their families learn more about PTSD. The app offers support resources and individualized strategies for managing symptoms. Find out more about these apps on the T2 website. From the Defense Media Activity, I'm Petty Officer Jen Blake.


Hello, this is Jenny Plum from Kalari, we are introducing our taxi hub working for iPad Pro. So now everyone know Apple is making iPad Pro more powerful now. Our taxi hub is to making iPad Pro more potential. So you can see right now we have two models, IPC01 and IPC02. And these two models also have three different designs for you to choose. Right now let me introduce the ports for you. So you can see this IPC01 comes with the Type-C port to connect with the iPad Pro. And the USB 3.0 you can connect with the USB flash drive, mouse or keyboard. And this one is earphone jack. And this is Type-C for charging, support 60W, PD3.0 fast charging. And this HDMI support up to 4K while you use MacBook Pro. And while you use iPad Pro it support maximum 2K, 660Hz. So compare with this model, this one with two more ports with SD card and TF card. So you see actually we have three different designs come with the same ports. Same PCBA, different designs and this one the same. And right now we also have an extra accessory for iPad is we have the magnetic clip. So this is our painting design. And with this clip you can connect with this Type-C hub on your MacBook. Very strong to practice while you connect with all ports. You see right now it connect with HDMI for the monitor. And this one for the charging, SD card and the USB for the mouse. But it's very stable. You see right now it's very stable. It will not hurt the Type-C ports on your MacBook. So right now we are doing the demonstration for you now. So here is the 4.5 we connected to the SD card. So you can see we use the mouse to control the iPad Pro. You can see the manual and the GUI is a little different as before. Because we already upgrade to iPad OS. We already upgrade to iPad OS 13. So let me show the difference. So first right now it can use mouse. So that means you can really use the iPad Pro for walking. This is the file from the SD card. So while you can select the file, you can choose one file to share with your friends. Or you can choose to duplicate or move to delete or more to copy the file. So right now you can read the files, read the pictures or open the Excel. So this is our company and our products line. So you can see this is our factory. This is our designing and some customers and some products. So you also can watch videos. So not like before you have to change this to some special files on your iPad. Actually we also have our standard package for these two models. We also support a small order on it. So welcome to contact us for more information and get the best price. Thank you.


Welcome to George H. Schmitz's Excursions into Libertarian Thought, a production of Libertarianism.org and the Cato Institute. Jean Messliet and Christian Ethics In chapter 40 of his testament, Three Principle Errors of Christian Morality, the atheist priest, Jean Messliet, displayed a depth of criticism of Christianity that few free thinkers have ever equalled, much less surpassed. This should come as no surprise to readers who make it to chapter 40, for in earlier chapters, especially chapter 33, what was his preaching?  It is easy to see by all his speeches that Jesus Christ was really only a fool and a fanatic, and it is certain that if he came back again today among us, if it were possible, and did and said the same things as before, we would certainly consider him nothing but a fool and fanatic. This assessment runs contrary to the opinion of many early free thinkers, especially those English deists who expressed admiration for the moral teachings of Jesus and criticized later Christians for deviating from those teachings. But Messliet would have none of this, and his criticisms reflect a radical strain in French atheism that was largely, though not entirely, lacking in the English free-thought tradition. Messliet criticized the moral teachings of Christianity on three major points. The first is that it makes the perfection of virtue and greatest good or advantage of man consistent in the love and pursuit of pain and suffering according to the maxim of Christ, its chief, who said to his disciples that happy are the poor, happy are those who cry, who are hungry and thirsty, who suffer persecution for justice, Matthew 5, 3 through 10, and according to other maxims of this Christ, we have to carry our cross, renounce ourselves and all we possess, and if anyone wants to be perfect he has to sell everything he has and give it to the poor, Matthew 1921, Luke 1822. Messliet, who lived with the poor during his decades as a parish priest, saw nothing virtuous or admirable in poverty, especially when that poverty resulted in exploitation by the powerful. It is clearly an error and madness to say that the greatest good and happiness of man consists in weeping and groaning, in being poor and unhappy, hungry and thirsty, etc. Of course, Messliet understood that Christians did not teach poverty and suffering for their own sakes, rather, they claimed that the poor and suffering will be awarded in an afterlife, but his teaching was absolutely false according to Messliet. This life is all there is, the so-called Kingdom of Heaven, which our superstitious God cultists seem to make such a big deal about, is only an imaginary kingdom. The desire for pleasure and a good life is part of human nature, so it is an abuse to teach the ignorant to love and pursue real pain and suffering on the pretext of acquiring lovely rewards that are only imaginary. The teachings that pain and suffering will be rewarded in an afterlife and that we should renounce everything we possess, is based only on the word of a miserable fanatic, Jesus. And it is an error and madness in men to want to follow or put any faith in such a maxim that is so contrary to the good of nature and good judgment. Messliet's comments on this matter were closely related to his belief that governments and churches teach the virtues of poverty and suffering as a means to keep the poor in their place, while expropriating from the poor the fruits of their labor. The doctrine of an afterlife served as an ideological smokescreen for political control and exploitation. Messliet's second criticism focused on what he viewed as the Christian bias against innocent sexuality and especially the condemnation not only of overt deeds but of sexual thoughts and feelings as well if those thoughts and feelings occur outside the context of marriage. Nothing is more natural to man than sexuality and to condemn this natural impulse as sinful and worthy of hell life is to condemn an essential aspect of human nature, one rooted in the most intimate depths of our being. Would an infinitely good God really want to make young people burn eternally in the dreadful flames of hell only for having a few moments of pleasure together? Or even only for having consented and indulged in thoughts, desires, or carnal motions that God himself had formed and aroused in them? To attribute such intentions to a perfect and infinitely good God is entirely ridiculous and absurd and disgraceful. The thought alone with such cruelty is monstrous. Before we accuse Messliet of favoring unbridled libertinism, an accusation commonly hurled against early atheists and other free thinkers, we would need to keep in mind that he disapproved of the debauchery of men or women who would indiscreetly or excessively abandon themselves to this animal inclination. Messliet condemned this excess and disorder as well as all other kinds of excess and disorder. People should conform to the laws, customs, and practices of the countries in which they live. Messliet simply wished to protest the Christian doctrine that sexual, actions, desires, or thoughts and indulgences are crimes worthy of eternal punishments and torments. Sexual excesses are ultimately slight and trivial human failings. To teach that a wise and benevolent deity would punish people severely for such actions is at once absurd and disgraceful. Messliet's third objection to Christian ethics, as taught by Jesus, is in some ways the most interesting of the lot. Here again is another error of this Christian morality. It teaches that we must love our enemies, not take revenge for injuries and not even resist vicious men, but on the contrary, that we must bless those who curses, do good to those who would do us harm, let them rob us when they want to take what we have, and always quietly suffer the injuries and mistreatments that they do, etc. These teachings, according to Messliet, are contrary to natural right and reason. It is obviously a natural right, natural reason, natural equality, and justice to preserve our life and goods against those who would want to take them from us unjustly.  Now the aforementioned maxims of Christian morality go directly against all these natural rights and consequently are false, and it is an error to want to teach them and make people practice them, seeing that they are contrary to all natural rights and that they clearly tend to the reversal of justice to the oppression of the poor and weak, and they are contrary to the good government of men. Here again, Messliet criticized maxims of the Christian religion because they clearly tend to favor the vicious and their oppression of the good and the weak. The doctrine that we should love our enemies and not resist or seek revenge against those who harm us has benefited rulers who boldly attack the good and do whatever they want without punishment and without fear. Messliet repudiated the doctrine of passive obedience unequivocally. Throughout the testament, he endorsed violent resistance against tyrannical rulers and their unjust actions. Indeed, in chapter 2, we find the first formulation of a saying that has commonly been attributed to the French atheist Denis Diderot, 1713-1784. Men will never be free until the last king is strangled with the entrails of the last priest. Messliet shared the sentiment but did not take credit for the idea. He referred instead to a common Frenchman who had no culture or education but who had the sound judgment to understand the evils inflicted on him and other poor people by the French government and Gallican church. In his wish and in his way of expressing his thought, it seemed that he saw rather far and penetrated rather deeply into the detestable mystery of iniquity of which I just spoke and recognized very well the perpetrators and instigators. His wish was that all the rulers of the earth and all the nobles be hanged and strangled with the guts of priests. This expression, Messliet remarked, may seem hard, rude, shocking, but you must admit that it is candid and simple. It also expresses, if crudely, what rulers deserve for their merciless exploitation of the ruled. If Messliet could have been granted a single wish, he would have wished for the strength, courage and resolve of Hercules so that he could have the pleasure of bludgeoning all the monster tyrants with their crowned heads and all the other monsters and ministers of errors and iniquity who make all the people of the earth grown so piteously. Since Messliet did not believe in hell, he did not agree with those Christians who believed that tyrants will suffer eternal torment for their crimes, however comfortable their life on earth may be. He preferred to see rulers punished in this life at the hands of their victims. Messliet did not reserve justice and revenge for a God in whom he did not believe. This has been Excursions into Libertarian Thought, a production of Libertarianism.org and the Cato Institute. To learn more about Libertarian philosophy and history, visit www.libertarianism.org.


No more products can be put on the market, or even existing products must be taken off the market. I would like to give you some insights on the new legislation that has come out regarding the ban of microplastics. Of course, we are all in favor of reducing microplastics because it is so important for our environment. Now, how does it impact our industry? Well, in fact, in the cosmetics industry, we make a distinction between leave-on products and rinse-off products. Rinse-off products are, for instance, shampoo, shower gel, things that you will use, but that will also be rinsed off immediately and go into the water and have an immediate impact. If we look at the leave-on cosmetics, then we are talking about creams, but we are also talking about some leave-on cosmetics, which have, in fact, a very low impact on the overall pollution of microplastics, and of which this change has a very big impact. These leave-on products are makeup, lip products, and nail products. This new regulation comes in force on the 17th of October 2023. Now, for our industry, for nail products, we have a period of 12 years, so until the 17th of October 2035, to adapt for a total ban. So as of that date, no more products can be put on the market, or even existing products must be taken off the market if they contain microplastics. Now, in order to encourage manufacturers like us to work fast on the transition of all the formulations, there is also a period of eight years from today until the 17th of October 31, so 2031. As of that date, any product which is put on the market and still contains microplastics must have a clear statement on the label saying that it contains microplastics. Any products that were put on the market before that date can still be on the market without that warning, but as I said, until 2035 when there is a total ban. Now, what alternatives do we have? Because, of course, we are already working on replacing these microplastics, and we have, for instance, already biodegradable plastics, which we are using, and we will continue to look into the future. There are also some glitters that are actually of biological origin like, for instance, Mika's, which come from stone, and these are also very great alternatives to avoid the use of microplastics altogether. We at ProNails are already working on alternatives to microplastics, so let us all work together towards a better and safer environment for everyone.