talk about energy expenditure calculations of Bronx-Age metalworking technology and this talks based on my master thesis which was submitted to the University in 2016 and will be published in the German series Archäologische Berichte. So in central European Bronx-Age a major transformation process in metalworking technology is evident and I will show that the observed changes are also visible in the energy expenditure invested in Bronx-Age metallurgy. At first I would like to explain some basic concepts of my work. The energy expenditure characterizes the expenditure used by an activity for example the building of a house. It is measured in person hours. One person hour corresponds to the work one person can provide in one hour and it is also referred to as expenditure of time, amount of work, effort, labor cost or labor input. The next terms I like to discuss are labor and value. My work is based on the assumption that the invested labor reflects the so-called natural price within classical economics which results from the sum of expenses used for the production and distribution. Karl Marx describes a similar concept which he calls exchange value. So when I talk about the calculation of energy expenditure these are the underlying concepts. A totally different question is whether in prehistory the value of object is also expressed and the labor invested for their production. This cannot be answered using archaeological methods. My working area encompasses central and southern Germany as well as parts of the Austrian Swiss and Italian alps where archaeological evidence for primary and secondary metallurgy exists. My working period is the central European Bronx age between 2200 and 800 BC. On the map selected mining sites are indicated which will be considered later in my talk. So the following remarks refer to the working area only unless dated otherwise. Before I get to the energy expenditure calculations I briefly would like to summarize the production steps of Bronx age metallurgy because this is important for further understanding. My energy expenditure calculations include only those parts of the production sequence with direct archaeological evidence. These are mining activities or identification, smelting, alloying, casting and post-processing. Looking at the archaeological evidence for Bronx age metallurgy some differences between the early Bronx age and contrast to the middle and late Bronx age can be observed around 1800 BC mainly in the smelting and alloying process. This is important because it is greatly reflected in the energy expenditure and demand for wood. I presume in my calculation that during the early Bronx age copper was produced in herds pits using oxidizing smelting techniques as indicated by features from the Trentino and in the middle and late Bronx age smelting facilities with shaft furnaces and roasting beds using reducing techniques as indicated by features from the eastern Alps. The alloying process changes at the end of the early Bronx age when copper and azainic copper are replaced by tin Bronx. Next I would like to explain how I conducted my calculations and as the basis for my work I studied the archaeological evidence in the working area to reconstruct the production steps of the metalworking process which I just showed you. And so how do we calculate the energy expenditure for a 4,000 year old process for which no written record exists? I did it with the help of experimental archaeology and for this I collected information about the energy expenditure from about 80 scientific publications of archaeological experiments. I collected the time data and the weight of the used resources ore and copper and wood in kilograms to make the data from different experiments comparable. The time data were put into relation with the weight of the required resources. This means so and so much kilograms wood is required to smell so and so much kilograms copper ore. In addition a copper slash ore wood ratio for every production step or technique was used in mind. For example one to two or one to one ratio. This makes it possible to calculate the demand for wood from the ratio copper ore to wood and charcoal findings from different sites indicate that wood and not charcoal was used in most production steps. In this manner it is possible to calculate the energy expenditure and demand for wood for each production step. At this point I decided to implement the ore wood ratio of the different production steps into a Microsoft Excel sheet to speed up the calculation process and to enable the testing by means of examples. I used the weight of the artifacts as an indicator for the required amount of raw material and in this manner I am able to calculate the energy expenditure and demand for wood for any copper or bronze object whose weight is documented. Thus it is likewise possible to calculate the energy expenditure and demand for wood for artifacts from one specific context for example for a horde inventory and it is also possible to use the estimations of copper output from different mining sites to calculate the demand for wood for the artifacts from specific mining sites what I will explain in detail in a moment. On this side you see the main results of my calculations for bronze age metallurgy in a diacronic perspective. I used the production of 100 ads as an example with the artifact category was chosen that was available throughout the bronze age in different types and 200 grams was chosen as an average weight for the artifact category. The energy expenditure is given in person hours short pH and the demand for wood is given in kilograms and in cases where the demand for wood is not specified no information was available. So to conclude as you can see here the production of 100 copper ads is using early bronze age production techniques needs about 4600 hours or 46 hours for one copper ads in the early bronze age. The production of 100 tin bronze ads is using middle and late bronze age technology needs about 3600 person hours or 36 person hours for one tin bronze ad in the middle and late bronze age and this difference can mainly be ascribed to the less effective oxidizing smelting process used in the early bronze age which is indicated here. The energy expenditure for the production of tin is assumed to be one tenth of the expenditure for copper assuming the tin bronze is contained 10% of sim which you can see here. Wood is required as a fuel mainly for the mining activities the smelting process casting and post-processing. The demand for wood is calculated from the war wood ratio as I explained on the former slide. The results show that in the early bronze age production process that the early bronze age production process needs about 116 kilograms of wood to produce one copper ads. While the middle or late bronze age production process needs only 90 kilograms of wood to produce one tin bronze ads. This indicates that the later process is more effective in terms of research resource consumption because the reducing smelting process has a lower demand for wood. Hence with the end of the early bronze age at around 1600 BC we can see a transformation in metalworking technology which is reflected in the energy expenditure and the demand for wood. As mentioned earlier it is possible to use the estimations of copper output from different mining sites. Therefore I have selected some mining sites for which estimations of the copper output were available because only few estimations of copper output are available from the working area. Sites from neighboring European regions were also included. This chronological scheme shows the dating of the selected mining sites. The sites concerned here are Saint-Vervon and Bronze, Mount Gabriel and Ireland, the Mittaberg region in Austria and Iwona and Bulgaria. Most of them fall into the time frame of the central European bronze age with the exception of Iwona. On this slide you see a graphic representation of my approach and an example below. The example used here is the Mittaberg main load in Austria. So this site is dated to the period 1600 to 900 BC. It has therefore a period of use of 700 years. According to Eibner the total copper output from the Mittaberg main load was 10,000 tons. The average copper output per year would therefore be 14 tons. If we assume that one artifact has a weight of 200 grams this would result in 70,000 artifacts, possibly produced per year. So the demand for wood for the production of these artifacts calculated from the ore wood ratio would thereby be around 7,000 tons per year. Let's have a closer look on the number of potentially produced artifacts and their demand for wood. This diagram shows the number of artifacts which could have been produced from the copper of the selected mining sites in one year. Although no clear chronological lines can be drawn there's a tendency to say that the earlier sites used here as a comparison produce less copper and therefore artifacts than the Mittaberg main load. With Saint-Garonne for example producing 17,500 artifacts per year and the Mittaberg main load producing copper for 17,000 artifacts per year. And the demand for wood similar tendencies can be observed. The demand grows with the number of produced artifacts. We can see the production of the artifacts. We can see that the production of the artifacts from Saint-Garonne requires about 2,000 tons of wood. While the production of the artifacts from the Mittaberg main load requires about 7,000 tons of wood per year. To conclude I was able to show you that around 1600 AC transformation in metalworking technology is visible which is reflected in the energy expenditure and the demand for wood. I showed that it's possible to compare the energy expenditure for different production steps of bronze age metallurgy. The required energy expenditure and demand for wood decreases with the change in smelting technology at around 1,600 BC. This means that the production process gets more effective and allows for the production of larger amounts of metals with a lower investment of resources. In turn we know from the archaeological record that from the beginning of the middle bronze age onwards the mining activities and the copper output increased significantly in the working area. This resulted in an increasing total energy expenditure and demand for wood in the middle and then bronze age. All together the name factors point towards the major transformation in bronze age metalworking technology at the end of the early bronze age around 1,600 BC.


Dear students, I welcome you in the course of Leadership, Emotional Intelligence and the CN making. This is module number 113 and we are going to talk about that we should never stop learning and we should never stop learning in context of emotional intelligence. Daniel Goldman is the person who came up with this idea of emotional intelligence and he talked about five basic ingredients of emotional intelligence and they are going to be self-awareness, self-control, empathy, motivation and social intelligence. When we talk about all these aspects in association with our developmental perspective related to our leadership, remember that emotional intelligence is basically helping us to improve our performance under pressure. Emotional intelligence is basically helping us to enable us sustain our leadership perspective and using our IQ in a rightful manner. Thirdly, emotional intelligence can also be learned and improved with the passage of time so that we can have a better connection and relationship with our stakeholders. Now remember that emotional intelligence can be improved with three important things and these are information, guidance and support. When we talk about information, information related to the limitations and the strengths associated with us, we should be informed that what are the positivities, what are the perspectives in which we have to operate. Second important thing is when we talk about guidance, we need to have the developmental plans or our specific developmental plans go so that we can have the guidance. The third important thing is that we need to have the support as well because without that support, leader alone might not be able to succeed so in difficult situations the leader needs to have the right support. Now when we are talking about emotional intelligence, remember as I told you, Daniel Goldman is talking about five major ingredients and in those five major ingredients the most important are self-awareness, self-regulation, empathy, motivation, social skill and we are going to talk about all these things in bit detail. When we talk about self-awareness, remember that is a basic definition is that knowing one's emotions and strengths, weaknesses and drives, values and goals and their impact on others. So these are the major important things we need to have the self-awareness about and the hallmarks we have to measure that self-awareness is either being created or not, they are that either we are going to have self-confidence, we are going to have realistic self-assessment, we are going to have self-deprecating sense of humor and obviously the thirst for constructive criticism because all these things are going to be the hallmarks to find out either you have achieved your social or self-awareness or not. When we talk about self-regulation, the basic definition we have is controlling or redirecting disruptive emotions and impulses and the hallmarks we have to get to this point of self-regulation, they are trustworthiness, integrity, comfort with ambiguity and change. So these are the things which we require to find out that either we are going to have self-regulation or not. Then the other three important components in social intelligence are motivation. And when we define motivation, it says being driven to achieve for the sake of achievement. So it is a passion for work itself and for new challenges, unflagging energy to improve and optimism in the face of failure. Likewise, when we discuss empathy, which is a very important component in social intelligence, its basic definition is considering others, feelings especially when making decisions. So you have to put yourself in other's shoes to find out what the other people feel, why they feel, how they feel. And the hallmark values we have are that expertise in attracting and retaining talent, ability to develop others and sensitivity to cross-cultural differences. These are all the hallmarks which we can ensure that we can ensure empathy. Likewise, when we talk about social skill, its basic definition is managing relationships to move in desired direction. All of our stakeholders, along with our 360 degree association, we try to make those relationships and connections better and stronger. Its mirroring hallmarks are effectiveness in leading change, persuasiveness, extensive networking and obviously expertise in building and leading teams. Dear students, we have just gone through the five components their definitions and their hallmark values and we have seen sheers. Dear students, we have gone through the five components of emotional intelligence, their definitions and the hallmarks. And we have seen How important is it for us to ensure and develop emotional intelligence? If we conclude all this, then remember the leader needs to be self-aware, the leader needs to have self-control, the leader needs to have motivation, rightful empathy and obviously social intelligence. Because without them, the association and connection with the followers and connection will not be able to be more strongly established.


Doctora Ramos aquí dándole las gracias de estar aquí y celebrando que estamos pudiendo traer la vacuna a nuestra comunidad, a la comunidad latina, a la comunidad afroamericana que estamos más impactados por las consecuencias del COVID-19. Hemos visto que el doctor Gally se ha inyectado con la nueva vacuna de Johnson y Johnson, es una vacuna que es segura, que es eficaz y no más requiere una vacuna y sabemos que esta vacuna trabaja contra las consecuencias más serias que nos están afectando a nuestra comunidad, que es la hospitalización y también la muerte. Invitamos a todos que se vacunen, que esperamos como ha dicho el presidente, estamos tratando de trabajar en el estado que para fin de mayo para el verano ya estemos todos vacunados con eso que podemos regresar a la normalidad. Por favor les invitamos que se vacunen y el doctor Gally nos va a dirigir con más respuestas a las preguntas que tengan. Gracias. We will be here until everybody in our community is vaccinated. This is critical that we do this in order to protect not just our elder population, which I am one. But our children as well. So I commend all the people that are out here, all the volunteers. Thank you for the press for coming out and getting the word out. This is not the urban leaks first time doing this. This is our centennial year. We have been in Los Angeles since 1921 when we had another pandemic and we will be here through this pandemic to protect our community. And I want to thank everybody for being here. Thank you for you leaving the mic. Can you answer questions? That's okay. Sure. Talk to the people at our own expense, especially for those in the community that you serve energy. How important is this to have this vaccine, any vaccine? I don't want a series of having a vaccine. Thank you for that question. Thank you for that question. There's been a lot of conversation and talk about the dangers of using this vaccine, the dangers of taking this vaccine, dangers of allowing someone that you don't know the six of what six something in your arm. I'm here to tell you that this is not something to be afraid. The doctors and the scientists who put this together have done this because we are losing people at a faster rate than anyone else in this country. This is happening because of a lot of different factors. But this this vaccination is not the cause of this vaccination is to cure we need to do whatever is possible to make sure that our elders are safe to make sure that our children are safe. And the only way to do that is to take advantage of this vaccine today. It is being offered for free. It is being I can't tell you how important it is. Oh, the 500,000 plus people who have died. We are in the largest percentage of the people who are suffering from this disease. And the failure to take advantage of this vaccination is not just your choice.  So I beg anyone who was out there who has not been vaccinated to come down here and get your vaccination because you're doing it not just for yourself. You're doing it for everyone in our community. We need this. We need this protection. We need this in order for us to go. There are a lot of issues that we have to deal with. Urban League is involved in all of us. This is one where we have a solution to a problem and we need to take advantage. We are doing everything that we can to counter that distrust. There's no question about but understand that that with social media with that gives a loud voice to to to voices that shouldn't be spread as far as they are. It's difficult to to counter that. And let's be very clear. The voices are out there because we have been lied to before. And so I understand the concern. I understand the skepticism. But we have done the research. We have done the analysis. We have talked to everyone and we are convinced we are satisfied. We are absolutely in the position where this has got to happen. We have to do this. There is no alternative. And in order for us to get back into where we should be as a community and to putering. We're not trying to get back to where we should be trying to get through a better place. This is one step toward them. Yes, we have been lied to in the past. This is not one of those. I trust the science. I trust the scientists. I trust the doctors many of whom are African American people who are comfortable with any and all of the vaccine. You look at the percentages and some percentages are higher than others. But you don't see any that are less than 50%. Any vaccine is going to be better than no vaccine. And so you know, let's not get tied up in the numbers. This is a good thing. This is a very good thing. And so in order we do this for our children, we do this for our elders and do this for the next generation. So I beg and plead everybody to take advantage of this to listen to the science


Okay, now we've modeled moon phases. Let's see if we can make an eclipse, okay?  Did everybody make it? Yeah. All right. You just made a lunar eclipse. All right now Can let's see. Can you stand right over there a little bit now? Can you get your moon to make a shadow on the earth? You got it? All right. Everybody see the shadow on the earth? Yeah, right. That's a solar eclipse. Everybody standing right right there underneath that shadow is going to see the Sun blocked out by the moon. Okay, good. Now, do you think that this distance on this scale is right for the distance between the Sun and the moon? Do you think it's too close too far? Too far? Anybody think it's too close? Maybe too close? Well, we've got two votes, right? So let's find out what's going on here. Why don't I why don't you hand that to her and then now I've got this. Let's we have a model here that's going to that we can use to actually have a scale model of the earth and moon system. Okay, now here is the earth. We've shrunk the earth down a little bit more and here's the moon. Okay, so we have a little bit smaller scale now. Now, how where do you think this should be on this scale? You want to place it how far away it should be on on the about there you think? Okay, you want to take a guess? Okay. Maybe over here somewhere. Yeah, does that look right to you the right distance? Okay. Well, let me give you a hint. The the this little earth is about an inch across and there's about 30 times earth's diameter between earth and the moon. So if this is one inch times 30 is how many inches? 30 inches. Good. Okay. So this is at 34. So we'll have to put this where? At four. Good. You want to clip that on there? That's okay. Good job. Okay. Now let's make a solar eclipse. Can you try and make a solar eclipse?  There it is. All right. You've just made a solar eclipse and sometimes it's actually easier if you put your hand up here to find both shadows. You see how that works? Yeah. See how the shadow goes across? Yeah. Okay. Good. All right, so you can see it wasn't real easy to line up those shadows exactly, was it? Right? Okay. Do you want to try and make a lunar eclipse now? Lunar eclipse. All right. Now check the manual for more ways to expand on these activities and present others. Using just these moon and earth balls, such as if I lived on the moon, would the earth have phases? Or does the moon rotate? Your visitors will enjoy experimenting with these materials. As they do, they may ask, well, wait a minute. Why don't eclipses happen every month then? Let's do that next.


How do you spell yes? I'm not doing it again. Now. How do you spell yes? No, I'm out. I'm out. How do you spell yes? Why yes?  I don't know what I'm What? What's the spell if you put an E in front of it? Yes How do you spell yes? Why yes, okay? No, what's the spell if you put an E in front of it? Yes All right. I'm busy. No, just give me a minute. Come on Come on. What? Give me a minute. I'm giving you a minute. How do you spell? Listen to me. How do you spell yes? Why yes? And what's the spell if you put an E in front of that? It's an E Y And it spells what? No, come on. E Y E S. Okay What's that spell? Oh my god. Yes No, honey No, I'm not making funny you look at me honey, please Okay, how do you spell yes? Why yes? And what's it spell if you put an E in front of it? E Y E S. So what's that spell? E Y E S. What's that spell? Yes Honey, look at me Seriously, give me a minute Get out Not busy now. Give me a minute. Now. What's that spell? It spells. Yes How how do you silent? No? He saw it. Yes. Yes. I don't know. Look at me So spell it out E Y E S. What does E Y E S spell? I Don't know you tell me E Y E S Honey Glass no What's behind your glasses? My eye. How do you spell eyes? E Y E S It's not funny at all. You're making fun of me. I don't find that funny Bye You better not put this up. Bye. Bye See what I got to deal with my guys


Now, the Roma Wine Company of Fresno, California presents... Suspense!  Suspense, Radio's Outstanding Theatre of Thrills. It's presented for your enjoyment by Roma Wines. That's R-O-M-A, Roma Wines. Those excellent California Wines that can add so much pleasantness to the way you live. To your happiness and entertaining guests. To your enjoyment of everyday meals. Yes, right now a glass full would be very pleasant, as Roma Wines bring you Dane Clark, in a remarkable tale of... Suspense!   I got a story that should be written up by one of those big magazine writers. Only mine is true. The whole thing is true, so help me. You know, they say truth is strange and in fiction, don't they? Forget this. I was working down at the Acme Engineering, an outfit making hydraulic valves for gun turrets. And we had a former named Charlie Harris, one of those big, good-looking guys who thought he was a big shot because he was a boss. Well, this guy was always picking on me. Like, for instance, one morning I come to work a few minutes late and this Harris says... Well, good afternoon, Jordan. I saved those gags for Jack Benny. It's only a quarter after eight. Well, get here at eight and you'll be spared my sense of humor. Well, ain't a guy got a right to get here a couple of minutes late once in a while? Yeah, sure, once in a while, Joe, but not every other day.  You know you can't buy a new one these days. Oh, save that for the teacher. Now, come on, Joe, come on, get on the ball. Save that for the teacher, he said. Always throwing up to me that he graduated from engineering school and I never even had a chance to go to high school, as if you need an education to be a smart guy. Well, I could tell you a hundred guys who never even went to school could buy and sell that guy a million... Well, that's another story. Anyway, this Charlie Harris kept giving me the needle. Joe, can I talk to you for a minute? What is it now, Chief? Quit calling me Chief. Now, look, kid, look, I don't know what's wrong, but you're slowing up. The other boys are turning out a hundred parts a day and you're only averaging 80. Now, what's the trouble, Joe? I don't know, my eyes hurt. This work gets tough on the eyes, and I gotta stop once in a while. My eyes hurt bad. You complained last week, too, Joe, and the company doctors reported there was nothing wrong. Ah, what is that quack, no. All right, all right, now quit the complaints and get on the job, Joe. We've still got a war on our hands, even though you and a lot of other guys have forgotten it since Germany took the count. There's a war on it. Did you get that? At the time, he was technically right, but give me the business just because he didn't like me. Waving your flag and singing, oh, say, can you see? Look, I'm just as patriotic as him or any other guy. Could I help it if my eyes hurt bad? But he had to go make a big thing out of it just because I got in the habit of, uh, of stepping out a little here and there, and he found out. Well, ain't a guy got a right to have a little fun once in a while just because those jabs are still popping away?  Is that so terrible? Are the jabs gonna win a war just because I've had a little fun? The only way he keeps picking on me and picking on me is one day while I was knocking my brains out. Joe! Well, let me ride in the wide-open spaces that I love. Don't offense me in... Joe! What? Yeah? Look, Joe, look, I don't like playing cops, but you know there's oil and gasoline all over the place. Yeah? And that a cigarette dropped into one of those pools could burn the plant down? So what? So read the sign beside your machine. I'd like to read it, Charlie. Go on, read it. No smoking. Drop that cigarette. Why, what cigarette, Charlie?  Why, you will break your head for that! Oh, you will, eh? I would have marbleized a guy, but he hit me a lucky punch. Never would have happened again in a million years, but, well, he knocked me out. Charlie was standing by the cot when I came to looking worried, and he started to apologize, but I gave him a quick brush for either stinking or ratty. He was scared of me. That's why he didn't report me to the front office. He acted as if he were doing me a big thing by not snitching, but it was because he was scared of me. He thought I'd forget. Joe Jordan never forgets. Remember that. And Joe Jordan always gets even. But I played my cards right. I didn't let him know I was still sore. That was smart, wasn't it? I went out working as if nothing happened. Even though the rest of the guys started picking on me, too. Because he was a boss, they were trying to get in good with him. They kept it after me every day until I thought my head would explode. Always, always rubbed it in. Hey, Jack Dempsey, still leading with your chin? We're using my tools all the time, Joe.  You'll have to get another lucky punch from Charlie.  I used to get splitin' headaches and the pounding on my brain. Well, you were too gettin' it from all sides like that, wouldn't you? It wasn't so bad during the day that the machine drowned out the noise in my head. But at night, at night, that pounding would start steady like my machine, bangin' away all the time so I couldn't sleep. It might've got another guy, but not me. Not me. I'm too tough. And I got plans for Joe Jordan. Be a big guy someday with my brains. No formin' of some small time outfit. Be headman at the biggest shop in town with a classy car.  And I had her all picked out. Her name was Harriet Slate, and she was a stenographer at Acme. All the guys was on the make for her, but she had a yen for me. Not that she ever said anything, but I can tell. You see, I know them. Well, at the water cooler this day, I managed to bump her as I got a paper cup and... Oh, what? Oh, pardonne-soie. Oh, you speak French. Oh, little. I knew a guy from Paris, France, once, and he taught me a couple of things. Chercher's La Femme. Comette's, uh... Halle Vue. Quite an accent. Excuse me, Joe, I gotta get back to you. No, no, wait a minute, wait a minute. I got a lot of accomplishments. I'm a good dancer, too. Did you know that I took second place in the Jettabuck contest at Ocean Park last year? No, I didn't. Huh? Be a Lindy? No, I'm sort of on the conservative side. Well, I can do the square stuff, too. We must have a dance sometime. Excuse me, Joe, I'm asking... No, uh, wait, Harriet, I just happen to think, uh... How about going on a company dance with me on Friday? I'm very sorry, Joe, but I can't. Why, aren't you going? Yes, but I have a date with Charlie. Charlie who? Charlie Harris. Charlie Harris. Charlie Harris. Charlie Harris. He moved into my life. Then he moved into my head, and he started at banging. And now he moved in with my girl. That guy was doing everything he could to burn me up. He knew I was going to ask Harriet to the dance, but he beat me to it. Okay, I said to myself, I can wait a week, but I'll get the dance with that little lady. And once I get her in my arms and I show her a couple of steps, she will want to dance with him again. Well, it was a long week, and I kept hearing reports that Charlie and Harriet were engaged.  And then came the dance. Didn't you bring a dame, Joe? I got a doll here, pal. Where is she? Dancing with some other guy? Yeah, yeah, she's dancing with some other guy.  If my dame was dancing with another guy, you're going to bet I'd cut in. Well, that's a good idea. Pardon me, I'm cutting in. No, you're not, Joe. Look, I wasn't asking a pleasure of you, Charlie. Now, if you don't mind... This is our favorite number, Joe. Well, why can't I cut in once? Just because he's a big foreman or something? No, because you're the big dope. He called me a dope. But he didn't know I was smart.  I went home, I tried to sleep. But the pounding on my brain was coming like a sledgehammer. Bang, bang, bang, bang. And I could hear a laughing at me.  Laughing at me, laughing at me. And the banging on my head was coming louder and louder and crashing against my brain, exploding on my forehead. And then the pounding stopped. And for the first time in weeks, there was silence in my head. That soft, cool, quiet, like Sunday morning when you were a kid and no one was awake in the house but you. Like Christmas night after the excitement was over and you went to bed and you thought about the new sled and the wonderful dinner you just ate. And there was peace on earth and... And then I got the idea. No more pounding on my head now. I was going to eliminate the cause of the pounding, kill the root. Yeah, I was going to kill two birds with one stone. Charlie Harris was going to burn for murder. And the murder? The murder of Harriet Slate. For Suspense, Roma Wines are bringing you as star Dane Clark in This Will Kill You by I.A. Finlay. Roma Wines' presentation tonight in Radio's Outstanding Theatre of Thrill's Suspense. Here's a suggestion from the internationally renowned hostess, Elsa Maxwell, who says this about smart and gracious hospitality. Next time you entertain, flatter your guests by serving glorious, gold and amber Roma California sherry. Perfect before dinner, perfect at any time. A most delightful wine of light, nut-like taste. Serve cool. From California's choicest vineyards come the carefully selected wine grapes for distinguished Roma sherry and all fine Roma wines. Remember, good Roma wines never vary in fine quality, are always pleasing. The happy result of selected grapes, carefully picked at their peak of flavor goodness, gently pressed, then unhurriedly, guided to perfection by the ancient skill of Roma's famed wineries. Yes, good Roma wines are always delicious, yet cost only pennies a glass. Remember, because of uniformly fine quality at reasonable cost, more Americans enjoy Roma than any other wine. R-O-M-A. Roma wines. And now Roma wines bring back to our Hollywood soundstage. Dane Clark in This Will Kill You, a narrative well-calculated to keep you in suspense. Are you still with me? Well, listen.  Fooled you, didn't I? You thought I was going to knock off Charlie myself, didn't you? No, no, no, no. The law was going to do that. You see, you get the switch? Now get this. I knew how I was going to knock off the dame. I knew how I was going to pin the blame on Charlie. But the only thing missing was the motive. So before I killed her, I started supplying the motive. Every day down at the plant, I dropped something here and I dropped something there to the guys. Hey, uh, I, uh, just heard that Charlie and Harriet was having an argument down a hall. Oh, I love a spat, probably. No, no, I understand things. There aren't no hotshots between those two. Are you crazy, Joe? Well, that's what I heard. Hey, Charlie's been doing a lot of bowling these nights, hasn't he? Yeah, he loves it. Well, he didn't seem to when he and Harriet were so palsy-walsy. I heard something about that, but I don't believe it. Oh, I do, I do. I heard him arguing plenty in a hall the other day. Did you hear that Charlie and Harriet had a big blow-off last night, something about another guy? Yeah, I heard things weren't going so hot with those two lately. Did you hear that Harriet and Charlie had a big scrap the other night? Old news, Marty, it's old news. I understand she's got a guy up north and Charlie is burning.  It'd serve her right for two time in a white guy like Charlie. There was the motive. Signed seals wrapped up in a big red ribbon. Now, was that smart or was that smart? The next day afternoon, I heard Charlie making a date with her for that night. He didn't know it, but it was going to be his last date. When the five o'clock whistle blew, Charlie went in to wash his hands. I slipped over to his work bench. I grabbed a steel pipe he used on his drill press and I slipped under my coat. I wore gloves so my fingerprints wouldn't show on it. Smart, huh? Only Charlie's fingerprints were on the pipe. I waited outside the plant and a little while, Charlie walked by. Uh, got a minute, Charlie? Ah, yeah, yeah, I guess so. Look, there's an idea I've been working on that can speed production in our department. Now, can I talk to you tonight for an hour or so? Oh, I'm sorry, Joe, I can't tonight. I got a date with an angel. But, Charlie, with my idea, each man can turn out 200 valves a day easy. I got it all worked out in a model in my room. Can't you make it tonight? Look, Joe, I told you I got a date. Oh, fine, fine. You're always giving me that patriotic stuff when it doesn't cost you anything. Huh? Okay, Charlie, I took you up on it. I've been giving up my nights to work on this idea I have. Now, look, I don't expect enough none of it, but when I ask you to give up a measly hour, you're too busy.  Whoa, whoa, whoa, easy there, Joe, easy. Oh, I didn't know you were so hot about all of this. Okay, okay, if it means so much to you.  Gee, you're swell, Charlie, swell. I'll be waiting for you. Now, look, I may be out for a minute or two to get a packet of butts or something, but I'll be open, so will you wait for me? Yeah, sure, okay. I'll see you later. You sure will. Everything was working out just like I planned.  I grabbed a bite of dinner and then I dropped over to Charlie's boarding house. He lived on the first floor in the back. I looked at his window and it was open. Perfect. I wouldn't feel dark. I pushed up the window and I dropped in. It took only a few seconds to find what I wanted. I handkerchiefed with Charlie's initials on it. I was outside and walking down the street before I had a chance to even get nervous. I killed time until about 10.30 and then I drove over to Harriet's house and I waited across the street. In a little while, Harriet and Charlie walked up and they talked and then Charlie looked at his watch and he kissed her good night. Kissed her good night. I waited for a few minutes after he left and I walked up to her room and knocked on the door. It's me, Harriet, it's Joe Jordan. I got something to tell you about Charlie. Now, get nervous. Nothing's happened. I'm just playing a little trick on you, Charlie. Oh, you scared for a second. Come on in, Joe. I was just making a little home recording of the song on the radio. You know, singing along with the band. I know Charlie will get a big kick out of it. That's your favorite song, isn't it? Mm-hmm. It's Charlie's too. We love it. You really go for that guy, don't you? Is there any question about it? Joe, we were going to tell everybody in a few days anyway, so you may as well know now. Charlie and I are going to be married in three weeks when we get our vacations. Isn't that wonderful? Yeah, that's wonderful. Only you're taking your vacation a little sooner than that, baby. What do you mean? You're not marrying him or anybody else. Are you kidding?   I'm a big dope. Joe, what are you going to do with it? Looked at a clock, it was 11.10. You'd just be getting to my room now. Five minutes to kill. Hey, did you get that? Now I had time to kill. That was a good one, wasn't it? I dropped Charlie's handkerchief on the floor, and messed up the joint to look like a struggle. And I waited until 11.15, and then I smashed a clock. It stopped dead. Did you hear that one? The clock stopped dead. Good, huh? I dropped the steel pipe on the floor, blew the place fast, and raced home. I ran up the stairs, worried that maybe Charlie had left, but he was still there. I was just getting ready to leave. Oh, I'm sorry, Charlie. I got stuck. Okay, okay, where's the model you were talking about? Oh, gee, I'm sorry to drag you all the way over here for nothing. It's still at the welders. I thought I would be here sure by tonight. Can we make it tomorrow?  You've messed up my whole evening. I sure did. I kept chewing the fat with Charlie about this and that until I was sure he wouldn't get home until late. And then I dropped off to a nice, restful sleep. The next morning I was on the job, it ain't on the dot. Charlie was there already, but that didn't worry me. I didn't want to leave for long. And about an hour later, the kids in the front office came up and said something to Charlie and he left the shop. Now, that was it. Those were the dicks, and Charlie was at that pigeon. I went on with my work, not doing very much, just faking it out because I knew I was going to be next. And I was. The same kid came at lunchtime and told me I was one at the front gate. Got a little nervous when I saw the two big coppers, but as soon as they spoke, I felt it was going to be all right. Joe Jordan? Yeah? Yeah, that's me. I'm from Sullivan, homicide squad. Sergeant Carter. Hello. Hop in. Hope you don't mind coming down to headquarters with us when I ask you a couple of questions. No, I don't mind. What's it all about? Where were you last night, Jordan? Uh, last night? Well, I hit the hay early. What time? I was awful tired. I had a tough day at the shop yesterday. I guess it was about 9.30. Did you see Charlie Harris last night? No. I saw him when we left the plant yesterday about 5. But, hey, wait a minute. Where's Charlie now? He left the shop about 10 this morning. Never mind. But he says he was in your room at 11.15. He says he was in my room. Well, maybe he was. No, Charlie Harris is a white guy. He don't lie. If he says so, then he's probably right. I thought you said you went to bed about 9.30. Well, I did. Maybe I was asleep when he came in. Maybe I was talking to my sleep when he was there. I wouldn't want to do anything to contradict Charlie. Say, so what are you guys trying to pin on me? If Charlie's in a jam, I got to know what he said because I got to back him up. Save it, kid. Tell me, huh? Do you know Harriet Slate? Why that no good two-timing dame double-crossing a good guy like Charlie? Well, you know, he was telling me yesterday when we left the plant yesterday that he was going to get a settle last night once and for all. As a matter of fact, he... Say, what are you guys smiling at? Did I say something? What? Did I say anything to make Charlie... Charlie? Smart, huh? I handle that smart, didn't I? You see now how I worked the whole thing out? Every little detail. Remember now how I planted that night in bed for the pounding stop like I told you before? Oh. Oh, that trial was a cinch. The DA had all the evidence he needed a little more. Charlie was with her that night, proved. The steel pipe was his, wasn't it? Proved. There were fingerprints on it, wasn't they? Proved. And a motive? The boys in the plant furnished that. They were perfect witnesses. They liked Charlie. They tried to help him, but they had to admit the stories that were going around. And they pieced the resistance. That's French, you know. It was the way I knocked his alibi for Luke. Now do you see why I smashed the clock at 11.15? Do you? It was airtight. Charles Harris, will you rise and come before the court? Charles Harris, the jury of your peers have found you guilty of murder in the first degree, and I... Boy, what a thing. You should have seen him. He stood there trying to put on the big shot stuff, even there trying to act like he wasn't scared. But I could tell he was ready to faint right there and then. But the newspaper guys were taken and they said he stood straight and fine and brave like a soldier facing a firing squad. That's what they said to Dopes. But I knew he was yellow. Or else he wouldn't have picked on me just because he was boss, would he? Would he? Huh? So you see, I was smarter than he thought than anybody thought, even a DA in those dicks. Now there was a funny situation for you, wasn't it? The real murderer was in court furnishing that testimony that convicted that poor... And no one knew it. That's a good one, isn't it, huh? Isn't that wonderful, Father? Isn't that marvelous? The real guy was in court. It's time, Father. Be brave now, Joseph. We must go. Well, all right, Father, but let me tell you the punchline. Come on, Joe, it's time. Now, will you quit awarding so we'll be a minute late so you'll pay the guy who pulls the switch a minute over time to stake and afford it? I've been telling Father here the whole story. I gotta tell him the snapper, don't I? Let him finish, Gordon. Go on, myself. Well, you see, it was a fluke, Father. A million to one shot. He never would have got me if not for just one thing, one little mistake, Father. You see, the night I knocked the doll off, she often told me that she was making a recording of that song on the radio. She told me to hear. And I forget all about it. So all the time I was spilling my guts to Harriet, that machine was taking down every word. And I forgot about it. If I had only thought of the record, if I only smashed it that night. But I didn't. Then Harriet's old lady got ahold of her stuff, and months later she decided to play the records and she heard the whole thing, my whole confession just as if I spilled it to the dicks. Father. We must go now, Joseph. Okay, Father. I'm coming. Come on, come on.  Lord of my shepherd, I shall not want. You make it me to lie down. You've seen plenty of guys walking down this road, didn't you, Warden? I bet none of them ever took it as good as me, did they? They say guys crack up on his little walk, don't they? Not me. I got guts. Either Charlie would have cracked up by now, huh, Warden? You know, those newspaper guys said he stood straight and fine and brave that day. He wouldn't be standing that way now, would he, Warden?  He wouldn't be taking it like me. See, there's nothing to be scared of. Guy pulls a little switch. It's all over. They say you don't feel a thing. You don't feel nothing, do you, Warden? You should know you've seen plenty of it. It doesn't hurt, does it? I would have been a big man in his town. A classy car. A big house with servants. A beautiful wife. It's a beautiful wife, but I got a tough break. You know, one in a million, I tell you, but it's all in the game. See? Come see, come saw. It's French, you know. I'm taking it pretty good, ain't I? Nobody take it like me, nobody, not many of them. Do they, do they want her, huh? Do you think the paper will say I stood straight and fine and brave? Like a guy facing the firing squad, huh? Do you? I'm taking it pretty good, ain't I, Warden? Ain't I, Father? Tell me. I said tell me. I'm not afraid. You hear me? I'm not afraid. I'm not afraid to burn. Look, I'm left. Ah-ha. Ah-ha. Ah-ha-ha-ha-ha-ha-ha. Ah-ha-ha-ha-ha-ha-ha-ha-ha-ha.  Tonight's study in Suspense. Before Dane Clark returns to our microphone, this is Truman Bradley for Roma Wines, the sponsor of Suspense. As the temperature goes up, so does the popularity of tall, frosty, thirst-quenching drinks. And as Elsa Maxwell recently said, one of my favorite iced drinks, and one everybody enjoys, is the delightful to look at, delicious to sip, Roma wine and soda, made with distinguished Roma California wines. And, Miss Maxwell might have added, made so easily, too. Half-filled tall glasses with Roma California burgundy or sautern, add ice cubes and sparkling water, and a bit of sugar, a decorative touch, garnish with fruit or cherries. Good Roma wine is unvaryingly delicious, always pleasing, yet costs only pennies a glass. And next time you use Bermouth, choose Roma Bermouth, sweet or dry. Zestful, full-flavored Roma Bermouth is blended and developed with all the traditional wine-making skill of Roma wineries. Is made and bottled in the heart of California's famous vineyards, yet surprisingly low-priced? Try Roma Bermouth soon, won't you? This is Dane Clark. It's been a great pleasure, as always, to make an appearance here on Suspense. Mr. Spear wanted me to pass along to you the word, which I know will be of interest to many thousands of listeners, and that is that two weeks from tonight, on September the 6th, in response to overwhelming public demand, Suspense will again bring you the Lucio Fletcher Study and Terror Sorry Wrong Number, starring Agnes Moorhead. That's the show you remember about the woman on the telephone. It's certainly one of the landmarks of radio. Next Thursday you will hear Peter Lorre in a suspense play which also promises to be most unusual. I know you will want to be listening as I will. Dane Clark appeared through the courtesy of Warner Brothers, and is currently being seen in their production Pride of the Marines. Next Thursday you will hear Peter Lorre, a star of Suspense, Radio's outstanding Theatre of Thrills. Presented by Roma Wines, R-O-M-A, in California for enjoyment throughout the world. This is CBS, the Columbia Broadcasting System.


Welcome to another episode of GUI challenges where I build interfaces my way. And then I challenge you to do your way. Because of our creative minds combined, we'll find multiple ways to solve these interfaces and expand the diversity of our skills. And in today's GUI challenge, we're building some adaptive typography that changes based on the user's contrast preferences. If they want more contrast will make the font weight bolder. If they want less contrast, we can thin it out a little bit. So it's not always about color, this, you know, preference for contrast, it can mean more than that. And today, we're exploring how it changes font weight. Well, let's get into building this, shall we? First, you might be wondering, what's the support for this weird media query I've never heard of? Well, it turns out it's awesome. So here's the app media per first contrast. We've got support in Chrome since before the hundreds, which also means it's an edge. We've got it in Safari since 14 Firefox all I mean, it's looking pretty good. The only thing that you might not see or you might run into is maybe the operating system doesn't provide a flag to change the contrast preferences. But in a lot of them, it is there. And macOS, you can find it in iOS, you can find it. And you can find it almost everywhere where someone can change the contrast. Usually, it's only to change it to more. So they want a higher contrast value. But there are scenarios where it'll let you slide it down to less. And someone can articulate that well, you know, want a less contrasting interface. And usually this is color. But today, we're doing more than that. So let's just get right into building it. Here's our demo or demo currently does not change as we change the values of someone's preference. So if someone came to the page, they just be getting the regular old stuff. Well, let's do the easy way first. There's an easy path and there's a harder path. The easy path is, well, first we can say the font weight is normal. And that's not going to do anything. But that's just kind of nice to say it's just like by default, the font weight is whatever is normal. And you can probably even skip that. But now we're going to use some nesting. So look, I'm writing a media query right inside of this body selector. And I'm going to say prefers contrast more. And since all I'm going to be doing is changing a property here, I can just write the new property font weight equals bolder or bold one of the two, we're going to choose bold. So I'm going to hit save, pop over here and go to more. And there it is, we now have a bold font. So someone with a high contrast preference is getting what they need. We can copy this and put it right below and say, well, if they want less, you know, let's even change it to less, less, less, less. And then we're going to go to lighter or light, lighter, light, lighter. Nice. So there we go. We've got ourselves and kind of easily adaptive set of font weights here just using the regular old named values that are in here. And these will play into whatever, you know, font that you've loaded and stuff like that. But that's just the basics. And I wanted to show you how to take this next level so you can get more control. And you can also do a very interesting pretty niche adjustment to the font so that when it switches to from light to dark mode, so here, let's go from light to dark mode. Look at very closely at the way that your eye perceives the weight that's showing up here, like the thinness and the thickness. And when I switch to dark, it's very subtle. But do you see how the light text, even though they're the same font weight, same font size and everything, the light text looks a little bit bolder. It's almost more vibrant. It has, well, maybe perceptually more contrast. Let's go back to light. See how look at the V. It's quite thin. And when we go to dark, it's still quite thin, but it looks like it gained just a little bit of something that's totally this illusion. So what we're going to do in the advanced one is we're going to kind of counter balance that using variable fonts and tapping into the different axes that they have a variable through the font variation settings. So let's do the more difficult mode. So I'll save that file. I'm going to comment out basic and comment in variable. So here's our variable one. So you can see our font family just changed because we've loaded Roboto Flex. I put it up on copen. Now, the reason that I have it up on copen is this particular variable font has all of the axes in it, which means it's quite a large font. And it's nice for this demo. But if you're trying to deliver this font in a performant way, it'd be a good idea to just pull in the weights that you intend to use. And you'll see what weights we use here as we demo this out. So anyway, just a kind of hot tip. You can trim a lot of the weight off of a font by just selecting certain things, even if it's a variable font. Google fonts can do this to their API. It's really cool. So as we dig into this, let's start setting up some custom properties. I'm going to be doing some custom property flipping in this one instead of the other one where we just kind of used the values. And that's because I just think it reads nicer as we're changing things. So our base weight 400, which is kind of the same thing as normal was in our base grade. And this is what we're going to use to sort of counterbalance that light and dark value that was coming in. All right. So then we can go use these font variation settings. We'll say WGHT. And if you're wondering like where some of these names like WGHT comes from, some of them are quite standard across variable fonts, but they might not be. So you might need to use an explorer that kind of looks into the font and tells you what axes it has available, what settings that you can change. And so we're going to say in here, we're going to say base weight. And there's our first one and our second one will separate with a comma is grad. And notice this one is required. It's in all caps. These are just the font has this is the API. And this is how you call the function. I suppose you could call it. And here we're going to say base grade. I'm also going to new line this so we don't wrap. Oh, I should have done a comma here. All right. Looks good. All right. So now that we've got that set up on this is also looking let's just format that a little bit better. Sure. And you know what might as well, we have our basics here. And you can see as I hit save, we've changed to the base weight of 400 and a base grade of zero. So that's kind of nice that we saw that feedback. And we're also in less. When we go to no emulation, make sure that we're going to get that one done first, which is what we have. Well, here, let's switch to high contrast, more contrast and work that one out. So again, we're going to say at media prefers contrast more. And inside of here, we're just going to change the base weight base weight to 700. And boom, there is our base weight 700 results. So let's go to less copy this pasted in here. And for less, I don't think we're quite going to go down to 100. Let's do 200. Although look, that looks quite. Oh, we're going to change this to less. Ah, that's more like it. So now we're getting a nice thinner phone. We could let's try 100. That's really not that bad. I just find that 100 you've got to reserve that for really special occasions, large typography because otherwise yeah, the contrast is just solo. So let's go back to 200. Excellent. OK, so we've done the contrast preference for less and more. We go less more. Let's double check our work. Excellent looking good. And let's go to no emulation and switch to light mode and dark mode and work on that sort of perceptual contrast gain that was there. And so we're going to set a new media query for media prefers color scheme. We're going to say if they're in a dark preference, we're going to set that base grade to negative 25. We're going to reduce the sort of weight on this and it's super duper subtle. Let's even go like minus 125 just so we can kind of see a little bit more results. And it's not even that perceivable. But as we switch from light to dark, we should be seeing less of a change here. And I think I did see let's let's try minus 50. So go to light and go to dark. Nice. That one looks very similar. Really, really subtle stuff. And so now we have a set up here for adaptive typography based on user preference. And that's essentially the whole gooey challenge today. We went through a basic implementation that didn't use a variable font. And when the user prefers more contrast, we made the font weight bold when they wanted less, we made it lighter, you can go much more deeper into this and set, you know, specific values for your paragraph text and your header text. But this just shows the capability and a nice introduction. And this one here loads in a variable font that has a couple of axes that we want to use one of them is weight, one of them is grade. And we adjust the different weights for more or less, they get a thicker font or they get a thinner font. And we counterbalance some of the preferences that our eyes have for white text on a background, it's kind of taking away the glow or the neon type of effect that can come from a really stark light text on a dark background, kind of making it look like it's growing a little bit, you know, or like has a glow. So anyway, we use base grade to take that down. And that is the end of this gooey challenge. I hope you find this user preference typography featured challenge really interesting. And I'll see you on the next one.


Hello and welcome to NewsClick. We are going to discuss a controversial figure and an iconic figure today Mohandas Karamchand Gandhi. We have with us Dr. Talat Ahmad. She is the co-director of the Center for South Asian Studies at the University of Edinburgh and she has recently written a book called Mohandas Gandhi Experiments in Civil Disobedience. So welcome to NewsClick. Thank you. I want to begin with what triggered you to write this book and you have reexamined Gandhi's life and his political life. What were the basic reasons why you set out to do this? Thank you very much for inviting me here. Yes, I suppose Gandhi as you say is an incredibly iconic figure and one of the things that I've been struck as a historian is how new generations of young people in particular are still looking to Gandhi. In Britain you know where I live it's very pronounced particularly amongst young students and other young people. I think particularly when they're looking to how social change can come about in society. So for example in Britain we have a mass movement evolving against climate change. This has been the largest movement that we have seen in British society for almost 30 years and the activists that are engaged in this are using the tactics of nonviolent civil disobedience. This is a movement that began in October 2018 and they've had three major bouts of civil disobedience. When they first began they brought London to a standstill because what they did is they had mass protests on various bridges the main arteries into London and they just sat down and refused to move until the police moved them. They just brought London to a standstill at that time. We've also had as a result of this school kids that have been involved. We've had school children walk out of schools on two Fridays in the last 12 months in enormous protest against lack of effective controls on climate change activity. So the issue of the climate, the issue of the planet has really galvanized young people throughout Britain as it has done in Europe, in America and in Britain the movement is called Extinction Rebellion and I know that there's also an Indian chapter of this and it's a worldwide movement and what's really phenomenal is that when these people have been asked why they are engaged in this kind of activity they've invoked Mohandas Gandhi's name. We have people who as I say they will just there will be thousands of them that will just sit down in protest so we have people that just sat down in protest outside the Ministry of Defence. We've had people who have used glue and they've glued themselves to pavements to walls in protests against the armaments industry and protests against various government agencies that they are targeting because they are refusing to do anything serious about carbon emissions and these people have also been willing to get themselves arrested and again when they have been arrested they don't show any opposition, they don't resist arrest in any shape or form and again when they have been interviewed and asked why they have all cited Gandhi's non-violent civil disobedience as the catalyst for this, as the inspiration for this. Is it working? Will this help save the environment? That's a really big question and I suppose in a way the short answer would be that you know we won't know until the business is done but on the other hand what I think is quite fascinating for me as a historian is that when we look at civil disobedience and particularly the use of non-violence this isn't the first and only time that this has happened since Gandhi's death. In Britain we've had civil disobedience that was used back in the early 1980s for example against the cruise missiles that were coming into Britain. We had a movement then which was called the Greenham Common Women's Movement where they built a camp outside of Greenham Common which was going to be the base of where these cruise missiles were going to come and they had a camp out there, they exercised non-violent civil disobedience, it didn't stop the cruise missiles from being brought into Britain so in that sense one could argue that the movement against it was ineffective. So I think it's you know people cite obviously things like the civil rights movement in the United States, people even talk about African emancipation as being another inspiring point in terms of Gandhi's non-violence. For me as a historian it was really imperative to interrogate at a very serious level how Gandhi actually embarked upon civil disobedience in order to try and examine what worked and what didn't work in there because Gandhi obviously is a larger-than-life figure, he was in his lifetime and even more so since his death in some respects, he's become even more iconic, more symbolic, absolutely you know the Mahatmaism has really been in the making in the last 70 years, more so than it was in his own lifetime and of course sadly a lot of misconceptions can exist about an individual, a lot of half truths can also enter the narrative and because he is such a huge figure I think it's really important that people actually do make a study of him, so for example again in Britain we have people in Extinction Rebellion who put on training sessions in non-violent direct action and that's all very laudable, it's fantastic, it's very good that they do this and it's very good that they have tens of thousands of people that are involved and engaged in wanting to learn the art of non-violence and how to practice it in as a political strategy but I also think it's really important that people and activists should learn from history so I think it's imperative that people should attempt to at least read what Gandhi had written himself about his own movements, it's also important that people should read other biographies that have been written about Gandhi and other studies that have been done about him not just my book and so I'm hoping that if my book is able to do anything if it is at least able to propel a new generation of activists particularly in Britain but also hopefully here in India to actually go and seek for themselves who the real Gandhi was, what it was that he did, what it was that he didn't do, what he sanctioned, what he was okay with etc then it will have served a purpose. At the time when Gandhi ran his civil disobedience in India we were under foreign occupation and many of these civil disobedience movements now are against their own government so how is that moment different from now? Is civil disobedience is a non-violent protest actually viable in these circumstances of being under control of your own government? Is it in fact more effective now because you have less of a sanction for the state to oppress its own people whereas the colonial power could have done anything to which of a country it governed? Now again that's a really good question because I think that at one level yes one can look back in history and say well of course when there was colonial oppression then somehow there was legitimacy to have opposition against that but now that we've had independence for over 70 years that somehow we now live in a new society but I think that that also is something that fundamentally ignores some of the challenges of what post-colonial societies had and I think that if we think about for example whether it's in India or whether it's in different countries in Africa it's clear that the dream of what independence was supposed to bring for most people has perhaps not transpired at all so I don't find it at all surprising that in country after country in the so-called global south there have been oppositional movements against their own states because we still have societies which are racked by division poverty still exists oppression still exists against various groups I mean even in Britain you know people think of Britain as being a nice liberal democracy there have always been oppositional movements from below against British governments so I don't think that the key differences is whether or not it's a colonial state or not or a post-colonial state the key question is what kind of society it is and what are the grievances that people feel about the world that they live in and I think it's only when one examines what the grievances are and what the vast inequalities are within society only by doing that can we then come close to approximating why it is that we will have movements of opposition they don't exist just for the sake of existing they exist because there's a very stark reality in those societies and so the non-violent talk about non-violence actually imposes on the people a very great burden of not doing certain things not acting in certain ways and the but the issue is that if you do act in certain ways which are violent or seen as violent then the state would have even more power to crack down on you so this is something that the activists would have to constantly consider and and Gandhi provides a way out of that challenge he does in many respects yes I suppose that you know for Gandhi the use of violence is seen as being completely non permissible in his eyes whether it's by the state or whether it's by movements and in his own lifetime these were very real questions that he had to grapple with because although his movements and particularly every one of the major movements that he launched he launched them in the name of non-violence however violence did occur so in my book I go through a whole series of scenarios of his major campaigns whether it's in South Africa or back at home in India and in each one of these scenarios he leads the campaign in opposition in each one of these scenarios violence is employed and it has been employed by the state and in each one of these scenarios Gandhi then calls off the movement because what happens is that violence also takes place on the part of the resistors and Gandhi calls the movement off because violence has been employed by his own side and for me this is where the tension and this is where the interrogation and this is where the debate really needs to be about because in his own lifetime he faced criticism from people for calling off these movements you know Gandhi was a great communicator he spoke with everyone and anyone it didn't matter whether you agreed or disagreed with him he would have debate and discussion with you he had debates and discussions with people within his own camp around congress he had debates with people from the right but also in his lifetime he faced big debates from people who were on the left so for example he had enormous debates and discussions with the left in terms of the congress socialist and the communist party of India in my own book one of the things I detail is the correspondence that Gandhi had with PC Joshi for example in 1945 at that time he was the general secretary of the communist party of India and two decades before that in 1927 Gandhi entered a lengthy correspondence with Sacklatwala who was the first communist MP to be elected in Britain eventually became a member of the Labour Party and in both of these discussions it was about the question of non-violence that was at the heart of this because what both Sacklatwala and Joshi were talking about is what do you do when the state is violent towards you and this is a question that wasn't just asked by those two it was asked by many activists within Gandhi's own lifetime it was asked by people following the big bout of civil disobedience in 1930 when that movement was perhaps the most non-violent that Gandhi had ever led on his own side and yet the colonial state put over 60,000 people into jails and then by 1934 they very effectively physically crushed any aspect of civil disobedience over tax and other issues similarly when we think about the Quintindian movement in 1942 you know not only was Gandhi detained and you know leading members of the congress were detained but the government the viceroy at the time Linlithco he gave the go-ahead for aerial bombardments of cities like Bombay as they were then and Linlithco himself said that what we are facing in 1942 is the biggest threat to British power in India since the 1857 mutiny and I'm not going to get caught out that way was his attitude and that's why he unleashed the level of repression that he did again one of the things that I go through in my book is the early 20s when Gandhi has his non-cooperation movement and it is very striking to me because Gandhi calls off movements all the time when violence is used on his side but he's quite particular as to who he blames for violence so for example in the small town of Charichurra in 1922 when you have because one of the key things about Gandhi's movements is that although they're called under a very specific rubric the masses of Indians at the time they brought to that movement their own set of grievances so you had grievances against landlords you had grievances against stallholders shopkeepers you had grievances against employers and Gandhi you know at one level perhaps Gandhi was impervious to the fact that the masses were bringing their own set of grievances to his movements and it really comes to fruition in that town because you have protests taking place in that town against inflation and hikes in food prices because people just can't afford to buy bread they can't afford to buy the art to make their chapati and so there are enormous protests taking place and the police arrest three of the protesters and as a result you have people from the local locality going to the police station to demand the release of their of their of their tense people the police for various reasons are told that they've got to defend this and they let off some rounds and they arrest more people but they also shoot some people who are killed obviously in a scenario like that tempers are very very hot on both sides and because Indians had been killed you have the villagers and the townspeople they come to the police station and they are rioting and in the violence that ensues the police station is set on fire 22 policemen die now obviously nobody is happy with that situation the villagers weren't happy with that situation nobody was now Gandhi calls off done violence immediately as that incident happens but what is very striking to me when you look at his pronouncements at what he writes in newspapers at the time and you also look at the pronouncements of congress who are acting under his guidance and his leadership they sent condolences to the widows and the families of the policemen nothing wrong with that but there are no condolences that are sent to the Indians who've been killed there are no words of solace for their families and their widows instead they are described as being a mob by Gandhi and by the congress leaders and this happens again and again this is repeated I mean this is you know this is one of the things that I found when I was doing the research for my book is that there is a consistent pattern to this and so one of the questions I pose is that it's all very well talking about civil disobedience being nonviolent but actually we have to get quite concrete about this because what does it mean in a very real situation so for example in Britain with extinction rebellion the police have been used against them obviously in terms of arresting people there's not been the level of violence by the state as it existed in colonial India or as existed by the British state in previous protest before but it may come and then the question is what does a movement do when the state uses violence this is a question that's being posed very starkly in Hong Kong for example where again there are many people that are saying ah you see in Hong Kong people are invoking Gandhi there as well and they are but there is a real issue there because what do you do when you have a violent state that is going to not just use repression but use that repression to completely cut the movement and to destroy the movement and crush it so I think that these are very important questions and if civil disobedience and nonviolent civil disobedience is going to be employed as a political strategy which it usually is and this is really where my book is trying to interrogate this then it's very important that people should be very serious about this you know I find it amazing that the world over Gandhi's name is known it's known by little school children but people don't really have any real knowledge of Gandhi and one of the things I say to people and particularly to young activists in the UK is that if you really want to want a Gandhi then at least go and read him at least go and read what has been written about him read everything and anything educate yourself about Gandhi in a very serious way because otherwise to just talk and invoke Gandhi in a very loose manner you're not really doing justice to him in his life and you're not really doing justice to the kinds of campaigns that you're involved with either so do some serious reading debate with people discuss with people because Gandhi did that as well you know wherever you stand on Gandhi one cannot deny is that he did enter debate and discussion so if contemporary generations are serious about invoking Gandhi then they should make a serious study of him right but he did not leave behind a blueprint for how to be non-violent absolutely course he didn't and again in that sense I suppose one could argue that the beauty of that is that anyone can read everything and anything into it you can employ it in whichever way you wish to you know so for example you know in in something else that I've written about Gandhi which is to do with the afterlives of civil disobedience one of the things that I found quite intriguing is how you have a whole scenario of various politicians all over the world claiming to stand in Gandhi's legacy I found it quite amusing that for example Barack Obama talked about how Gandhi had influenced him from a very young age and he did this as president of the biggest and mightiest state on the planet just as he was about to order bombardment of Iraq so you know for me when you have politicians doing this you have to ask yourself a serious question which is you know a how serious are they about Gandhi how serious are they really about non-violence and in a way is this also not typical of what some politicians do when they want to try and cloak themselves in the mantle of such an iconic figure and use him perhaps for their own purposes I mean you know we have a similar thing in Britain as well because obviously as you can imagine we have various public places which are named after Gandhi so there's a big statue that was unveiled in the House of Parliament and we had David Cameron and George Osborne all saying there's nothing more fitting than to have the father of the Indian democracy outside the mother of all Parliament with no sense of irony that the mother of all Parliament as a British Parliament did the most to oppress India and you know a quarter of the world that the British controlled at that time so I find it quite amusing ironic and very very very dishonest that you have all manner of the political class the world over that want to try and make Gandhi into a very safe iconic figure for their own purposes so I think that there is a real issue here about what the real legacy of Gandhi is as well and again you know if you think of the Pune pact if you think of Gandhi and Ambedkar's communication with each other there was a lot of violence that the Dalits faced at the time of demand for a separate electorate but at that time Gandhi did not back down he did not say okay we'll come back to this again he stuck to his position against the idea of separate electorates would you know two questions would that have been a good or a better idea for India considering the extent of caste discrimination that still prevails in the society and second I know Gandhi is contradictory I know he's not a comfortable figure but does this incident actually show a very big flaw in his idea of nonviolence again that's a really big question and obviously I'm aware that there are all kinds of contemporary debates in India about this but what I do know about with certainty is that yes in his own lifetime over the issue of caste and untouchability Gandhi was completely opposed to untouchability of that I have no doubt you know he was very sincere about this and he was very sincere about how he wanted to see an eradication of the way that you had caste depression throughout India however his dealings with Ambedkar from what I have found I don't particularly think were that noble you know in the debates over the separate electorates and what he did that year in in 1932 I think leaves a lot of questions that have to be talked about the way that he was willing to use the fast and therefore to use violence in some respects to his own body you know fast unto death to stop the separate electorates and not just that but the fact that Ambedkar was forced to back down by fellow Dalits because they were aware that if Gandhi had fasted himself to death the people that would have been given the blame would have been Dalits and therefore there would have been even more of a bloodbath against Dalits all over India at that time for this now I find that very troubling because that to me opens up a big can of worms about what Gandhi and Gandhism is you know the fact that he could not understand that Dalits had a right to have their own political representation and to decide for themselves their own future in his own lifetime I think really displays and I argue this in my book a real sense of his own elite caste and class prejudices which were really coming to the fore that somehow he believed that caste high caste groups could somehow be persuaded through a moral conscience to behave well towards untouchables now that might well be the case you know I'm not in a position to state otherwise on that but the point for me remains that surely it is the right of those people themselves to act as agents and catalysts of their own future and their own present not for someone else to decide what that should be for them and a similar thing you know a similar thing I find over his issue on women over his issue on peasants that there is a paternalism that is at the heart of Gandhi that one cannot deny and therefore a figure that is held up as an iconic figure of radical liberation I think needs to have that level of scrutiny you know there needs to be interrogation about exactly how radical Gandhi and his ideas were in his own lifetime because you know I do think that the element of deep paternalism does betray a deep social conservatism particularly about certain social issues and caste was certainly one of them in his own lifetime right when at that time everything was on the drawing table absolutely everything afresh why not this as well there were recent protests in South Africa about installing a statue of Gandhi where you know where do you where would you locate protests like this coming very long after Gandhi has died and very long after his role in that country has been sort of consecrated as you know he was great and then suddenly you have people saying that look he wasn't that great why does this happen is is something like that necessary in India or do we just need to hear those people who are already saying that they have problems with Gandhi on cars etc you know what's really going on in South Africa what can India learn I think it's quite instructive at lots of levels I suppose the whole movement that Gandhi should fall as it's called in throughout Africa you know beginning in Ghana where they wanted a statue removed because what's happened is that you've had a new generation of people who suddenly have discovered that Gandhi in his early life in South Africa had to put it quite mildly very pejorative attitudes towards the African population and there's no getting away from that he did I you know in his initial few years in South Africa he behaved very much as a colonial subject who believed that Indians had a right to be treated as equals I should clarify that he actually believed that respectable Indians had a right to be treated as equals under empire and because because he went to South Africa to represent the professional class the urban layers of these you know the lawyers the business community etc it was very much their interests that affected him it was their interest that he went to represent and it was through their lens that he saw the world and in a way that's not surprising given his own caste background and everything else this is what Gandhi's world was so not only did Gandhi not really have any understanding of the vast majority of Indians who were from predominantly Tamil or Bengal background who of course were the plantation workers and working in the mines and what have you but of course it goes without saying that if he didn't if he didn't understand them he obviously was also not going to understand the vast majority of the population of South Africa that were African and that's the reason why he initially was absolutely outraged that Indians were placed on the same level as the Africans and that's why he objected to being called a Cooley Barrister and all of this kind of language because of course what he was expressing was that I'm an educated Indian we should be treated as equals under this empire so that was certainly true and there's nothing that anyone can do to deny that however I think it's completely inaccurate historically to leave the story at that because Gandhi did undergo a change in his life in South Africa and he did come to understand the oppression against Africans and he also came to understand the oppression against the vast majority of the Indian population and not just the Indians but also Chinese population in South Africa and the Colards and that's what I think is quite distressing about some of the calls that Gandhi should fall because for me Gandhi is not a Cecil Rhodes you know Rhodes was an unapologetic defender of empire Gandhi was not that so I think that it's good that a new generation have suddenly come across these kinds of questions but what should what this should lead to surely is a questioning about the fact that we still live in a racist society whether it's South Africa whether it's Ghana whether it's any of the European countries you know Britain where I come from and I'm sure there are issues here in India as well that there are there is fundamental inequality that still exists within our society and it's that that needs to be interrogated and talked about not demands that Gandhi should be removed because in a way you know statues are not really that important you know Vladimir Lenin once said that statues are only good for pigeons and I think he was quite apt in that but the you know the point is that in a country like South Africa you can't have a position where there are no statues to Gandhi or no streets named after him because he was part and parcel of the fabric of that society and so therefore it's not about changing that and removing his names what this should be about is an opportunity for a new generation of people to actually be very serious and pose serious questions and not just think that oh if we just remove a statue of Gandhi somehow we've solved the problems of racism in Ghana or South Africa or any other problems because you haven't because what you've not done is actually tackle some of the deeper underlying causes of those problems in the first place if you're serious about being an agent for yourself then you're only going to learn this through through your own colleagues through your own collectivity in terms of the activity that you're engaged in and the social movements that you're a part of is that activism itself that's going to lead to questions and the way that you answer those questions and how you resolve those issues is going to be through collective debate and discussion yourselves in the movements that's what a movement is really about and yes there are certain things that we can learn from history and we have to absolutely imperative but you yourself are going to have to take decisions about this so read Gandhi by all means read about him by all means but more fundamentally I would say to people you need to read debate discuss and take action read debate discuss and take action again and again all right thank you so much for joining us that thank you thank you very much for having me thank you for joining us click


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bodies bodies bodies bodies bodies bodies you too team keep it clean just signing it it just reminded me of that scene because the Ravens clearly need bodies at Lion Backer both inside and outside but AJ Klein with them signing AJ Klein he's primarily an inside Lion Backer so what did this say about the current group of Ravens inside Lion Backers well we'll dive into that in a little bit but first for the Baltimore Ravens they're signing Lion Backer AJ Klein off of the New York Giants practice squad. AJ Klein 31 years of age so not too old Jeff Zribick highlighted that he's played in a 134 career game so he got a lot of experience and it has had 80 starts so he has a whole lot of experience not just playing but experience starting and that's big it's very big now this part he started four games for the Beals last year so not this year not this year but last year so the Ravens were like man those Beals they sure put a hurting on us that dude Matt Milano is a baller Tremaine Edmonds he's nice too but man oh AJ Klein oh he played with them last year okay okay so maybe okay we saw what those Lion Backers did maybe they could show all linebackers a thing or three about playing a position so you know what if we couldn't beat him even though he was with the team last year but if we couldn't beat him this year even though he was with the team last year let's have him join us so welcome to the squad now this is an interesting move because they signed him to the active roster normally with the signing of a lot of players you would think even some that have not even necessarily been household names but more names that you're familiar with usually those will be the ones that the Ravens would sign to the active roster but this mobile if you were to tell me they signed AJ Klein I would thought okay they signed him to the practice squad probably but no he got signed to the Ravens active roster and the thing with that he was already on the bill I mean excuse me the Giants practice squad so you can't go from practice squad to practice squad no you have to go if you give the if a team takes you from somebody else practice squad you have to be put on the active roster that's the way that that works and shout out to NFL for doing it that way because it helps those practice squad players out gets them a nice nice nice check a nice some nice raise nice pay raise that's that's what I was looking for but with AJ Klein this signing especially with them bringing on somebody that they knew would have to go in the active roster what does it say about their current group of guys at inside linebacker this leads me to believe that Patrick Queen will not be 24-7 out there on the field anymore while he has not it hasn't been like this thing with Patrick Queen where it's all bad and it's only bad and that's it no no no no but it's just been a lot of inconsistency it's been a whole lot of inconsistency and the thing with Patrick Queen one of the biggest issues has been closing on the big place think that I think that's what a biggest struggle has been closing on the big place closing on the game changing plays and just really making those things happen because we've seen him make different plays throughout the game we seen him get sacks and all that we've seen them make tackles seen them blow up plays in the backfield but it's just those big and and those plays certainly contribute a lot um but it's those big clutch moments crucial moments where it's like oh he just missed it ah he over pursued oh he missed attack ah he dropped the pick and we're not here to single out Patrick Queen but at the same time when the Ravens bring in somebody at that position and put him on the active roster because they had plenty of free agents that they could assign to the practice squad but no they bring in somebody at that position and sign that position to the active roster in my opinion that speaks to how they feel about their current state of linebackers especially because with Josh Bynes we know during the game the other day against the Bills he had got hurt for a little bit came off the field for a little bit but it didn't look to be anything serious and I do believe that he was practicing yesterday too so I mean it could be one of those things where they just ramping up maybe one of their guys got hurt in practice yesterday I don't know I just I don't think that's it though I don't think that's it I think the Ravens are looking for more quality at inside linebacker now this is one of those things where again Ravens told you they told us and I hate going back to this over and over but again every time the Ravens make a move it inside lineback it just gives me that reminder that the Ravens told they told us this offseason we're not comfortable we're not 100% sold on Patrick Queen we're not 100% sold on Malik Harrison either and I hope that those guys careers take off I was really hoping that we were like right now at this season at this point in 2022 I was really hoping that especially when Ravens drafted them in what 2020 I was hoping that I this could be our new little one-two punch at linebacker like Patrick Queen and Malik Harrison one got the speed one got the thump and Malik hey don't sleep on Malik Harrison speed now too now but I'm thinking man this could be such a great combo the future linebackers for the Baltimore Ravens this could be it so I was thinking oh of course two years later they will have taken over that role by then not yet though not yet and honestly I don't know if it's one of those not yet type of things or it'll be not ever but that's a that's a legitimate question it's a legitimate question the way that things are headed right now for both of those two at inside linebacker it's not looking like it's gonna happen long term but it's the jury still out the jury is still certainly it's certainly still out because things could just turn around but again signings like these kind of lets me know and hey I could be wrong I could be wrong but it just lets me know continues to let me know that the Ravens aren't sold but back to what I was saying even before before this signing even before they brought back Josh Bynes again and we know the reason that they brought him in in the first place and this was before Patrick Queen but in the first place was because they weren't sold Josh Bynes for the Ravens he's old faithful that's what we call Josh Josh Bynes is old faithful cuz it's like man when things are going rough at inside linebacker we just give Bynes a call give him a call that and when they first brought Josh Bynes back that's when they brought him and LJ for them cuz it was Kenny Young and Peanut and they were just struggling it was rough it was rough so they gave old faithful a call and shout out the LJ for it to hope he's doing good by the way and I'm you know what I'm surprised like like why don't they bring him back they keep bringing all these linebackers and whatnot why don't bring LJ for it back I mean I think he would be recovered fully recovered by now like why not you're bringing in all these other guys might as well couldn't hurt couldn't be any worse um but yeah man but they then and of course Bobby Wagner we all remember the whole Bobby Wagner thing but again that was a reminder that they aren't sold on their current inside linebackers so now with AJ Klein what can he bring to these Baltimore Ravens I watched a little bit on him and this this was one of the few times where I actually only watched highlights they weren't that many but and that's not a shot at him at all but what I saw when I watched highlights because this was one of the times this was one of the few times where I wanted to see what are some of the best things that he does what are some of his best attributes what were some of his best plays that he's made throughout his career and what I saw the probably the biggest thing was tips was deflections was being in the right place at the right time when that ball was in on the way and him tipping it up in the air him knocking it down him hitting it up him deflecting the pass that's what I saw the most and with something like that that can have a big impact on the game because that can help cause a turnover that ball goes flying up in the air I mean hey we saw that this past Sunday when Lamar threw the ball low and it went flying up in the air Jordan point said oh this is for me thank you so much Lamar but yeah those are those tips they can lead to picks and just so on and so forth but um I wanted to see what he did what what his specialties were and maybe that's what the Ravens were looking at maybe they looking at somebody to disrupt those passing lanes that much more at the linebacker position maybe they looking for somebody else to be at the right place at the right time even though he's not the fastest not the strongest not any of that which is fine you don't have to be but maybe they just looking for some maybe they just looking for some solid depth to maybe they just looking for a rotational guy somebody where they can give Patrick Queen a break sometimes somebody that they can give Josh Bynes a break sometime Malik Harrison a break sometime too maybe that's what they're looking for I'm a little I'm a little lost on this signing a little bit confused on this signing but um I mean we'll we'll find out we'll start to find out over the next I guess really over the next game or so now with Andy Isabella didn't expect him to play this week they haven't even officially announced the signing but either way I wouldn't expect him to play this week but AJ Klein I expect him to play right away I expect him to play right away as soon as the signing is official as soon as they make it happen I expect him to be playing to be active in this bingles game immediately immediately so we'll see exactly how active he is we'll see exactly what his role is gonna be we'll see exactly what type of impact he has on the team y'all of course as I know y'all will y'all let me know what y'all think of the signing and yeah I guess that's that I love y'all teamkeeper clean I appreciate y'all very very much shout out to AJ Klein welcome to the squad and go ball out