I'll demonstrate how to set up a network of virtual linux guests on a Ubuntu host computer. In this case it assumes I've already set up an installed virtual box so you can access the virtual box website and download for your operating system. I've already installed it for my Ubuntu operating system on my computer. It also assumes that you've downloaded the base virtual machine which is available on the website. So I've downloaded it already and the first thing that you need to do is I'll unpack that and add it to virtual box. So in my case I have it the base image in the directory VM. So it's called base.tar.gz. I need to unpack that. It takes a few seconds to do that. And once that's unpacked what I'll do is add that to virtual box so that we mode base image. Then the software vertnet allows you to create nodes based upon that base image. So it's a set of scripts that will do it for us automatically. To use that software you need subversion so I've already installed subversion on my Ubuntu computer and the instructions are on the website for how to install it on other operating systems. So it's unpacked already so there's a directory called base and inside there is the virtual box image. So now in virtual box I add a new machine and I find the dot vbox file and then that's added to virtual box so now we have a base virtual machine. There's no need to start that right now. What we do next just note that the usernames and passwords the default the user is network with the password network and the other passwords are always set to network by default. Next we need to use SVN to download some of the the scripts that are used here. So I'll go into my home directory make a new directory SVN and cd into that and then what I need to use is SVN or subversion to check out from the server which effectively downloads the code from the server onto this computer. The URL is available on the instructions in the website it takes a few seconds it will eventually download all the files into this SVN directory under a subdirectory called vertnet. There they go and we have this directory called vertnet. So now we can do a few more set up things. First we need to just set the permissions on one particular file which is used for automatic logins. So this changed the mode for this id underscore rsa file just copy and paste that command and that will set the permissions on that file so I run that and now I'm ready to create a virtual network so there's some scripts which we downloaded when we used SVN which will allow us to create a topology that we desire. So we'll cd into the directory so in the vertnet directory under bin host there's a set of scripts and the one we want is vn create topology bash vn create topology and then we choose a topology number. There are predefined topologies available on the website. The example on the website is five we'll do two now which is just a simple two nodes connected together and that goes away and creates the virtual box virtual machines by copying the base. So we see in virtual box it's created node one and it's setting it up setting up the network interfaces. It takes a few minutes to do that so it starts the virtual machine logs in sets the IP address and so on and then it moves on to node two so this topology just has two nodes connected together. Once they're set up they'll both be powered off and then we can access them and I'll use this script vn ssh to automatically start the nodes and log into them. So it's already been created they're both powered off now I want to start one and log into it bash vn ssh node one that automatically starts the node and then ssh is into it. I'll do the same in another terminal for node two so enter the directory vn ssh two for node two and that starts node two and we'll log into it. It takes a while to start and then log in we see that node one it's logged in so it's now on the virtual box virtual machine just to test that it's up and running I'll ping from node one to node two which has the address ending with dot 12. It pings five times and we get a delay of around one millisecond and that's it we've got our two nodes set up so now let's just turn them off sudo power off type network as the password node one is off do the same for node two power off and both nodes are off now so we can do what we like with our network when you're finished with your network you can delete those nodes so in virtual box select them and select remove and important make sure you delete all files not just remove only it deletes everything and then later you can create a new one a new topology as you desire based upon that base so overall the once it's set up now all you need to do is create a topology use the virtual network when you're finished with it delete the the nodes but not the base and then continue


about some of these e-retailers. With that is Greg Portal, partner and consumer practice lead at Carney and Melissa Armo, founder and owner of the Stock Swoosh. Thank you both for being with us as we look at the landscape of the online shopper. For example, we saw Wayfair. Wayfair had fewer orders. We've seen slower growth for a name like Etsy. Greg, what are you seeing as it talks about e-commerce here? Well, we're really starting to see an industry that is reaching that inflection point. We used to think about e-commerce as this limitless area of growth. And now that initial exuberance is really turning into a competitive landscape where these companies have to compete for share of wallet more so than just pure growth. And that really does change the calculus for all of these companies in the sector. So, Melissa, what are your thoughts? Because there was no doubt when we saw the Wayfair report, it was very evident. We saw the stock struggling. Their earnings and orders for the company disappointed truly. And there's been a lot of excitement that the consumer was still spending last year. Are things changing? Is it Amazon? Is it folks going back out on foot to the stores? What's changing? Well, if you look at stores or companies that have actual locations where you can go shop like Target and Walmart, those stocks, those charts look much, much better than anything we're talking about today. So, definitely, I think people have been out. They want to go out. They want to look and touch and see what they're going to buy. And that's a benefit. But also, it may be the fact that sometimes when you're ordering things online, specifically, I'm going to talk about furniture, which overstock and Wayfair focus on the bigger items, furniture items, it could take weeks and weeks and months to get it. So, I mean, if people say, okay, I can walk into Target and get it. Or I could order it online with Wayfair or even if they decide they want to buy something, but they're seeing it take someone to get it, they may change their mind and decide not to do it. And that is a problem, I think, right now with furniture and big ticket items, appliances as well. Etsy reports tonight. So, I don't know how that does, but pretty much every single stock we're talking about today really looks like the market. They all gap down. They all rally today in the market. So, you can't really take much from today's trading activity despite the fact that they had earnings away from what really is going to be the long-term between now and the end of 2022, I'd say, for what these companies are going to do. I think you make a great point about supply chain concerns and things for the home. And we've actually heard those concerns from the National Association of Home Builders while they have demand for building homes, they're having a hard time getting cabinets, getting appliances, getting the things they need to build. That being said, I'm also thinking about price point as far as market value. Greg, you tell me, because names like eBay, which is probably down more than 30% from its October record, and Wayfair has fallen over 60% from its high in March. When we look at these types of names, they're more in the small cap category. I wouldn't compare these. I don't know that we can compare these to the big names. Do they provide something different for an investor? Do you like any of these names? Can you recommend any of these names? Well, they're very focused. So if you think about some of the larger competitors, they have more degrees of freedom to build momentum. When you look at some of the smaller mid cap, smaller low cap and mid cap plays, they have very few degrees of freedom. So when management gets challenged against headwinds, whether it's supply chain or on the demand side, they just have fewer options to work themselves out. Whereas in the larger names that we all watch, those companies really can put into play a lot of different tools that more closely match traditional big business than these more narrowly defined companies. Melissa, do you have any names that you recommend when it comes to retail? To buy, if you're talking about buying, I would rate right now because of the backdrop of the landscape that we're living in right now, which we saw the reaction of the market today. It's interesting to me, I know the market's rallying today, but the fact is the market got down and has really taken a tumble. And we haven't seen highs in the market in 2022. The last time the market saw highs was November of 2021. So as far as looking to buy anything here, I don't care what it is, I don't care what sector, maybe except for oil. You want to buy oil right now, go for it. Other than that, I would stay away from buying anything at this point now to see whether it has good earnings or not, because you want to see really where this market could go. A lot of people think this is a great buying opportunity if people love to buy dips, but the fact is the market could go lower, it absolutely could. Right. And Greg, you were looking at a name like Overstock. You said, at least in some cases, Overstock has some levers to pull. Can you explain that? Well, remember, they started as a big sprawling enterprise that was primarily reselling product. Now they've started to really focus the business. They've started to understand over the past 20 years what makes that business profitable. So when management looks at where they can squeeze out additional earnings in a quarter by quarter basis, they just have more experience and more trial and error behind them so that we're not living through it in the market. That's why you're seeing a company like Overstock survive this wave of uncertainty a little bit better than some of the other names we've watched. And Melissa, final thought just on the consumer and the behavior that we may or may not see, you know, such a contributor to GDP growth is the consumer. I think the consumer is going to think about what happens in March when the Fed decides if they're going to raise rates a half a point or a quarter percent, because people are going to get scared about spending money or going out and making big purchase ticket items, furniture is one of them, which these store sell when the interest rates are going to go up because again that means people's credit card interest rates are going to go up and people tend to put these items on credit cards. So they're going to think really seriously depending on what rates do. Plus also we talked about gas going up and food and inflation and all those things. People are being picky about what they spend money on. Do I think they're not going to, they're going to stop spending money? No, but people are going to be really picky about what they spend money on in the coming months. Yeah, without a doubt. Good to see you both. Thank you so much. Melissa Armo of the Stock Swoosh and Greg Portell of Carney. Thank you both very, very much. Nice to see you.


Let me be honest with you guys, I was the biggest skeptic when it came to meditation. I thought it was a lot of woo-woo, a lot of hippy stuff. I thought it was a fad that people are just trying to make money off of. Like how could breathing in and out really slowly change your entire life? Wow, was I wrong? If it's your first time here, my name is Noah and I make videos on the best health and wellness tech that you should be paying attention to. And today I just wanna share my personal experience of learning how to meditate through the Calm app. So let's go ahead and get right to it. So I started to consider meditation because of the pandemic. I started seeing people around me struggle with their mental health. I struggled with my mental health and the topic of meditation and mindfulness started to just keep coming up here and there. You started seeing companies adopt mindfulness practices and doing more meditation. It peaked my interest so I started doing a little bit more research. And through my research, I started to find science-backed benefits for meditation. Like, one, decreasing your stress and anxiety. Two, increasing your focus and your productivity, having better sleep quality, improving yourself with steam and your relationship with others. They were using it in schools. They were using it in prisons. There was a ton of apps coming out. There was something to this meditation thing. So I went ahead, headed to the app store and looked up meditation. Of course, the first things that pop up were Headspace and Calm. Now, I'll be honest, the reason why I chose Calm was because I had a good deal with my previous company that had me 30% off for the entire year. So I downloaded that one. And once I downloaded it, the first thing that popped up was 30 days. How to meditate with Jeff Warren. Bless you, Jeff Warren. Caveat, I'll be very, very transparent with you. I didn't do 30 days straight. I did complete it. I think my streak level was like, I think seven days at a time and I might miss a day or two and then get back on for like six or seven days. So when I started, the first few days were pretty tough and challenging. I found myself where my thoughts were just always running. It was hard to focus on my breath.  And it got to a point where it just, it would get a little bit frustrating. Let me know in the comments below. Is that the same for you? Was it a little bit difficult when you first started meditating? But I noticed it started getting easier and easier as I kept doing more and more sessions. I ended up learning how to choose a home base which is like choosing, you know, whether it's a body part or your breath or sound and really just focusing on that throughout the entire meditation. I learned about equanimity which is the whole idea of having like inner smoothness and releasing bodily tension. And I learned how to build that internal happiness and friendliness for others. And what I found out was consistency was key even though I was only doing four or five days straight I noticed I was getting more into a meditative flow state when I was doing that versus the one off here in their sessions. And so when I got to the end of the 30 day experience I started noticing I was just more relaxed, more calm before I went to work. And when I was at work I got so much better at focusing on a task at hand. It also taught me how to be self aware of my emotions and my thoughts and how to manage those. And it made me more connected to the people around me. And what was crazy was that this was just the 30 day how to meditate series. They also have other shorter meditation series such as the seven days of focus where the whole idea here is really concentrating on prioritizing, getting rid of digital distractions. They also have a relationship series which the whole idea here is thinking about how can you de-escalate conflict? How can you manage your emotions when you are arguing? And honestly, calm is more than just a meditation app. They have a self reflection feature where basically each day you have daily reflection prompts that you can kind of put in your personal experience of how you're feeling. They have your gratitude check-ins which I really love where every day you can write three things that you're grateful for and I think that's an amazing practice to keep doing. They have specific sessions on improving your sleep. Things such as sleep stories where they have people like Matthew McConaughey, Harry Styles, The Homie from Bridgerton read you stories to help go to sleep. They have background sounds that you could choose from. I think they have something from Dune. They have relaxing music that you can go to sleep to. The whole idea here is to just calm your mind of any type of running thoughts before you go to sleep. That's like a big thing. A lot of people are saying like, my mind is racing, I can't go to sleep. Their sleep sessions are the best at helping to tackle that. They also have high profile guest sessions. One of my favorites are the LeBron James Mental Fitness where basically it's all about grit and inspiration. How can you push through failures and challenges? They also have Shawn Mendes who talks more about mindfulness and the importance of mental health. You could just see how many celebrities are joining this and seeing the importance of mindfulness and inspiration. And then they also have the Calm Masterclass which is all focused on personal development such as Ryan Holiday Stoic Wisdom or Michelle May's Mindful Eating or Alex Peng's whole idea about the power of rest. They also have a specific section called Calm Body which is basically videos and voiceovers that walk you through stretching and mindful movements to release tension in your body. They keep track of all your stats such as your mindful minutes, your total number of sessions and your longest streaks of meditating. Like there is so much to do in the Calm app. It's almost like a digital spa. However, this does lead me to some of the things that I don't like about this app which is because there's so much in here, it is confusing to navigate sometimes. It's easy to get lost and I feel like the organization could be just so much better. Maybe if they had a filtering system where you could just choose what you want. Like if I wanted to focus mainly on meditation and sleep, I could remove music or calm body. Like it just can be a lot to see at once and to kind of sift through. But overall I'm sold, meditation works. I truly think it will help you lower your stress levels, improve your concentration, make you more present, encourage you to be more kinder and calm, no pun intended. But in all honesty, nothing but positive things to say about this app. This video has not been sponsored by Calm, but if you're interested, I'll put a link in the description box below where you can download the app and get access to their seven day free trial. And then I think after that for the premium service, it is $70 a year. And look, even if you don't download Calm, at least look into practicing some sort of meditation in whatever way it works for you. It has changed my life and I truly think it will change yours as well. I hope this video was helpful. If it was, go ahead and compile that like button, subscribe if you haven't already, and as always, stay healthy and embrace the hype. Woo! And then keep track of all your stats such as your total, he's little just doing that to get through here.


And now, tonight's presentation of Radio's Outstanding Theatre of Thrills, Suspense. The transcribed story of what happens when a trunk is bought at auction, contents unknown. We call it Going, Going, Gone. So now, starring Tom Brown and Eve McVeigh, here is tonight's suspense play, Going, Going, Gone. Very exciting by folks, very exciting. Wally? Wally, look! I found, I found, ladies and gentlemen, I'm lost. I found, ladies and gentlemen, that from the estate of Mrs. Dexter Jostlin. Since Mr. Jostlin's unfortunate disappearance last week, the executors have found a letter left by Mr. Jostlin, requesting us to sell his bill. Wally? Yes, sir. I'm going to bid on it. Mr. Jan, please be sensible. We already bought a lamp, two chairs, another original vase to my list at you. What do we want with a trunk? I won't go over ten dollars. Ten dollars, I should say. Oh, please, Lucky's got such lovely old stains. Please, it might be very valuable. Three, two, I hear one. I hear one, who'll make it two? Ah, two dollars. Thank you, my gentleman. Two dollars. No. It's only two dollars. Do I hear three? Three, do I hear three? Two fifty. Two fifty. Three. Three dollars, my gentleman. Three, three, do I get more? Three going once, three going twice. I've been sold to this lady for three dollars. Come on, dear. Let's go back and pick up our things. And the statue, too, and the trunk. That's not the same one. It's newer. It's the same one, lady. No. The one you sold me was lovely and old. That's right. The one you sold my wife had stains on it, and we want the one with the stains. All right, I want the one I bought. But I tell you, lady, we use the old one for a come on. Now take this. It'll make you happy. No, we want the one you sold us. Oh, okay. Okay, sure. I'll get it. I'll be right back. Okay, boys, drag out the old one. Oh, Jan, sometimes I wonder about you.  Well, let me tell you something. That old trunk's got something in it. I know. You know. No, what about that funny little man who came in late and bid two hundred dollars? You know, I'll bet he made them offers that other trunk just now. Honey, that's just part of the act. They want to make people figure it's valuable. Next Sunday, they'll have fifty old trucks to sell. All right. New way. You'll see. You just wait. We got our old trunk, paid for it and caught it at home. Sat in the middle of the living room. Big, old and dirty, with a lot of funny looking stains. Jan was like a kid with a new doll. What do you think's in it, Wall? I don't know. Well, it could be anything, couldn't it? Yeah, sure, sure any. It's kind of like Christmas, you know? Well, honey, are we going to stand here and talk about it? Let's open it and get it over with. No, wait. Not for a minute. I just want to look.  It can't be the same as the other trunks they've got. Oh, Jan, I thought you had more sense. Do you honestly think they'd sell us something for $3 if they didn't open it first to find out what was in it? Oh, it's heavy. Sure. Well, with all clothes, all the skates, blood instruments, and, uh, well, that's it. Wow. Hmm? Guess what's in it. Guess? Oh, come on, Jan. Come on, let's open it. First, well, guess what's in it. You guess first. All right, let's see now. Old trunk, pretty big. A lot of peculiar stains, big enough to put a... Oh, come on. Come on, let's open it. Wait. We'll open it together, huh? All right. Oh, the cat is stuck. All right, all right. Here, I'll do it. Now, stand back. Well, go on, open it. It's yours. Well, doesn't it scare you? Just a little bit? Scare me? Are you satisfied? Wally, I'm sorry. Oh, now look at that. Nothing but a mess of old rags and papers. Three dollars. Three hard-earned dollars for a pile of newspapers and... Robies. Wow. Oh, it's a fake. It must be. Oh, these aren't real. They work real, but... Yeah, but there's nothing to be scared about anymore. It's not real, none of that. Oh, now look, look, be sensible. If this stuff were the real thing, I mean diamonds, pearls, emeralds and all, it ought to be worth millions. It looks real. I mean it. A woman has a feeling about jewelry. She can tell. Jewelry? Here, look. Did you ever see a diamond ring this big? Well, no, I never did, but... All right, all right now, once and for all, I'll prove it to you. You think this is a diamond ring? Yes, Wally. I think it is. This is a diamond. Okay. It's a diamond ring. Okay. Now watch. Diamonds cut glass, right? Right. Okay. I'm going to scratch it on the window, and maybe this will satisfy you. Okay. Ah, there's your fake diamond. Now for heaven's sakes... Oh, Jew, they're real.  Yeah. What are we going to do with it? I don't know. What do I think? Maybe we should call the police. Oh, no, no, no. Why should we... I mean supposing it's all stolen jewels. Hey, hey, the door, someone's at the door. Now come on, come on, get the rags and papers back in the trunk. We'll put it in the bedroom. Well, it's probably only mother. Yeah, all the guy from the auction. Now come on, hurry. All right. All right, now you push and I'll pull. Oh, we gotta be careful. There.  Now if it is your mother, don't say anything, please. All right. How do you do? My name is Mr. Minci. Yes? You are Mr. Pindale. Yeah, that's right. You bought a trunk this afternoon at the auction. You see, I arrived too late to buy it myself. Oh, that's too bad. Too bad, yes. Mr. Pindale, I will give you $200 for it. A sentimental value, you understand. I'm sorry. Would you mind getting your foot out of the door? Ah, you have opened the trunk. Yes. Oh, $50,000 then. You must be a very sentimental man.  We needed a trunk. Good evening.  Now this is your last chance. Think carefully. Good evening. Mr. Pindale! Heard it, Wally. What are we going to do? I don't know. It was that same little fellow. He was still there. Well, I'm scared. Well, he's quite old and not very big. I'll take care of him. No, no, don't do that. Call the police. Oh, no, Jan this... I mean it, he might have a gun. Jan this... Please. Well, all right, maybe I'd better. Never thought I'd see the day, but... Hello. Please, I'm using the car. Oh, yes, hello. You mind getting off? I'm sorry. What's the matter? Party line. What does that woman talk about all day? Well, you'd better drive down to the police station. Oh, wait a minute. Maybe he's gone. It's all right, honey. Nobody's there. What are we going to do? Oh, about what? We bought the trunk. What's in it, Tars? It isn't right, Wally. We'll get into trouble. That man at the door. He might be a gangster, a foreign jewel thief. Suppose he's got other men with him. I'll try the police again. Chess is the only stuffing I use. Of course, some people like Oisey and I are... Hello. Oh, would you please hang up? I'm using the phone. Look, lady, this is emergency. Oh, I'm nervous, some people, honestly. Sometimes I try to get the use of this phone. Lady, I'm trying to call the police. Oh, any excuse. It isn't an excuse. I'm trying...  Well, she's got to. Here, let me try. Oh, no, no, no. Wait, maybe... Maybe it's fate. Maybe we're not supposed to. You listen to me, Wally. Now, I don't see why you're making such a fuss. We're safe enough. I'm not afraid of... Wally, don't you dare go. What do you want me to do? I don't know, but...  Who is it? I'll scream out the window for help. No, no, you can't do that. What would the neighbors think? I'm going. Wally, take the poker. Okay. Now, you stay where you are. It's all right. Now, you just stay there. No. Okay. I've had enough of this. Listening to Going, Going, Gone. Tonight's presentation in Radio's Outstanding Theater of Thrill's Suspense. Today, the Red Cross needs not just your donation, but you, as an active member.  And while you're there, join so you can serve. 30 million new members are needed now. And now, we bring back to our Hollywood soundstage, Tom Brown and Eve McVeigh, starring into tonight's production, Going, Going, Gone. A tale well calculated to keep you in suspense. Yes. Oh, yes. What happened? Are you hurt? I don't know. Been close to me. I've got to tell you. You've got to do something. No, no time, no time. They caught me as I was coming back up here. They'll get you too. Who? Who? I don't get it. They're waiting outside. Later in the night, they will come. Killers? Killers? Who are they? The jewels. Where are they? In the trunk. We put them in the bedroom. We can't let them die there. Call the police, Wally, and doctors. Something. Save yourselves. Get out of this house. Get out. I guess so. Oh, I'm scared, Wally. What are we going to do? Well, take it easy, honey. Nobody's going to hurt you. Hey, hello. Hello. Hello. Hello for Pete's sake. What's the matter? She left her phone off the hook just for a spike. She's left it off. I've got to think now. Couldn't I scream out the window for help? Oh, sure. Sure. They're waiting out there. You get killed just like him. Oh, no. Wait a minute. Put out the light. I'm going to peek out. I was getting misty. I couldn't see the end of the street, but near the lamppost a couple of houses down. A car, big and long. In our street there's only two houses. Mine and a neighbor who wasn't home. And I'd never seen that car before. I thought of what was in the trunk and what was lying right outside of the front door. Man doesn't like to show it, but as I looked out, I was scared. No. Oh, but there's a car down there. There must be in it. Come away. No, no, wait a minute. What? I'll stay back. I can see lights coming around the corner. What's going down? It's Mr. Fling. Mr. Fling? He won't do any good. He always comes home drunk on Sundays. Well, I'm going to open the window and yell anyway. You get down on the floor. They may start shooting. Oh, Wally. Mr. Fling. Hey, hey, Mr. Fling. Mr. Fling. Why?  Mr. Fling. It's Pindell, Wally Pindell. Oh, yeah, yeah. We're in trouble, Mr. Fling. You've got to call the police. Time to get over here and hurry. Of course you are. OK.  You're in danger too. Yeah, yeah. OK. Yeah, yeah. You must be sober tonight. He's going to do it. Oh, gee. The police can just get here in time. You know, it's funny. They didn't try anything. What? What are we going to do with him? Mr. Lynch? I don't know. Better put him in the bedroom, I guess. On our bed? Oh, honey. He's dead, poor guy. You stay here. I'll carry him in. All right. I carried him into the bedroom and laid him down. I never touched a dead man before, and I always thought they'd be cold. He wasn't. Not yet. And the doorbell rang. Uh, yeah? Hi, hi, pal. Oh, Mr. Fling. Anybody with you? Oh, what do you got? Huh?  No, no. Come on in. Come in quick. Don't push, Don. No, look. I told you to call a police. A police? Yes. I thought you said, come on up and have a drink. What's the matter? Is somebody dead? Jan. Jan, go make some coffee. Oh, honey. Go make coffee. Something, anything. Yeah. Now look.  Wait a minute. I'm sober. Who? Look, look. We've got to get the police. Why, I've got a raid. Huh? Let me out of here. Get out of here. Now look, some men are outside there trying to kill us all. They've already killed one man. Oh, yeah. Who, who? Oh, it doesn't matter. Look, we can't use our phone. We've got to get to another one. Oh, no, no. I know these wild parties. You get on my phone and you call some daemon purse. Oh, if you weren't drunk, I'd put... No, no. Come on. Hey, that hurts. Come on. Hey! John! What? What, Wally? Oh, he's no help. I'm going to make a run for it. But you can't go outside. Now look, we're not going to stay here. Hey, hey, where's that drink? Wait a minute. Huh? I'm going to take a look out the window again. Okay. Okay, I'm going to bed. The car's still there. Some party here. I can't see if anyone's in it. Oh, good evening, sir. No, no.   Got to take the chance. Oh, where are you going? I'm going to get to Flingshouse. It's here, sir. Try the back way. Now, if I can get to the garage, I might be able to make it to the police in the car. What about him? I don't want to stay here alone with him. Okay, okay. Come with me. We went out the back door. Everything was quiet. Even quieter than usual because of the fog. I know that we couldn't be seen from the street. And if we were quiet... Look, when we drive out of the garage, you duck down. If they try to stop us, well, I'll run them down. It's all right. It's only a backfire. Hold on.  It was right over there across the street. Hey, maybe they... Jan, you stay here. Looks bad. The door's open. You wait, Mr. Pendell. We'll go on first. You two guys watch the back. Okay, sir. Mr. Pendell. Yeah. This, the body? No. That's Mr. Flings. No. Where's Mr. Munchie? He's gone. They took him away. But the trunk's here. Look. Yeah. The jewels. They're not here. Mr. Munchie, he was here. Listen, don't look at me like that.  And Mr. Munchie, he was... Oh, Jan! I'm gonna tell him, Jan! That was about it. The same trunk was there, empty. There was a mark on the bed, and the dead body was gone. We managed to wake up Mr. Flings, but he couldn't remember anything except that he wanted a drink. The place was pretty mad, but I guess Jan convinced him that we hadn't been kidding. Anyway, we gave him coffee, and that was that. There's much more to it. Except that about two months later, Jan and I were having breakfast on Saturday when the mail came. We don't have anybody in Mexico. Hey, look. It's from Mexico. I know, dear. You said so. Mr. and Mrs. Wallace Pendell. Who's it from, dear? Hey, Jan. There's some money in it. Two $100 bills. Well, let me see. What does the letter say? Dear folks, I'm sorry for the inconvenience I caused you. But it was my trunk and my jewels, and I had to get it back. So I know you'll excuse the little trick I played on you. Just before my disappearance, I put all our jewelry in the trunk, and by letter ordered the seal trunk to be sold at auction. But I got caught in the traffic, and you got it away from me, and closed as a token of my appreciation. Sincerely, Dexter Jocelyn, Alias Anatole Menchie. Menchie? We better call the police. Why? Well, all those jewels. Well, he says right here that... Well, I know, but... Now, let's just forget the whole thing pretend it never happened. But every once in a while we are reminded of it. There's a diamond ring about as big as a half a dollar. I'd put it in my pocket after I cut the glass out of our window. Jan used to wear it to parties. Not anymore. She thinks it looks too much like a fake. Suspense. In which Tom Brown and Eve McVeigh starred in tonight's transcribed presentation of Going, Going, Gone. Be sure to listen next week to Suspense. This is CBS, the Columbia Broadcasting System.


Rhae—rhyw fawr, penwaith. Erbyn amdodd y Lleodraeth Lleodraeth am gyflawni, ond gallwn amfawr yn fawr i chi'n cwrs Llywodraeth. Maewer rydych chi hefyd yn gallu gael'r當feydd mewn ukwlau arbennig. A fawr i chi i gael y 19r ffaith o ddylch, yma gwrs Llywodraeth. I'm we're delighted you can join us today and part of this in conversation event with Dame Evelyn Glennie OBE. It's brought to you in partnership this year with the Edinburgh International Festival and later I will be inviting you to participate in this in conversation with questions or comments that you wish to make. So let me get on with introducing our guest. Dame Evelyn Glennie OBE is the first person in history to create and sustain a full time career as a solo percussionist performing worldwide with the greatest orchestras and artists. She grew up on a farm in the north east of Scotland and was influenced by Scottish traditional music. I've also learned she has connections to Orkney, which I suspect most people do when they dig deep enough. Dame Evelyn's hearing declined at the age of eight, but she became a proficient pianist and later was introduced to percussion at the age of 12. After a few hurdles, when Evelyn made history by challenging and changing the application system to all UK music colleges, and I'm sure we're going to return to that later in the discussion, she gained a place at the Royal Academy of Music in London at the age of 16, where she studied percussion and piano. She quickly realised there was a life for percussion outside the orchestra and became determined to define a new genre of solo percussion. Dame Evelyn paved the way for orchestras globally to feature percussion concerti when she played the first percussion concerto in the history of the proms at the Royal Albert Hall in 1992. Having recorded over 40 solo recordings and composed 200 pieces of music for various films, TV shows and theatre productions, she has won over 100 international awards and is a double Grammy winner and a BAFTA nominee in 2012. She collaborated with director Danny Boyle in performing as part of the Olympic Games opening ceremony, leading a thousand drummers as part of the performance and featuring the new instrument, the Glenny Concert Alluphone, one of three and a half thousand percussion instruments that form part of the Evelyn Glenny collection. Dame Evelyn was awarded an OBE in 1993 and this year was announced as the winner of the prestigious Leonie Sunning Music Prize for 2023 with previous recipients, including Igor Sravinsky and Yehudi Menuin. This is the first time the award has been presented to a percussionist. Dame Evelyn is present of the Help Musicians, a charity that has supported UK musicians for over a century now, as well as being patron and a supporter of many charities, including Music and Hospital in Arts, Drake Music Scotland and Edinburgh Youth Orchestra, to name but a few. Some of these charities, I'm delighted to say, are represented here in Parliament today. Her unstinting support for young people continued in 2021 when she became Chancellor of Robert Gordon University in Aberdeen. She's also founded the Evelyn Glenny Foundation, which continues her mission to teach the world to listen. As I said, there'll be an opportunity for you to put your own questions, make your own comments later on, but maybe start, Dame Evelyn, by returning to that theme of the application process to the Royal Academy. You obviously changed the way in which that application process worked, that nobody could be rejected without first being given an opportunity to be heard. I just wonder what impact both that challenge but the fact that you overcame that challenge had on the 16-year-old Evelyn Glenny, and I suppose that the legacy of that for you personally going forward has been. First of all, thank you very much indeed for the opportunity for me to be here and to have this discussion, and I'm delighted to receive any thoughts and feedback along the way. I think the thing about being young is that a lot of things actually can be very simplified in your mind, so really my aim was, at that point, to be the best possible percussionist I could be. What I didn't know growing up in the north-east of Scotland was what was my level in relation to the rest of the country, as far as being a percussion player, and so all I could give was the best I possibly could. What was very clear in my mind, and this is all about listening to yourself, is what do I want to do? What do I want to do? I wanted to be a solo percussionist, so the aim was really, really simple. When I auditioned, I felt I gave the best I possibly could. However, I was expecting the result to be, well, Evelyn, you need to reach a higher level, and if that was the case, I would know exactly what I would have to do in order to try to be a bit better the next time around. However, when you do have the feedback where, well, yes, you are reaching the level, but we can't take you in because of your hearing, then I have an issue, because where does this stop? So if someone plays good enough to get in, and they have no arms and legs, or they're blind, or whatever the case may be, who's judging this, actually, and it's a very dangerous landscape to be? We're dealing with a profession that is all about connection, building bridges. This whole profession, it belongs to all of us, it belongs to all of us whilst we're in our mother's womb, it belongs to all of us when we're taking our last breath, and every part in between of our lives. So that is what I realised in learning music at school because we were just busy playing in the community and primary schools and at this community event, at that community event, it made no difference who our audience was. We were giving 100% and we cared about that occasion. So this was a really important landscape for me to keep very strong in my mind. Why are you a musician? What are you? What does a musician actually do? In those years when I was thinking of trying to be the best possible percussionist I could be, I realised this is a never-ending journey. Even this morning at the hotel, I was practising a certain stroke with my drumsticks on the bed. Just going back to very, very basics, practising this because I've just got this desire to try to improve. However, then I realised, well, what am I? I'm a musician so my language is dealing with sound. Then I realised, well, everybody has an opinion towards something so some people might like that piece of music, some people may not like that piece of music and that's absolutely fine. So you can't really control that but people do recognise if you give the most honest performance and I think this was so important when I was auditioning was for the panel to really listen to the individual. So they could not be in a position where they could think, well, an orchestra won't hire a hearing impaired musician. They don't have a right to say that so I will take care of that but as it happens I wanted to be a solo percussionist so it was almost like a double whammy for them. So I felt it was important to say something. Am I of the standard to get in? Yes or no? The answer was yes so that came back from them. So therefore I must get in. It's as simple as that, I must get in. You have to allow somebody to have that place if they've reached the standard to get in. So it was just like simplifying the whole situation and it took one man on the panel who recognised that they were on dodgy ground here and so they asked me back for a second edition that had nothing to do with percussion playing at all so it was completely unprepared and it was sitting at the piano and it was looking at sight reading, looking at a score deciding who might have written that piece of music, doing choral reading, full score reading, transposition, you name it, every aspect of being a musician and I was used to that already and so at the end of that they said you can start in September and they realised that they have to listen to the individual, not what they see you know but what is it with that individual and it's more than also just the playing you know, how might that individual fit in, what is it that they you know, they've got to just really zone in on that individual and use all the senses possible to connect with that individual. So it's a very interesting circumstance and for me as a performer you know, I hone in to my audience, it isn't just transferring what I've practised in the privacy of my own four walls and then plonking that on stage at the usher hall or the hub or wherever it might be and hoping the audience might enjoy this. It's really grasping like who is here right now, you know, what is the message we want to put forward right now and always thinking about the present and being adaptable enough to recognise what the situation is right now, that I think is really important. So that I think is what happened at the audition was for that panel to zoom in but also zoom out and from that they really realised that they have to just see people as people you know and what is that passion in that person. Hearing you explain that now, it all makes perfect sense. I think it's recognising though that that was your thought process at the age of 16 which for many people of that age can be quite a difficult challenging time. They're dealing with lots of things going on in their life but you seem to have a real confidence, a kind of inner strength, a self confidence. I don't know whether did that come from the fact that you had been brought up playing performing music. We were discussing this before we came in about the skills that does give young people that ability to perform in public. You've also talked about an inclusive environment in the north-east of Scotland at the time being a more inclusive community.  Yes, I think it was a bit of everything to be honest. I think the whole ethos of the school I went to which was Ellen Academy just north of Aberdeen was that the school believed that every child has a story to tell and every child does have a story to tell actually. So within that school you've got a great engineer, a great politician, a great musician, sports person, debater, baker, plumber, electrician, whatever it might be and it's up to the school to plant seeds but to also fish out what it is in that individual and to then be able to support that in the conversations that are had and how interested you are in that individual. So you don't suddenly have to become an expert in baking or an expert in engineering or something. It's just simply being interested enough to listen to that person and I'll never forget that at school I wasn't particularly hot on maths for example but my teacher happened to be a very good pianist and he could see how I became a different specimen almost in the music department and so therefore he just changed his vocabulary in the maths class and that made all the difference. It was just a simple thing like that. It may not have been so simple for him but he did it and it's just this kind of paying attention and that's what listening is. It's just paying attention to the circumstance and I think that's why social media is quite difficult to handle because you say something but then you know you're not actually listening to what you're saying you've just written it and then that's that it's there so that's a whole different kind of meaning I think to listening. So yes I just felt that the school wasn't about finding the best musicians but what is it about playing music that gives that person satisfaction? What difference does it make in their lives? So I really feel that music in a way participating in music whether it's a listener, whether it's actually playing an instrument, whether it's discovering sound for the first time and thinking about foley and soundscapes and all sorts of things you know that belongs to us all it really does and so that's an extension of our imagination but also it's an extension of our whole physical body you know and often we draw upon music at the time of crisis you know and suddenly we have to provide music here provide music there in order to save a situation but actually if music is part of our lives right from the beginning and if we can just find this route where we really do recognise how important it is to our well-being to our to all the physical aspects our balance our coordination everything you know are giving to of ourselves it's really quite quite amazing the offshoots of music and also when you think of music you know music consists of practically every subject that a child studies at school so you're thinking about history you're thinking about geography you're thinking about maths you're thinking about language you're thinking about technology you're thinking about acoustics and architecture you know you're thinking about all sorts of things when you actually dissect music and one of the projects that we have been developing over the past few years is a project called sounds of science and that is rolled out at the throughout the shireland academies in in bermanham and this is just looking back at you know the history of man developed sounds so you know what you start let's you can start anywhere but you start maybe in this case with stone tool making so you clunk stones together and you scrape stones and then a little spark happens and oh that then ignites fire so what happened then with fire so you can create the foley sound the feel of fire by just scrunching plastic bags or something and then what did fire mean to the development of man well we could suddenly cook meat on there or we could keep warm and all sorts of things and and it goes on and on so the sound of helium the sound of dolly the sheep the sound of the bicycle bell the sound of i don't know penicillin the sound of gravity the sound of the first computer the the sound of silent movies whatever so really looking at history and thinking well what else was happening when this event occurred you know often when we teach music we may teach you know about Beethoven or Handel or Haydn or Shostakovich or something and that's all we think about we don't think well what was going on in china what was going on in latin america so this project is really zooming out and thinking well historically what was happening there what other inventions were happening you know all sorts of things like that so a five-year-old can deal with this project along with an 18-year-old so they're talking about the same project through sounds of science but dealing with all different aspects of their education that's what i enjoy really building the bridges there and which just underscores the extent to which music or sound can be woven through to everything it's something you you touch on in your ted talk in your youtube videos for those that haven't watched them i thoroughly thoroughly recommend them but you talk about music as being almost a daily medicine and obviously a requirement for everybody in some shape or form do you think it's something that we are doing well enough and there's an awful lot of onus that's always placed on schools and there's a limit to what schools can do but with the contraction often of extracurricular activities for for one reason another the capacity to pick that up out with school is limited are the things that we could be doing better or that we or that you see we're doing well and that we might look to kind of roll out more more widely across the country absolutely i mean we as a as a country as a whole you know we've been we've had a very good record i would say of amateur music making of community music making of music in our schools our professional music making and so on and it's been very very strong absolutely there have been challenges right across the board no question about that but you know things can't remain the same forever more so you know music is like a river it it's always flowing and we always have to ask the question as the festival is asking now where do we go from here you know so we can't just sit sit back and think oh that's working fine that's great so i think that we have always got to communicate with our young people we have always got to communicate with those who are providing the services and make sure that communication is happening at all times in whichever ways possible so keeping those avenues open is is so incredibly important i think that we can definitely look at our demographics and think about all the different situations that people require support so we might think about music when you know mums are pregnant for example so how important is that going to be not just for the baby but for the the parents you know what about keeping that extension going once the baby is born what about music and preschools a lot of the questions we get asked is you know what should primary schools buy as regards to percussion in the budget with the budget that they might have you know now very often you'll find that schools have rattles and tambourines and shakers and all of this sort of thing they're all high frequency instruments they're all things that often don't have a long sustain so the recommendation is think of food and think of sound like like a diet you know so how much low frequencies do you have how much mid frequencies do you have how much high frequencies do you have so you're nurturing that sort of um the senses for a young person through through sound and through that sound diet um and so thinking about short and long sounds so you know they're already in kind of en engrossed with very high cosmetically enhanced sounds through phones and computers and other devices in the home so the last thing they need are more sounds up in this register of the body so really thinking about that right what sort of low sounds can we bring into their soundscape and so on so thinking about it like that thinking about sounds in the in the whole medical profession you know we we think about the colour of the walls we think about the the seats we sit on but do we actually think about the soundscapes so really communicating with our our architects for example so a lot of the schools for the deaf for example that are being built now that the new schools you know have curved corridors so where you know you're not suddenly spooked by someone coming round a corner or the the dining areas are you know designed at ways where you know you're not getting the scraping and the cutlery and all sorts of things which is very very painful often for deaf people and and again it's just understanding people's circumstances and how we can really improve all of our our situations as far as we can but I think the thing for me as a youngster was having those opportunities to perform I think that was so important going into primary schools to perform going into homes for the elderly to perform going into any kind of situation you know the Ellen show or something and playing outdoors in the square it didn't matter it was a chance to perform because it isn't just the performance it's the organisation you know so it's making sure you've got everything ready you're there you're mentally you know ready to go you've got your colleagues to think about it's more than just striking that and and so that sense of responsibility and and willingness and and sharing this responsibility and having a chance to talk about it afterwards and and that's all part of the performance as well I think any opportunity we can to perform and really using our spaces you know as far as possible and this is something that certainly was ignited post pandemic you know it's absolutely you know the world is our stage that is that's the that we perform you know as long as we're alive we perform I'm going to open this up to to questions in a second but just one further question for me at this stage you talk about the importance of of listening and and perhaps critical of the fact that we don't properly listen I'm conscious we're sitting in this parliamentary chamber as one of the deputy presiding officers but also as one of the participating MSPs in debate I think I can testify to the fact that very often or too often we don't listen even when we're engaged in the debate but I wonder if you could maybe talk a little bit more about what you consider to be important in terms of properly listening and whether it's to sound or whether as you were saying before in a social media context actually listening to what it is that others are saying well I think first of all for me anyway listening starts from within so you know it's important to listen to your inner chatter and to to give yourself that space and time to listen to yourself and that often sounds quite selfish but it's a really necessary activity it really really is just to have that moment of listening to yourself now it might be that you know you don't have an agenda or anything like that it's just quite simply you know being with yourself and and I find that's really necessary for me because you know you're pulled in all different directions and you have all sorts of things coming your way but ultimately it's it's going back to that 16 year old what is it that this individual is is listening to and what is it that makes this individual you know really say something and we are we can all say something that's the thing so so you know please don't think this is a kind of ego trip or anything like that for for us this is necessary for us all to do and and I think that once in a way you've silenced yourself to allow this listening to happen you can then build that bridge and energy to listen to someone else or to a circumstance and you know when I when I'm in the my my practice room you know I might be striking something and and thinking right how do I want to link that to that and I may spend ages thinking how do I want to link that to that and there could be a hundred different ways of linking that to that now you might think well who on earth cares you know at the end of the day who cares but actually it is the difference between feeling something or not feeling something a feeling that that care has been taken or not taken so just you know what is it that that you you want to say and people will feel that and listening really is feeling you know it isn't about a sound it isn't about whether you can hear something or not hear something it is literally about deciding that you want to be in the presence of that situation and receive you know and then you'll be able to give receive give receive give so you know if I only spent time with my left hand then this will give up you know so everything has to to to work together and that's what listening is as well so imagine if we were having this when I keep striking this imagine I was having a conversation with you right now and I had my mobile phone here just if I had my mobile phone how would that change the conversation if I had my mobile phone and I just you wouldn't be the first it's it's it but it makes the difference it just makes a difference you know and and this is the thing is is you know can you imagine if I gave a performance and my mobile phone was on the music stand you know and as the orchestra was playing and and I had maybe 10 bars or something and I just thought oh just check you know how on earth would the audience feel but yet we feel we can do that with a conversation you know and I would just ask if for one day we could pop our mobile phones away whenever we have a conversation and just see just observe it may or may not make any difference to you but just observe if it does and what that difference might be and is it something that we can cultivate so when I practice I'm 100% there if I'm looking up my mobile phone that is the activity I'm doing not also whilst I'm practicing so it's just teeny little things like that that I think would would help make a difference I wonder what your 16 year old self would have said to the putting away of the mobiles for the entire day like that it's time to receive and give open up questions to the audience and if you could raise your hand that will allow broadcasting to turn on your microphone you don't need to do anything but the microphone should come on there'll be a little red light near the tip of it and if I could ask that questions be reasonably succinct then hopefully we can get in everybody that wants to ask a question or make a comment so who's going to get us on the way gentlemen there in the blue shirt four rows back thank you my name's David Elliott I'm chairman of Edinburgh youth orchestra I agree Evelyn was so much you say about music making in this in this country professional music making I've left a youth orchestra this morning of 92 who are working hard to to practice to prepare for concerts given up a week of their their holidays but I and I am optimistic about youth music but I also have this slight doubt that we are persuading the the people who make the decisions of the value of music in the curriculum I wonder curriculum and I wonder if you think there are things that we could be doing more as as musicians to persuade the the the politicians and the power of the people who make the decisions of the value of music for all our young people so what could we be doing to persuade politicians to be doing more to support music in this country well I don't think we necessarily have to just land it all on the politicians or I'm not just saying that because you're here actually but but actually this is this belongs to us all it's all of our responsibility and I think that it doesn't also or it shouldn't also land on the plates of the musicians because the musicians are already passionate musicians are already doing a lot to be honest and there's only so much we can do and I think that it would be great to get other disciplines involved to talk about the power of music the power of sound the the and and how important it is so looking at it from a medical point of view looking at it from a sports point of view you know what is it let's say in the world of sport that makes music important to what they do and the level that they do it etc etc and and looking at many many different kinds of disciplines I think it would be great if we could have conversations together so that we we really learn from each other because of course we are dealing with music in so many different situations and and it's very difficult when you see the Edinburgh Youth Orchestra with such talented players they are dedicated players many will go on to be professional musicians so you know they already know what they're going to be doing or want to do and and so on so they're giving the audience who's already passionate about music and it could be their families and so on wanting to support them so you know you've you've got that enthusiastic environment already but how can we extend that and I really do feel if we can get the different disciplines involved then that might really help us so you know I've seen this obviously in in in the deaf community where you know we went from when I was growing up where there's no way you could put deafness and music together because people assumed that deafness was about silence music is about sound so there's no way they can meet in the middle well of course all of this has changed you know it really has and how important music is to deaf people and technology is also played apart in that so here you know we're talking about technology you know we're talking about people's perceptions of disability and there's all sorts of things all sorts of disciplines and people and organizations and communities that can come together and have this kind of conversation of what why is music so important in our lives you know and and not just have it the responsibility of the politicians or or musicians and so on um I feel quite strongly about that really. Thank you very much. Right. Thank you. I'd like to just develop a point that David was mentioning a moment or two ago. My name is Alasdor Orr and I'm a brass instrumental teacher in Stirling. A wee quick good word for politicians of a me. Thanks after a 10-year campaign roughly in this place in 2021 the Scottish Parliament removed fees for instrumental tuition being charged by local authorities up and down the country from Shetland to Gretna. That was a major step after 10 years of hard slog getting to get politicians to realise that this was a barrier to the sort of participation that you were talking about at the beginning Evelyn. But one of the main hangovers from that is and what David I think is getting at is that in 2007 there were 1264 instrumental and vocal teachers working in Scotland schools. Today there are 615 so we've removed a big barrier in terms of cost but we've got a lot of work to do which won't be done overnight to try and up the the teachers that are available to teach in schools. And second quick point where do we go from here? Well where we go from here is what we saw in the Usher Hall last night with the Budapest Festival Orchestra and what they showed the future of perhaps orchestral concerts could be. It was amazing. I see Nicola Bedy and Eddie sitting behind me here. I say a massive thank you to her and the Edinburgh Festival for organising it and if you've not got a ticket for the Budapest Festival Orchestra for the next couple of nights beg, borrow or steal one because you need to hear them. Thank you. Excellent thank you very much indeed plugs are are are also permissible. Is there something that we can perhaps do in terms of that point around the teaching profession that is able to deliver the instrumental tuition both in schools and probably out with schools as well? Is there more that we can be doing there? Yeah I mean we've definitely seen a decline as you say in the instrumental teaching and we've perhaps got to balance this out where obviously we're seeing a huge increase in people dealing with music through technology. So a lot of our are actually incredibly creative composers and writers for media music and computer games and film music and and so on are often people who don't actually play a musical instrument but they're incredibly versatile and creative with technology and are creating amazing music scores actually and often then and I'm seeing this myself where those types of people are then coming to musicians who play instruments to to work together not in all cases so I think we're seeing this real rise in people who are navigating through technology and doing incredible things so I think this is just part of the progression that we're experiencing so although we're seeing a bit of a doomy gloomy picture in one sense but there's also this creative tweak that is happening even if it's not being transferred to the concert hall because it's not that type of thing that that can be easily planted on a on a stage but I also think that during the pandemic there was a huge amount of online resources that were being creative and that have continued thankfully post pandemic that allowed young people to access some of those things I just thought were absolutely incredible and thankfully they're being supported now to keep going because they they can see the the value of this so that kids have things to to access post school access with their families and so on and they're getting professional people to contribute to these things as well and that's all good so again that's with the help of technology that's allowing this to happen we can connect with all sorts of people on a global basis as regards to these online facilities and again that was heightened during the pandemic so I found myself doing things in primary schools in the middle of nowhere in America for example online and that was fantastic you know because there's no way I probably would have gone there in person um you know if if we even if we didn't have the pandemic you know I just probably wouldn't have gone there um but it was possible to to access these places and and that was really really great so I think you know we've we've always got to balance these things there's always a yng ngen iawn to everything um but I think how we use our spaces where it's appropriate for one person two people three people four people to perform that that's that's a good thing you know it doesn't always have to be at the the usher hall for example um but I think you know where there's a way there's a will I really feel that and and I think that it's very important that professional musicians like myself um you know talk about the importance of playing an instrument that isn't just all about performing that instrument so what is the process of learning a musical instrument and what does that do you know in our particular journey so it doesn't always have to end up on a platform that's really really important so you know for example one of my brothers learned trombone at school he started when he's 12 and he left school at 16 17 whatever and he stopped playing then but those few years were just incredibly valuable to him as a person and he's never picked the trombone up again but that doesn't matter it's what did it mean and then what was the impact of that with him moving forward and and he still talks about it so there you go you know um and I think that's really important and he talks about it where you know he will go to a concert or he will you know sort of put money if somebody's busking somewhere or whatever it is so it's just nurturing that right from the get go and and thinking you know everybody has their own take on on on being involved with music that point about digital creativity that made me think that it may not be long before having your mobile phone on your music stand is entirely legitimate and and this is it you know and and that's the thing is that you know although I don't like to see a mobile phone you know on a music stand but there could be an aspect of that that actually does lead into the creative side um in what we do musically so I have to be open enough to think uh you know how that how that could be um but at the moment if it's a case of you know just scrolling through instagram or something um that doesn't that doesn't sit well with me another question in the front row here oh um brandy's question good to see you for real thank you for helping me through COVID I see you're all right uh music portion forget how to be as always always won't be to do music like that never got time to do music through any sort of school or COVID perfect but yeah partly what you said disabled people yes it would be crazy like everywhere else in society people with language abilities as well everybody should participate the same people are out of here and there disabled learn the music a brilliant thing to help people through their life and it can comfort that person and we should all learn dynamic, play as L, A, S, L, whatever through any time we could all be equal like music same time it's all our work not only for hearing not being a banks of shawty it's for death as well and disabled we're all together and uh absolutely yes exactly thank you for that for that um for your thoughts there I think Ac ydw i'n golygu'n gŵr, i ddau sy'n gwybod hynny'n gallu gwneud system ar gyfer y canoland. Yn ni'n golygu'n gŵr ar gyfer y canoland, roeddwn ni ni'n golygu'n gŵr i gyd. Ond, yw'n mynd i siaraddol, mae'n mynd i'n gŵr bulwch, oedd y cwestiwn o'r canoland oherwydd canoland o'r canoland hon ac mae'n이에요 o'r canoland a widerach. is what does music mean to me? What does sound mean to me? And sometimes when we think of sound, it could be, I mean, I don't know what we often ask what rhythm do you like? What's your favorite rhythm? What's your favorite piece of music? What's your favorite composer or something? But do we actually ask what's your favorite sound? You know, I don't think we do really. What is our favorite sound? So for me, I really like low sounds. I love the bass drum sound. You know, much more than a glockenspiel or a cymbal or something. And that has resonance. You know, I just feel it is something velvody. It's something that spans out like this, where there's a chance for the body to digest that sound. Well, that's that's me, you know, for somebody else, it may mean nothing at all. And that's absolutely fine. But you're right. It is always having this platform where we can just reach out to something that is as necessary as food, water, shelter, a roof over our head. Yes, gentlemen, the second row here. I was just wondering what your thoughts or your feelings of connections would be with popular music, jazz music, rock music. I mean, are there many people in that world could do what you do? Or could you swap places with Stuart Copland for an afternoon? That kind of a thing or would you see your peer group? If you're talking about sound, your peer group not necessarily be in the percussionists, but maybe some guy with keyboards who has an awful lot of sounds at his disposal. So could you see the interchangeability, I think, of different genres of music, popular music, jazz, et cetera? Could you see yourself performing those roles and likewise, musicians from those genres doing what it is that you do? I think that for musicians, they have to listen to themselves. I don't think that you can start to say they should or should not do this or that. A musician just does and feels what they do naturally. So if someone wants to specialise in jazz and that's where they feel most at home, that's absolutely fine. If it's someone's a rock drummer, that's absolutely fine. A timpanist and an orchestra, that's absolutely fine. It's recognising what makes them really come alive and where their curiosity, their natural curiosity might be. It's making sure that they will have a platform in order to present what they do. And I think that's the power of festivals, really. It's the power of something that belongs to the community, because the community really likes to reach out to different aspects of music. Some people like opera, some people like classical, some people love to see a youth orchestra, some people like to see a folk group and so on. And all of those things need to be celebrated for sure. And they're all relevant, actually. But because we're inclined to say, well, I like that and I don't like that, that's absolutely fine. But I think music institutions can really help to bring and build some of these bridges in connection with the different disciplines of music. So, you know, we've seen this a lot with the Royal Scottish Conservatoire, with the traditional music and contemporary music. You know, it's quite fascinating how these two sort of arms have come together and the kind of new creations that have come about, really, really interesting. I think also musicians are naturally now, partly because of social media, where they can make these connections directly, reaching out to different kinds of musicians and thinking, oh, you know, what might this collaboration look like? You know, it may not go anywhere, but who knows? And it's having a chance to explore that. In my own situation, you know, I've always seen myself as simply a musician. My speciality has been solo percussion and having percussion as a spine run through every project. But I haven't seen myself as a classical musician, a jazz musician or any other type of musician, it's just a musician. And that means that, you know, you can find yourself in these different landscapes and feel as though, actually, I fit in here, I feel as though I belong in here or I belong enough in order to explore this kind of possibility. And I think the longevity of our creativity is about having that platform to explore and always be curious. You know, if suddenly we're hemmed in or hostage to a situation where people expect us to do something in such a way, then that really is dangerous ground to be on. I think we have to allow our young people to know that they can explore. So if, you know, the leader of the Edinburgh Youth Orchestra wants to team up and contact, you know, Eminem or Kate Bush or something, let that happen. You know, see what happens there or to do a project with Phil Cunningham. Let that happen. Let's see what's going to happen there. It's that to me, I find fascinating. And that's what I love festivals to really explore are these different kinds of combinations and letting this freedom really, really happen. I'm going to go to the lady at the back and then I'll come back to you. Yes, lady in the fourth row. Hello, my name is Ena, I'm a drama teacher. I often find that young people are really scared of making mistakes. They consume a lot of stories, but they don't see themselves as confident story makers, so I really encourage them to enjoy their mistakes and learn from them. And I wondered what was your best mistakes and what have you learnt from them? What was your best mistake and what did you learn from it? My best mistake was not a musical one, actually. No, it was when I bought my first house in my first flat, I should say, in London. And I thought that the same system ran up and down the country and that you paid the asking price, which was the case that happened in Scotland. And so that was a big mistake I made. But there we go. You live and learn. But it's interesting. I don't really have any regrets. Big decisions have been made whereby I've been very aware of the consequences. So an example of that was when for many, many years I had agents in different parts of the world and they would find concerts for you and so on. And however, you had exclusivity with those agents and also they in those days would specialise in concertos and recitals. And I wanted to do other things, other types of collaborations, for example, just other things to keep myself buoyant because I was finding myself just going round and round a little bit. And so I made a pretty big decision to forgo the agents and just basically manage myself with knowing that there would be far less concerts. However, there would be the freedom to explore other territories. And that's exactly what happened, but it made me a much happier person. And it created things that would not necessarily have happened. But of course, this was pre social media and all sorts of things like that. So you have to think historically about these things as well. Now, the whole landscape of managing somebody has changed. And so we have to now open ourselves up to where we are at at this point in time. But this is just a few years ago. And so it's an example where things are continually changing and changing at quite a quick rate, to be honest. And so it's very exciting, but it gives us all the more reason to listen to our young folk and listen to those who are supporting these people. And really having them here as part of a conversation. And what is it that music means to them?  And how might they see this moving forward in their situations? How might they see the industry in 100 years' time? How might we be listening in 100 years' time? What will be on our stages in our 100 years' time? How will we be interacting with our technology, our phones and whatever else? Or will it be something that we're looking at? Will it be something that we trigger by tapping our head or our knee or whatever? We don't know, but it's all possible.  We don't know. And it's a fascinating time to be in. But it's all the more reason to listen to each other. Does that make it easier to persuade children and young people not to be fearful of mistakes? And that the question being raised that often children are fearful about telling their stories or performing music. How do you allay those fears and allow youngsters just to embrace it? It has to be embraced. You know, this is part of the reason why the sounds of science project is important, because this is a project that can go on and on and on. What is the sound of my community? What is the sound of my home? What is the sound of my school? What is the sound of my journey to school? What is the sound of my playground? You know, what is the sound of my kitchen? Whatever it might be and and think about what might the sound of my community be in 50 years time or how do I want the sound of my community to be in 50 years time? So it's really allowing them to have those conversations. It's so important. Those conversations don't always have to come through a musical instrument. And then for us to say, oh, she can play, but he can't or you know, that's really good, but that's that's not really good. It's not about that at all. You know, it's what you were saying that it belongs to us all. You know, in whatever capacity that is, it's a meaningful thing to us all. We just have to have that belief, that root, that opportunity and have that listening platform. Gentlemen there. I've been listening to you. Listening and listening. And it seems to me everything you're saying distills down to one really great idea, which is that music brings benefit to us as humans. So going on from the question that you just pondered yourself, how will we be listening to music in a hundred years? My question is how important now is it that music is composed by humans? Music is. How important is it that music is composed by humans? Oh, AI. Should we embrace it or be terrified? This sounds like an all, an in conversation all to itself. But how do we how do we deal with AI? Do we embrace it? Do we try to control it? Well, we're kind of involved with it already. You know, I mean, years and years and years ago, I know that some of my recordings were used and uses backing tracks for this and that, you know, without my knowledge or looped and all sorts of things.  I think the important thing message I would put forward is that music is about emotion and and that really comes from us human beings. It really does. So all of the nuances that comes from music making is that's what makes us unique and it's what makes each one of us, you know, you can line up 10 snare drums of the same make, the same size, the same model, you name it, but have 10 different players playing exactly the same thing and it will be, you know, that nth of a difference each time and that special, you know, that is what's so extraordinary about us. So I would always feel that there is space for the human being to compose, to create music, to connect with music. Technology will obviously play a part, of course it will, but I think that there has to be this realisation that what we create is valued and protected. It has to be protected and it has to be rewarded accordingly.  It has to be acknowledged and and, yeah, it has to be respected and it's that that is used then as inspiration moving forward, you know, for the next generation and so on. So that's why, you know, when you see someone play is quite different to even just watching them on the computer. I think that's what we missed during the pandemic is that we didn't get this physical feeling of sound, you know, when you see a violinist play and you just see how that violin is, that the face is resting on the instrument or the rosin from the bow or just everything or a percussion player and feeling that sound is a very different sensation and we need to protect that, value that and make sure there's a platform for that always. I've got a sneaky hunch we're going to return to this in future festivals of politics in its wider sense. Right, we've probably got time for a couple more questions. If the questions are reasonable brief, I've got the lady at the second row back and then we'll come to the gentleman in the back row. Hello. My late father was brought up in the northeast of Scotland and he was a body ballad singer. He was also a prisoner of war with the Japanese during the Second World War. He died when he was nearly 87. And we were told by somebody who knew a man that when he sang in the camp, everybody stopped, including the guards. And I also believe that, you know, he was a farmer, he sang at his work. And I think that was one of the ways that he helped him to heal in the days when he came back. So I think that what you're saying about music being an essential part of our being was very much the thing for my dad. Absolutely, I think that reinforces the point about the daily medicine as well, I think, isn't it? Yes, it is. And I think that is exactly, as you say, the power of music is that it can be placed in so many situations, sometimes planned, sometimes unplanned. And I think that that's what makes music so special. You know, the other day we had a little girl who came to visit us when I'm based in Cambridge and her music teacher had written to us. And said that this little girl is getting bullied at school at the moment. And she's the only one that's wearing hearing aids. And so, you know, she's getting a little bit of a hard time. And so she just felt that, well, maybe just having a little five minute exchange or something together might make a difference. So she came through the door, literally cowering behind her mother, not saying anything. And by the time she left the building, she was leading the adults. Now she left saying, OK, I may not hear as well, but I'm a very good listener. And what we just worked on was listening to the resonance of sound. So striking something so someone might say something not nice to you. But then if you just slow that body down and listen to the resonance, it gives you time to think about an action. So rather than being reactive and saying, how dare you say that to me? Is let that go, let that go. And then you can make your decision thereafter. And it made all the difference to her. I mean, this is why we listen to the acoustics and the acoustics really is our instrument, you know, not the cello or the violin or the marimba or whatever, it is what the room and how the room carries that instrument. And in a way, that's what listening is all about. It's just giving the space to listen to the acoustics of listening. And so she just literally left, you know, where she knew that she could listen, even if our hearing is something that could be measured, but the listening was something that she could really control. And that just changed her whole way of moving forward and dealing with situations.  It was just literally dealing with sounds, with interaction, listening with each other, et cetera, et cetera. And so what do you call that? Do you call that music? Do you call it sound? What do you call it, you know? So so yes, it is incredibly important how we can manipulate in the nicest possible way sound music to the situations that we're in. Good to the gentleman in the very back row there. Hello there. How are we doing? I have been enjoying the plethora of well-spoken Scottish accents here, pronouncing teas and words like water. I think you might be able to shine a bit of light on something that could be really beneficial, not just to myself, but to others, which is your comment there about looking for the next Lang Lang and that guy that got put on that television show, The Piano, where I got trained by Lang Lang. How wonderful. But something came up for me that became really, really clear, which is socio-economic background and your life circumstance, with family and so on and so forth, seems to really, really determine how accessible the creative industries and music is for an individual. I have a lot of friends who have came through a very similar situation as me as of to despite being creatives and musicians, we were never able to co-operate with the academic music world, and this is for a lot of reasons from the language to the lack of just how education is delivered to people who are in a situation where it is not of the culture that they are brought up in to co-operate within those confines. So for somebody like me, I find it very difficult to understand where I should go next. I have all my work, I can do all my shows. However, my understanding of the music world has not been academic. It has not been operas at the Usher Hall and so on and so forth. It has been night clubs, it has been raves, it has been music festivals, it has been long nights at five in the morning seeing human society at its best and at its worst. And this is wholly removed from what I've been observing of the academic music world, and therefore I find it very difficult to meet people or to understand where to network from someone who's coming from outside of that circumference because I'm in my little flat that's far, far outside of Edinburgh or anywhere in what is called a deprived area, apparently, which suits well for me playing my piano and making all of my songs and all my music all day, but getting into the town knowing where I should go or feeling comfortable to go. Oh, in fact, why don't I just go speak to them in university? Why don't I go see these people? Oh, they wouldn't want to speak to me. I'm a grotty chap to these people. They might not even understand my accent. And I quite quickly would alienate myself from it and don't feel comfortable to know where to go or where to start. So I'm wondering for someone who has travelled around, what is your advice to people like me? Well, thank you very much for that question. And it's interesting that you pick up on the fact that perhaps we've been emphasising on the academic journey of music. And I think it is important to know, as we've said really all morning, that music does belong to us all. The very fact that you've got a piano in your flat and the fact that you are able to go to all of these different musical experiences, raves or whatever it might be is really, really crucial. And the fact that you are here is absolutely valuable. And that's really important that we're able to express what your feelings are. And it is interesting what you're saying because I think that there's possibly and through technology, through social media, through the means that we can reach out to different people, is to express almost what you have just said and that question that you have asked. Well, how can I connect? But you know what? One of the things that you do as a young professional musician, you know, we're not far removed at all. In fact, we're probably in exactly the same place where we think, oh, God, you know, how do I go up to that person and say, oh, hello, I'm Evelyn and this is what I do.  And so we all have that kind of insecurity in a way that that's perfectly natural. But like everything else, it needs to be practised.   And that's that. The point is that you have done your bit by going up. And I think that once we get used to that feeling of approaching people, you know, and just saying to them, you know, what you've just said, very passionately, that means an awful lot.  And I will remember what you said when I walk out of this building and I'll think about what you said. So even if you feel as though something hasn't actually come back to you at that particular point, you never know how that person that you have met is actually going away and feeling. So don't always think that, you know, there's just this blank face that has come your way. So I think that that happens to us all. And it happens to many people in all different kinds of professions. So you know that you can step in to a situation and say your your piece, you know, say what you're feeling. And that is incredibly powerful. That is something that you should feel really, you know, proud of, very positive of and we're all listening, you know, we really are. But it is something that even, you know, as a seasoned professional, I don't always feel comfortable going up to somebody and saying, you know, hi, and by the way, you know, you might want to listen to this or, oh, this is what I've been doing lately might interest you. I find that very difficult to do myself. I prefer other people doing it, but sometimes I have to do it. And that's that's just part and partial of what needs to be done. You know, so whatever you do, don't become the victim here. You know, don't get used to poor old me. You know, keep keep going with these steps that you've done. So today what you said is really important, really powerful, and keep making sure your voice is heard. Thank you very much indeed. I'm afraid we have, I think now, gone beyond the time I was supposed to start one yet, so can I thank you all very much indeed for your participation in this in conversation? Can I thank also our partners, the Edinburgh International Festival? And in particular, our BSL interpreters for today's event, Shona Dixon and Heather Graham. Thank you very much indeed. Can I take the opportunity to remind everyone that the festival continues until Friday, including a discussion on how to disagree agreeably at 1.45 p.m. today? I refer back to my point about earlier plugs being acceptable. I'm sharing that event, but there's also an in conversation with the broadcaster and politician, Michael Partillo, tomorrow, followed by a discussion on the future of Scotland's arts and culture amongst other events and finally closing the Festival of Politics partnership with the Edinburgh International Festival series of talks on where we go from here. There'll be an in conversation with one of the world's foremost music conductors of today, Gustavo Dudamel on Friday, the 25th of August. But can I conclude by offering a particular thanks to Dame Evelyn Glennie for being so generous with her time, so thoughtful in her responses? I will certainly be listening to my inner babble more often as we go forward. But can I ask you in the usual way to show your appreciation for Dame Evelyn Glennie?


When was the last time you shaved your butthole Rick? Never. Oh, wow.  Oh natural in the sphincter area You today we got a little video.  You brought it up. I didn't You do don't you? No, I wax it. Mmm. Do you want ever gotten it bleached? I am wide enough. Thank you so much. That's true But have you heard that and I've never bleached my butt Thank you. We were all wondering. Yeah.   So this is actually he stole his E.T. And never gave it back. How dare you and Satya should ride was looking all over So this is actually a little video when he says home. He's thinking Kolkata Uh mystery behind E.T. of the Steven Spielberg unlike the mystery of I think he's behind I think he actually has some of such a right talking about it about E.T. He's behind. Yes. Wow Does E.T. shave his sphincter? No hair Hairless sphincter wonder. Anyways, here we go Did you see any theaters? I did Ride like a baby Let's see your first off your rifle G3 had been down the first ever script on aliens in 1967 named the alien Many ideas in the alien are in E.T. And there were a many of rough copies of my screenplay in Hollywood hundreds of them at columbia Lots of people have read the screenplay And there was a little news item in a los angeles paper Some Indian boy had read the script and seen E.T. And he gave out to the press that Mr. Steven Spielberg has thrown ideas from Satya to try The screenplay was based on his Bengali science fiction story Ray even went to Hollywood to materialize the project and columbia pictures had agreed to produce it With Peter Sillers and Marlon Brando as leads Oh, wow As fiction story called the alien screenplay full of screenplay Which was supposed to be financed by columbia. That is why I spent spent five weeks in Hollywood in connection with that It's only that I had a person who was working as a middleman Music, yeah, it's weird background music Due to unsorted issues, unfortunately, Ray got disillusioned with the project Nearly 20 years later, Steven Spielberg came up with E.T. in 1982 Both E.T. and Ray's alien looked similar in appearance with slow moving hands The concept of friendly aliens was replicated Both aliens had healing powers and could make plans blue And the list of similarities goes on Plagiarism charges were raised against Spielberg, but he outright he denied it. Did he claim to write E.T. though? He's believed that this was one of the main reasons he just directed it The thing was his the story was his idea. I don't he didn't write the screenplay In the book, reveals to the alien the film that was never made We must claim that it is the guilt that made Spielberg recommend Ray's name for Academy Awards In 1992 legendary Satyajit Ray became the only Indian director to receive the Academy Honorary Award Until SS Roger Mooli One of the greatest film makers of all the time He was not just a remarkable writer come director But also an exceptional illustrator and music composer Film makers across the globe are still in awe of his astounding creations And remember him as one of the world's greatest directors I would like to read. I don't know if it's available. I'm sure it's not right But he said he talked about it in extensively But I would love to read his screenplay for the alien. Yeah, that's what I would like to see I would actually like to see the screenplay and find out how closely it approximates it Rather than just be told by somebody else. Here's what's in it. Okay I want to read the source material that would give me a far better 100 percent certainty of inclination of what's going on there. Yeah, because obviously and I'm not saying it's not obviously Satyajit Ray would know better than I would But obviously sometimes people Claim, you know, patriotism or copying when something is just vaguely similar right I'm not saying that's what not what happened. Obviously, it's very possible. They read it and then he was like Oh, I'm gonna create something very very similar to this right. I'm looking up screenplay for the ads for et Um grief. It should be right there.  Yes Um, good gracious all of the stuff he has in development because he produces too Okay back back back. Was it 80s grief 2012? It was an 80s. I'm right. Yeah There we go 72 now we can move forward Oh, what does that special thanks? What is that? Yeah, those are the special things. Okay, exact. That's tv Jaws should be soon. Yeah, this is tv. So we have to get into the film There we go. No TV is usually a different section. There we go jaws close encounters Blues brothers indiana jones poltergeist et. I got it. Got it And filmmakers writers melissa Matheson matheson. Yeah Yeah, so so might Obviously spielberg's not one to need to steal somebody's idea. Clearly not It's possible. He she wrote something whether she read it or not. I don't know But obviously if such it rises there were hundreds of copies of his thing around specifically at columbia Yeah, it's very plausible. Somebody read it and it's plausible that someone read it somebody stole it or just I decided ah, no one's going to notice as indian directors. It's possible. I have no clue. Yeah He said he wrote about it in his book. So that'd be interesting to read, huh? Um, because obviously such it right would know More well, especially how similar are are those things and uh, yeah I mean if it's just because he obviously such Right wasn't the first person to come up with the concept of an alien story the first one ever so There were no science fiction before this thing. Yeah, none whatsoever None. Well, no one even knew aliens possibly existed. Nope prior to this. Nope. That's right created them all Got it. Good job. Mr. Rye. Was he also responsible for the building of those temples? Yes Thought so yes, he was Um, but yeah, if you if you've read the book or you know something interesting about that We'll have access like where we could find a copy of the script I would have loved if there's so many copies that are out there. I mean, how cool would that have been though? Like if this would have came to fruition His film marlon brando with brando and peter cellar's good grief and directed by sachet rye That'd be that would open a whole new world For people like indian cinema would have been opened a lot. So very very different. I wonder what happened Obviously, he said there was uh, somebody that was that kind of made the project fall through Yeah, but that marlon brando with sachet rye about an alien Well, I've seen the photo of those guys together. That would have been cool. So um Yeah, that's a brando had some uh, some problem of his own But the uh, the hats off to him for like being like, oh, I want to work with sachet rye Why wouldn't you if you're if you're a lover of the art form and he was So was peter cellar's they were both consummate Actors and lovers of the craft. So I was so sad though. I know the things that could have been Yeah, the things that could have been that would have been amazing like a sci-fi movie Now the person to ask about this isn't steven spielberg the person to ask about this is melissa matheson Where'd she get the idea for the script? Yeah, that's the person to ask he reads scripts and she's like, I want to direct this right not really Him I guarantee. Yeah, I'm sure when he said no clue that this could have been based on sachet rye's script I'm pretty sure that just because there was you know many scripts circulate in hollywood that everybody does not read So it's very plausible that spielberg didn't know but it's also but melissa matheson either new secondarily Or Like I said, we might be able to find it online. We just could possibly search find it read it and see how similar it is Maybe it is. Yeah, I'll be for copy and could be who knows Yeah, it could be um And then that's why bollywood started remaking all of hollywood's films exactly revenge It's so so sweet revenge of the bootlickers Anyways, so if you have any information you can let us know and uh, obviously which would be our next sachet Rye film uh that we should watch please let us know down below