Are you willing to undertake a dangerous mission behind the enemy lines, knowing you may never return alive? What you have just heard is the question asked during the war to agents of the OSS. Ordinary citizens who to this question answered, yes. This is cloak and dagger. Black warfare. Espionage, international intrigue. These are the weapons of the OSS. In today's adventure, the secret box. Concerning an American agent who was sent into a Japanese infested jungle to take back a prisoner. The role of John Markle, the OSS agent, is played by comedy star Jerry Lester. The story is suggested by actual incidents recorded in the Washington files of the Office of Strategic Services. A story that can now be told. I always carried this little box around with me. I never knew when it might come in handy. It was about as big as a small lunch box, eh? Well, to begin at the beginning, I happened to be in the radio room at OSS headquarters in Bombo that night when the message came through. Have soon, job, patrol, OSS headquarters in Bombo. From Agent Terry. So that's how Harry Stevens and I happened to be in an 80-18 flying over Agent Terry's position about 86 miles behind enemy lines in Burma. And like I say, I had this little box in my knapsack. Oh, in case I forgot to mention it, my name is Johnny Markle. Snappy songs and witty sayings. Just mention my name in Sheboygan. Oh, they love me in Sheboygan. Yeah, yeah, I know Markle. Hey, Harry, did I ever tell you about my last date in Frisco before I went overseas? I can hardly wait. Her name was Rose.  I called her Cream of Wheat because she was so mushy. Markle, I have but one thing to say to you. Well, talk to me. I hope you live to be as old as your jokes.  You don't realize you're carting around a million dollars worth of talent. I tell you, they love me in Sheboygan, I know. That's the city, yeah. Now, hang on. Gonna take a dive, see if I can find the landing strip. We had figured our checkpoints carefully. No one reached our rendezvous. All we could see was a rough field with a Buddhist pagoda at the far end. Nothing else. No landing strip, no markers, no one waiting downstairs. Just a rough field covered with brush. We knew something must have gone wrong. I don't get it, Markle. Well, the Jap's probably closed in and they're afraid to come out of hiding. Oh, great. Live Jap prisoners aren't dropped in our laps every day. Hey, Harry. Huh? Who is this agent, Terry, anyway? Oh, missionary. He's been working with a tribe of Anglo-Burmese for years. Colonel says he's already radioed back a lot of information on enemy positions. This is the first prisoner he's ever taken.  Well, look, circle around again. Maybe we'll see something. Better head back before we run into trouble ourselves. Hey, Harry. Harry, look. Look, the brush. It's being yanked away. Yeah, yeah, I see it. Look, those natives. They're putting up the white marker stripes. The safe-to-land panel's out. It's just like seeing something pop before your eyes. Let's go. That landing strip came out of nowhere. Just all of a sudden, there it was. The plane bumped the ground and rolled in. But we kept the motor still running in case of a Jap trek. And we sat there and waited for whatever was going to happen next. Hey, look, look, look. Something or somebody's coming out of that clump of bamboo at the end of the field. Yeah. Keep your hand on your gun. I'll make a quick getaway if I have to. Check, check. Harry, natives. Yeah, but are they friendly? Spears. Hey, they're armed. Let's get out of here. Yeah. Hey, wait a minute. What's the matter? There's a white woman with them. I am Mrs. Terry, gentlemen. One would never suspect I was an agent who had won. Well, uh, what's the angle? I mean, well, I think you're personal. Oh, it's very simple, really. My husband, the late Reverend Oscar Terry, a God-fearing man, went to his rest a few months ago.  Naturally. Uh, this is Lin Tau. I suppose you'd call him the right-hand man. Say, how'd you do, Lin? How? You'll do. Hi. Lin, incidentally, sent the radio message. He does so enjoy tinkering with mechanical devices. I showed him how to use it. Unfortunately, however, my husband, the late Reverend Oscar Terry, a God-fearing man, was the only one of us who knew how to take it apart and put it together again. Lin. Yes, Miss Terry? That radio, you have it. Oh, I have it here. Excellent. Captain, would you either have this replaced in Bamu with new parts or have a new radio dropped over to us? By sure, Mrs. Terry. I'll see what can be done for you. Oh, thank you so much. Oh, fancy. I almost forgot. We have a Japanese prisoner for you. There are about a half a dozen natives a short distance away standing around the cart. In it, they had a Jap officer with his hands and feet tied. They dragged him over. He was a surly character. Maybe I would be under the same circumstances. Anyway, he didn't say a word.  Here is your guest, gentlemen, Colonel Sawaka, the Japanese High Command. He resisted a rest rather strenuously, so it was impossible to avoid banging him around a bit. Well, goodbye now, and good luck, and do give my regards to your Colonel. We loaded Colonel Sawaka into the small plane. And a few seconds later, as we swung over the field, we looked down and saw that all trace of the strip had completely disappeared. The brush was replaced, and there was nothing. Only jungle. How's our friend Colonel Sawaka doing, Marko? Well, he's a little tied up at the moment. Hey, friend, how you doing? Friend doesn't want to talk. You know something? That's the best audience you'll ever have, Marko, one who can't understand English. Oh, come on. Now, will you hire... Hey, maybe you got something. Hey, friend, did you know that the former ruler of Russia was called the Tsar? His wife was called the Tsarina?   Zardines. Yeah. You know, I think you're right, Harry. Friend, obviously, doesn't understand a word of comedy English. Hey, what's that? A jet backpack. They've spotted us. Can we get away from them? We can try. That's climbing, Harry, to a thousand feet in about a half a minute. Ah, it's no good. Can't get out of range this way. Well, what do we do? I'll level off and head for home. I can't get away from them. I'm just climbing. You did it. We're out of range now. I think. You spoke too fast. Trouble? Black must have hit one of the engines. It's knocked out. Oh, fine. Well, it could have been worse. I can get us back on one. Oh, brother, if you were your sister, I'd marry you.  You know that, Marko. Well, I don't go around proposing every day. You better go back and see how friend is doing. When the Colonel Sawaka doing extremely well, thank you, keep me your hands on the flying instruments, Captain. Hey! And you, Lieutenant, keep me your hands in the air. Way in the air. I thank you.  You spoke English all the time.  I thank you, Lieutenant, for leaving gun within easy reach. Can you do anything, Marko? Nothing. He's got us. Quiet. Do not talk. Just continue to fly a plane. So Harry kept the plane steady. He's back to our friend. I just stood there and watched Colonel Sawaka as he manipulated the parachute and buckled it out. Changing the gun from one hand to the other as he put his arms through the straps of the shoot. Then he opened the handle of the waste door. I will say goodbye now. It was an unpleasant ride.  Hands in the air. Keep the hands in the air. Much better.  Then I jump. Goodbye, friend. Don't forget to write.  First, all I had to do was bank the plane over on its side and we lost him. Now, we lost him, all right. He shoot open. Oh, fine. Mission unaccomplished. Well, anyway, it was a nice ride. Glad you thought so. Uh-uh. The second engine couldn't take the strain of that flip flop. Is it conking out? Yeah. It conked. All right. Hit the silk, Marko. We better bail out. I made it okay. Rolled over a couple of times when I landed and pulled the shoot down. But it was another story with Harry. As he bailed out, his slipstream caught him. Flung him back against the horizontal stabilizer and cut a gash in his head. Miraculously, his shoot opened. And he drifted into the green jungle and landed upside down in the top of a tall mahogany tree. Harry, are you all right? Can you talk? Marko, the shroud line of the shoot, they're tangled. Can't get out. My head, I cut it. Yeah, I see. Marko, get me down. Yeah, yeah, easy boy now. I'll do something. What? I tried to climb the tree to reach him. But it was no use. The trunk was bare, smooth. I kept slipping back. It was as if the two of us were in the middle of a nightmare. Harry, can you hear me? Yeah, yeah. I can't climb that lousy tree. It's too slippery. There's nothing for me to hold on. Marko, it's no use. Well, what do you mean it's no use? I'm standing there. You'll be caught. It jabs all around. You know that as well as I do. Harry, will you listen to me? Now you'll listen to me. Get away now, will you? They may have seen the play.   Get out of with both dead ducks. I know I am anyway. Just do one thing. Marko. Yeah? Don't leave me here to starve or fall into Jap hands. Maybe you can make it back alone. You're nuts now. I couldn't do that. Just don't leave me to starve, Marko. Please. Please, huh? Show me first through the head, Marko. Please. I knew he was right. I couldn't leave him. Please, Marko. Not that way. And I couldn't stay. Marko. Well, I took the 45 from the holster at my belt. When I heard the dry click of the hammer being drawn back, I broke out in a sweat. My hand started to get wet too. Marko. I counted one, two. Well, that's it. What? From the looks of it, we are right in time. Lynn Tau and the natives went to work swiftly, knocking down a second smaller tree against the mahogany. They scaled it like cats to the base of the branch where Harry was hanging. Tossed a loop of rat tan across the branch and pulled a torrent. Then they lifted Harry and passed him from hand to hand and lowered him gently to the ground. And all the time I just stood there next to Mrs. Terry, feeling the blood pounding in my head. The pistol back into my holster. Lynn, that other bandage, please. Here. Here you are, Mrs. Terry. That's a good fellow. Thank you so much.  Oh, it's better, Thase. I still don't understand. How did you see the Japanese attack hit your plane almost immediately after you left us? We came along for the jungle in case there should be need of us. Lady. No one ever needed you more. You say Colonel Sawaka escaped. Dear, dear, what a pity. Well, now, I think that bandage will do. Do you get back? Mrs. Terry. Yes, Lynn? Lynn Tossay, leave now. Do not stay. Back to village. Oh, yes, great. But that poses a problem. As I told you earlier, our radio is out of use. So there's no way of contacting headquarters and telling them to send a plane for us? Exactly, Lieutenant Marko. Well, do you think we can make it back through enemy lines on foot? Possibly. Take five or six days anyway. Yeah, but it could be done, couldn't it? I mean, we could sneak through, couldn't we? I pass the jab, so I don't call it. Can't do. Lynn Tau help. Take you. Capital idea, Lynn Tau. May husband the late Reverend Oscar Terry help. A God-faring man. Thank you. He would approve heartily. Lynn Tau knew plenty of shortcuts and we followed him, skirting Jap patrols all the way. There was something uncanny about the way he led us over miles of jungles. We kept our packs light because we had a pretty long hike ahead. But just the same, I kept that little box with me. I never knew when it might come in handy. We came to a small stream. Ah, must go to stream here. Take off shoe. Well, wait a minute, Lynn. Why bother? We'll be wading through a lot of water and why take our shoes off and on. Oh, don't ask Lynn, say. If shoe get wet, feet wet all time. Many saw come on feet. Well, not be easy for you to walk much distance to Bama. We crossed several more brooks and we kept taking our shoes off and on. On and off. The jungle along the banks grew thinner. And so did we. The sun beat down harder. The water washed sand up around our knees. The shoes off and on. On and off. We'd splash them and then stumble and then start walking again. A couple of days of this, we were pretty beat. Except for Iron Man, Lynn. Oh, feel good. Lynn, Lynn, the sun, I'll have to hold up a while. Uh, we'll rest here in your scream. Hey, this is an ideal spot for a picnic. 50 million insects can't be wrong.  Hey, Marko, can the water let my canteens dry? Yeah, sure, here. It's all you got? It's okay. Go ahead, drink it. Lynn, this is all the water we got? Quinta, say, don't not worry. Watch, I will show what to do so you know. Hey, wait a minute. What are you digging to hold in the sand? Watch. First dig a small hole in sand near the stream. Place a leaf in the bottom, like this. When water comes through, sand and leaves cannot be muddy. Can drink. Hey, that's the greatest. The leaves act like a filter. Yeah, water is clear. Drink it with your hand. It will not hurt you now. This Lynn Tau had a dozen cute little tricks like that. He'd have been a riot and voodoo. Well, the next morning we were back on the trail, pushing our way through sharp blades of grass. And all of a sudden we heard the tinkle of an iron bell. Hey, Lynn, what's that? A scapegoat, elephant coming. Thank to us, villager in jungle, put iron bell around neck to warn. Thank to us. We've got guns, we've got guns. Let's shoot at them from each side. No, no, no, do not shoot. If you do not go too high, you'll only make the elephant much angry. Do not shoot. Still. The size of them. Look at the size of them. It's like being charged at by a six-story building. Still, still. Do not shoot yet. Only if we must. Past right bias. Yeah, maybe he didn't think we were worth noticing. You know something, Harry? One thing I can't figure out about an elephant. With a tail at both ends, how does he know which end to sit on? Funny man, come on, let's make time. Lin Tao did our seeing and our thinking for us. He did everything but walk for us and we got sort of used to leaning on him. Nothing could happen to Iron Man Lin. Only it did. Lin, Lin. Harry, Harry, he's dead. That knife went right in his back. Where did it come from? They came out of the jungle. At least 50 of them. Half naked savages carrying long stalks of bamboo that had been sharpened to deadly points. Their leader was a giant. Must have been about six foot seven. He held up his hand and the sudden silence scared us more than the noise. What did he say? Did you understand him, Harry? Look, friends. Friends, savvy friends. No, no friends. One donly white devils. White devils. That was us. They slashed off pieces of the vine ropes around the tree and twisted them about us so we could just move our legs. Then they pushed us ahead of them through the gray daylight of the jungle. Through the dim passages of winding lianas and climbing tropical plants. Above a stray bird shot color through the overhanging trees. After about a mile, the path became a trail. The lianas were cut away. We tripped over some coconut husks by the side of a charred fire. We were coming into the village. Then Harry saw them first. Marko, look. Up there on the poles. Human heads. A row of skulls. Head hunters. Marko, these are head hunters. Move. Quantumly move. Hey, look, Chief. Chief, you got it all wrong. Now, now we're not devils. We're friends. Friends. No. No. It's no use, Marko. American, you are right. It's no use. Colonel Sawaka. I am a great friend of these head hunters, who I want them of your coming. Told them you are quantumly white devils who come to bring a plague and a pestilence to them. It's no use. Chief, put the devils away. Deng. Quantumly tell. Basha. They untied us and threw us in a straw-thatched hut they called a Basha. Through the makeshift door, we could see the skulls on the poles. An endless row of them under the hot sun. And up the poles streamed columns of jungle ants, giving them an ancient burial. Looks like the end of the line, Marko. Yeah. Hey, wait a minute, Harry. That Chief speaks a little pigeon English. He understands a little. Do you think we could reason with him? It doesn't look like a reasonable type. Besides, our friend Colonel Sawaka got to them first. The tribe's convinced with dangerous. Yeah. But as dangerous as a glass of buttermilk. A funny bucket. And at Sawaka outside talking to the guard. We got company. I trust you are comfortable, Captain Lieutenant.  Ow! Watch your tongue. Was the most fortunate for me. I found a way here to a friendly camp. Sorry, I don't like your friends. My friends do not like you either.  Sleep well. Tomorrow you will join the heads on the poles. In the morning they brought us out. I guess we were pretty important because the big chief himself came over to tie us to the poles. Then I got an idea. I sneaked my hand in my pocket and grabbed a coin. Just held it tight. Hey, Chief! Look at this. What are you doing carrying dimes around in your ear? Well, what do you know? Another in your other ear. And here's one in your nose.  A regular walking bank of England. What are you up to? Just a couple of magic tricks if I can get away with them. I tell you, they love me in Sheboygan. That's right. That's magic. Now, if you get me that knapsack you grabbed for me, I'll do more. See? Knapsack. Bag from back. Savvy, remember, we'll do toba. Do not listen to Quan Dali, but off ahead. Hey, Chief, look at this. Now you see it, now you don't. Pesto, coins disappear. Get knapsack or you'll disappear. Savvy? Good job, Lune Bay. Kuna! Boy, that coin trick got him, and the Chief pushed Sawaka aside to give his rover boys to get my knapsack. They brought it to me and I took out the little box. I always knew it would come in handy sometime. Then the Chief held up his hand again. And I went into my act. Brother, what an audience. And what a performance. Now watch closely, ladies and gentlemen. The hand is quicker than the eye. Restoe change-o.  And presto. It turns color. You're doing great, kid.  You tell him, Chief.  Now for the next bit of magic, ladies and gentlemen. I pulled every trick in the book out of that little box. Drew cigarettes from the Chief's ear. Pulled flowers out of empty pots. Yanked a dozen colored scarves out of a single white handkerchief. And then I broke a stick in half and put it together. Boy, did they love it. And now for my final bit of hocus pocus, ladies and gentlemen. Hey, Marko, why don't you try Sawaka and half and forget to put them together? As I was saying, there's America, there's Cuba. And Marko, he's getting them over on this side. They're coming after us. Maybe this will stop him. Look! Look what? Sign! Sign from God's! Marko! I stopped him, all right. I pulled a beanblower out of the box, blew harker, and out came a tiny doll dressed in a Jap uniform. Without his head. And he floated to earth. A superstitious native stepped back, afraid to come any closer. See? See, sign! Japanese is Kwandan Lee. God says so. Americans. Friends. Doll there on the ground. Japanese doll. Signed from God's. Follow great white father and fight Japanese. Chief, you tell him. I agree to my good. I do the right. The big trouble we had afterwards was keeping them from tearing Sawaka apart. We wanted him alive to take back to OSS headquarters in Bamo. Well, that's the story. The next day, the headhunters let us back through the jungle with our prisoner. There's only one thing I'm sorry about. Too bad Variety couldn't have caught my act.  Captain Harry Stevens and Lieutenant John Marco safely delivered Colonel Sawaka to OSS headquarters in Bamo where he gave valuable information on Japanese war industry and finance. And so, once again, the report of another OSS agent closes with the words Mission accomplished. Listen again next week for another true adventure from the files of the OSS on... Cloak and Dagger. Stard in today's Cloak and Dagger adventure, as Marco was Jerry Lester with Larry Haines as Harry, Colonel Sawaka of Daniel Ako, Mrs. Terry Irene Hubbard, the Colonel Raymond Edward Johnson. Others were Carl Weber, Arnold Robertson, and Jerry Jarrett. The script was written by Winifred Wolfe and Jack Gordon. The music was under the direction of Murray. Today's true OSS adventure was based on the book Cloak and Dagger by Corey Ford and Alistair McBain. This has been a Louis G. Kahn production in association with Alfred Hollander as it was under the direction and supervision of Sherman Marx. Programs. Get your programs here. Mystery fans, there's an exciting evening waiting for you tonight on NBC. First, some listener will have a chance to win $1,000 for solving the case on $1,000 reward. Thank you very much.


What's up guys, today is step two of our two part vlog. If you wanna see the cut from today's color that we're gonna do, then go check out the previous one. 107, I'll link it below. But let's get started. So today, what we're gonna go over is a color technique. Joyco sent me some really cool colors. So it is the Luma Shine color from Joyco. So I decided to try that out, tried out some different shades. We pre-lighten the mannequin. They create kind of a shadow root with lighter end. So I think this technique's gonna be very useful for you guys in the salon. I know everybody likes seeing really fancy, fantasy colors, but this is salon reality and I really like putting out those kind of videos. So I hope you guys like it. Hope you find this technique useful. Let's get started with our step by step. Here we go. So prior to the coloring technique, we need to pre-lighten our guests. So we're starting out at a level five. I wanna lift them up to an eight, nine level. So I'm using Joyco Free Play. This is a clay lightener. It's a clay-based lightener used for balayage. So I'm using one scoop of that, which is basically one ounce to one and a half ounces of developer. That's the consistency I like. You could do one to one, one to two, however you want to mix it. And then I added Olaplex to it just to help, obviously, the mannequin, I don't really care about the damage of this person, but somebody was more of an opinion. I would care more about, so I would add Olaplex to it just as a bond builder. When you're using 40 volume, it's always good to have that extra added insurance in your color. So this is the balayage lightener. What I'm doing is basically going almost scalp to ends. I feather it to the scalp and then I pull it through to the ends. I get thicker and thicker with the application as I get towards the ends. What that's gonna do is give me a more natural feel to the hair color. So you'll notice it feathers off. I start at the mid shaft painting everything on and then I spread it up to the base and then I get more lightener on my brush and I paint it through the ends to really soak it through. The key thing with balayage lightener guys is that the more product you use, the better the result.  What you wanna do, the reason that a clay-based lightener works so well is it's got a different consistency so you wanna smooth it over the hair. It stays wet longer, so that allows the product to work longer and also it kind of incubates the hair as it's lightning. So instead of using a foil, which is where we would really pack it in to get that heat, you use the balayage lightener in that way to incubate the hair and really seal it and allow the lightening process to work. So I work my way all the way through the head shape. Through the head shape, that's more of a cutting term, but I work my way through the head and I'm just painting this lightener on exactly the same throughout the whole thing. I don't wanna, that's why I sped it up so quickly for you guys. Just key things again, make sure that you feather it towards the scalp. Don't go all the way to the scalp. We're gonna create a more natural rooted look anyways with this technique. So I didn't need to go to the scalp. I also left the short disconnection that we cut in the haircut portion on our last vlog. I left that out because I'm just gonna color that with the deeper color as well. So working my way through, small sections is also key. Just making sure that your section is not quite see through.  So it gives a little shadowing underneath. You're not painting the product all the way through right at the scalp, but then once I work it through the ends, I'm working it on both sides of the hair. So it just kind of lays on the top towards the scalp so you don't get that bleeding and then you paint it through to the ends nice and heavy. So we're finishing up our last little bit. Again, keeping the consistency, feathering the color. I think the biggest challenge that I see when people do this type of technique is that they just don't use enough product. So make sure that you're using the product thoroughly throughout the technique and you'll be good to go. So as we move up into the crown area, this is a very important area, but it's just important to make sure that you get that saturation and the consistency with the painting. Because obviously when somebody's standing behind your guests, that's what they're gonna be looking at is how seamless that color is. So just make sure you really saturate it on there. Stay really focused on how you're painting it towards the scalp and you'll be fine. So the other thing you can look at, look at the way that I'm holding the brush. I don't hold the brush flat against the hair. It's kind of at a diagonal. What that's gonna do is just give me softer lines once you start painting onto the hair. So instead of going horizontally, straight at the hair and creating really hard lines with the lightener placement, you go in at an angle, you lightly feather at the base and you get a softer, more diffused look. So there's the application of our free play lightener from Joyco. So pretty cool, very, very consistent feel to that color. This is the end result. I just pre-lightened it to get it up to the level that I wanted to work with. So I think a lot of people push hair a little bit too far. You don't need to. You can create more damage that way. I wanted to lift this up. Also, a mannequin is a very processed hair and it's colored. So when we talk about color correction, all of those different things, a mannequin is actually great practice because of the fact that it's very difficult to lift a mannequin to a platinum white blonde. So we lift it up, pulls those orange tones through. We're living at about a level eight right now. So I want to go in there and I want to utilize that level eight, but I want to neutralize it a bit, make it a little more natural. So we're going to start off with 9NV. This is a natural violet light blonde. This is Joyco Lumishine. They sent me all these products. Very fun to play with. Then I mix it with 7NV to create that level eight. That's really what I'm going for, to keep it at that level eight, that target level. And that also has a natural violet medium blonde. So what this is going to do, I want to talk about tones because I'm using a violet base, a natural violet. So I'm assuming it has a little bit of brown and violet tone to it, no blue. And we're working with orange hair. So what I'm going to do is it's still going to have a warm richness to it, maybe like a chestnut feel, so it's not going to completely neutralize the hair, but it is going to go in and soften the warmth and keep a little bit of brightness in there. So you don't always have to counteract every bit of it. Like I don't have to use a blue base every time I see orange hair, but you want to accent that natural tone. The other color mixture that I put together, you guys saw it, I'm a little bit behind in this voiceover, but it's the 5NV. It's an ounce of that, which is the natural violet as well. But then I added the 5BA. This is where I add in the blue base, the blue ash. And the reason I'm adding the blue ash is because of the orange tones and I really want to have depth in it. So I want to have depth in the underneath. I want to have depth in the roots. So I really want to counteract that orange warmth. Nobody wants orange roots if that's not what they're going for. So I add that depth in there and then I'll pull that brighter tone through the ends. And that's going to be our technique today. So you can see there is that deep, kind of rich orange look to the base where we feathered the technique. So if I use this blue base color, it's going to allow me to neutralize that, deepen it and then soften and pull that chestnut kind of tone through the ends. And we're going to work this through. It's going to be very similar throughout the entire head. I want that consistency. I want the natural rooted look. So this is a very easy technique to do in the salon. You pre-lighten them very quickly. Get them to the level that you want. Don't go beyond the level if you don't need to and then go in and create the tones that you're looking for. So what you'll notice about the color melting process is that I paint the dark root on first, then I go straight through to the ends. Some people do the whole base first, then they paint the ends in this particular section in the very front. I like to keep it nice and organized and just do section by section the entire thing through. I also like to melt those colors together. So you'll see me kind of smashing the base color into the end to create almost like a little shadow mid-shaft bit and then pull the light color all the way through at the very end. So I think taking it section by section is easier for me but you guys can make that decision on your own when you go to do it. You'll also notice that you see the warmth now but as this color processes through, it'll start to, you'll start to see the tones really happening. So again, that dark base, level five. So I went one shade darker than they would naturally live. That really, for me, that's how you can really control tone. So like let's say we wanted to control this level eight. We go a little more towards a level seven and use our color, that's gonna control it better than trying to counteract it at the exact level that it's at. So adding that depth in and then pulling that light through. Now in the back, I'm gonna do a quicker technique which is, because the hair is a little bit shorter, I'm gonna go through, do all the base and then I'll do the ends at the very end. So just switching it up a little bit. We talked about there's different options. This is the other way to do it. Taking vertical sections, painting the base on. The reason I'm taking vertical sections is that allows me to control how deep I'm going with that root a little bit better. When I went horizontal before in the past, it just seems like because the hair's shorter, it was a little harder to control that. So I go vertical, I'm gonna go vertical all the way through the back and then we'll paint the ends. Another key trick, I didn't talk about it when I was mixing the color in the video but I added a piece of foil to the lighter color on the bowl. So just so that it would allow me to know which bowl as they process, sometimes they look very similar, especially if you're working with the same tones at different levels. So I'll put a piece of foil. This is a very standard thing, but if you didn't know that trick, there you go, you might be in school watching this. Just add a piece of foil to your bowl so you can keep them separated. So now I'm gonna go through, paint the end color. This is again the nine end V with the seven end V equal parts so it's creating pretty much a level eight and toning out that really, really bright yellow brassiness and keeping some of the chestnut warmth. It may look repetitive in the amount of times I'm working that hair, especially when it's sped up, you can kind of see how it just keep working back and forth, but the worst thing is when you don't put in that effort and then at the end you start seeing spots that you really wish you would have put a little more coverage on. So really just make sure that you're thorough with coloring hair. Thing I like about coloring hair, it's totally different because I'm obviously more of a haircutter if you follow these videos, I cut hair way more often than I color it on videos, but the thing I like about color is the freedom that you have to really just kind of paint and create this more organic feel and really bring a haircut to life. So I'm basing all of every color that I do, I'm basing it off of what I want the cut to look like, which is sometimes the opposite thought process in other people. So now I'm combing through. Don't comb too high, but I wanna comb the ends just to make sure I'm fully saturated. And then I go in with the heat set from Joyco. This is a blowout perfecting cream. The cool thing about this product is it's a heat protectant. I really just wanted something with a really light hold. I'm also gonna iron the finished look with a Vibra straight iron. So I just wanted to make sure that I had the protection in there. So this is the end result. You can see the deep base that we have and the chestnut ends pretty. I love the results I got with this hair color. This is the first time I've used these tones and I really like the result. So I hope you guys like it. Hope you can utilize this in the salon. Let me know in the comments below and tag me on Instagram at freesaloneducation with the results that you get when doing this technique on your clients. I would love to see that. So tag freesaloneducation on there. Also get 20% off on freesaloneducation.com's online store if you use the code MATBEKVLOG at checkout. You can get 20% off almost everything. And we have a free partnership program where we do live classes every month. So check that out on our website as well. And if you like this technique and you're not a hairdresser, find a salon at hairsalonlocator.com. That is our website where we have all the salons that follow what we do online on that website. So check it out. Thank you guys so much for watching. Make sure you subscribe. I'll see you guys on the next video. Thanks.


Hey guys, it's Julia and welcome back to my channel, and for today's video I'm going to be doing my April 2018 book haul as well as the April Page Habit unboxing. First up, I have Practical Magic by Nikki Van Dekar, and this is basically just like a beginner's guide to crystals, horoscopes, psychics and spells. It's a nonfiction, and it just talks about spells and crystals and tarot cards. And so if you're into that, I would recommend checking this one out. I read it and I did talk about it a bit more, but yes, I bought this book. It's super cool. Up here I have Past Tense. I heard about this one at the event that I went to, so I decided to pick it up. It's basically how do you live after death, and it says Julie is an average girl with average problems. She's been in love with her best friend, but life gets more complicated when Julie comes home to find her mother insisting that her heart is gone. So to become clear, Julie's mom believes that she has died. It sounds really weird. I don't know what to expect, but when they talked about it at the event, it sounded really cool, so. Next up here I have the little book of Witchcraft, which I just bought randomly, and it's literally what it says. I haven't read this one yet, but I'm looking forward to doing so. I've got some arcs, which I don't know too much about some of these, but first I requested Wild Blue Wonder by Boris. I'm gonna butcher that. There's the name. So this is basically last June, the summer camp, Quinn's family owns, and Maine was a magical place of place where wild blueberries grew no matter the season. A legendary sea monster looked in the waters and Quinn fell in love with her best friend Dylan. Then the accident happened. Now it's wonder, the magic has drained from Quinn's life and she knows it's her fault, but the new boy, Alexander, doesn't see her as the monster she believes herself to be. As Quinn lets herself open up again, she begins to understand the truth about love, loss, and monsters, real and imagined. Sounds amazing. I'm super excited for it. It comes out on June 18th, so I'm hoping to read this one too, like really soon. Thank you to HarperCollins Canada or HTC Frenzy for sending this my way. I really appreciate it. To an event, which I talked about in one of my update videos, but it was the HTC Frenzy event in downtown Toronto. So I ended up picking up three arcs. They gave them out in a bag, so it came with invisible ghosts. What's past is past, well, sometimes. A love story meets a ghost story. Oh yeah, it's by Robin Schneider. This one I probably will read. I'm not thrilled for it for the release or anything, but this one comes out on June 18th. A lot of books come out on June 18th, by the way. Then I also have The Bird and the Blade, Reimpossible Riddles, One Dangerous Secret. Also comes out on June 18th, and this is a lush, powerful story of life and death. Battles and riddles, Lies and Secrets from debut author. I think it's also like historical fiction slash fantasy-esque. If I remember correctly from the event, it sounds cool. I don't know if I'll read this one like before release date, but it's cool to have. And then the one I'm really excited for is Fat Girl on a Plane, and this is about a girl who has her own fashion blog. She scores a trip to New York City and just to buy a second seat on the plane because of her weight. And she arrives in the city to find that she's been replaced by the boss's daughter, who's everything. She's not ultra thin and super rich. She's always had the power to make her own dreams come true. And it just sounds really interesting, and it's a debut body posi- like it's going to be about body positivity and body image. And I'm just really excited to read this one and see how it is. This one comes out on June 5th. Next up, here I have two books that I bought myself, and that is Simon vs. the Homo Sapiens Adrenaline because I wanted my hardcover copy. And because I have a paperback which is signed and I just wanted this so that I could have all three books matching.  So when he starts emailing someone anonymous and like have building a relationship with this person, someone else sees the emails and blackmail Simon to helping him out or else he'll tell everyone that he's gay. And that's what the story's about. Amazing, adorable, love it. Then Lee on the Offbeat just came out as well. So this is amazing. I'm really excited about this. It's like a companion-esque to Simon. It's about the character Leah that is in this universe. In this book, I'm excited to read it. I haven't read it yet. I've heard it's good. That's all I know. Also at the event that I went to with HTC frenzy, they gave out Here So Far Away by Hadley Dyer. I actually got this signed and she was super sweet and this is a contemporary novel and it's about, I feel like I should know, but it was a while since the event. I know it's a coming-of-age story and it's a contemporary book with brilliant humor and heartbreaking truth. It tells a story of finding love in the road back from unthinkable loss. So yes, that was a really sucky description, but yes, that was really cool. Penguin Random House sent me an Ember in the Ashes and A Torch Against the Night, which these are the first two books and a fantasy series. You probably remember like the old cover for an Ember in the Ashes because that was really big like a few years ago, but they had a cover change and they sent these my way, so thank you so much to them. But this, these are a slave, a soldier, neither is free. It's like the basic fantasy premise sort of, but I've heard these are amazing. I actually used to own the hardcover of an Ember in the Ashes, but I didn't hold it a long time ago just because fantasy usually isn't my thing personally. But since I have these now, I'm probably going to give an Ember in the Ashes a shot. But along with this, they also sent the little preview card for the little free preview sampler for a reprint at The Gates, which is the third book, which comes out on June 12th. So thank you so much to them. That was super cool and really unexpected. And next here I have The Poet X by Elizabeth Acevedo Acevedo. Okay, this I know is about a poet and it's told in verse and this was in the Page Habit box last month. So yeah, I opened it and talked about it in that video. Now I really want to open the Page Habit box that I currently have because my camera is dying and it's just lovely. I'm literally cutting the box off the tape. Okay, yes. Oh my God, I see socks. Yes. Okay, so first up here we have, and by the way, I am a Page Habit ambassador. So if you use my link, I mean, if you use my code or my link or whatever, if you use the code Julia, it's all that information down below, but you can get $10 free shipping in the US or $10 off international shipping and it just helps me out. So thank you. If you feel like signing up for Page Habit, then might as well. So we have a note from the author. We have a poem by Lily Bollinger. That's different. I didn't expect. This one is gorgeous. Look at it. And it says to learn to read is to light a fire. Every syllable that is spelled out is a spark Victor Hugo. It's gorgeous. Then we have these months picks. Our donation this month was Brody. Brody? I don't know if that's right. Oh my God. This is a slim folding book lamp and this is perfect. This is everything. I'm going to use this all the time. Great. We have some socks, book socks, which is pretty cool. And also they are calling all writers so you can like submit your work. If you're an author and stuff, you can submit your work and they might publish your book in a box kind of thing. It's very new but really cool. Aw. There's this little guy. Is this an eraser? What is this? I don't know what this is. But it's cute. And then we have the book and it comes with these cards, which is pretty cool. They're really pretty. So the book is a fantasy book. Is this why a fantasy? Is this the why a fantasy? Why? What? Yeah, this is the why a pick. So this is Dread Nation. I've never heard of this in my life. Look inside for my annotations. So of course it comes annotated if you're not familiar with Page Habit. They do annotate their books. The author does. This is, was born two days before the dead began to walk the battlefields. The war between the states and changing the nation forever. And this new America's safety for all depends on the work of a few and law, fair race, humanity and survival meat. So that sounds really interesting. And I haven't heard of this before which is really cool because usually I can kind of guess the book or like I usually have some idea but this was a total surprise, which is really cool. So thank you so much to Page Habit. For signing this over to me, I really appreciate it and I really do love Page Habit's boxes and that light is probably my favorite thing. I'm going to be using that. So yeah, thank you guys so so much for watching this video. Be sure to give it a like. If you enjoyed it, comment down below. Yeah, thank you so much. Bye. Down.


So here, new project. Pretty much the same street as we're always in, isn't it? Yep. These are our bricks, Carlton headers. Good brick then. 73mm, but it's an older house. We've been here twice before. We've done the lintel on the back and then we did the steels. This one was all covered up for the steels. So this is our job today. Well, it's a start today. It's a small utility. A customer who dug this one out for us made a lovely job of it, dropped the floor down. That's a gas main. So I'm going to cut the concrete either side of that, so it's not in the concrete. That's the supply to the shed. We're going to cut the DPC in, the vertical DPC. Get loaded out. Same again, vertical DPC. We've got a vent to pipe through there. So we're going to take this vent off, put it in this wall, put a pipe through under the floor. We went to Berry yesterday and picked up the jab light for the floor and the cavity installation for the walls. Everything else is getting delivered today. Soon hopeful. Yeah, pretty standard really. No door in it, just a window. So it's going to be blockwork first showing up. Yeah, that's pretty much it. So now we can just get it set out, marked out, get it loaded and then see where we're off from there. Oh yeah, there's the ties. Do you want to give us a tie at all? Just pick these up from screwfix. There's those. Pretty wide but we're here. You can bend them. Bang on them. They're a lot easier to screw in than the blue birds as well. Yeah, I can do everything which means anything. Right, so let's get cracking. Let's just place the one thing first. Excuse us our measurements. One, two more. Two more. Yeah, we've got a tape out. Pretty close though.  Let's take one more check it. What is it, brick from the get-go? Brick straight off. Brick straight off. Yeah. So our measurements. Yeah, one, one, five, zero. One, one, five, zero. One, one, five, zero. One, one, five, zero. Yeah, one, one, five, zero which works. One, two, three, four, five, brick. Now we're going to get our wits and then we're going to work out the diagonals. One, point, one, five, zero. Squared. It's thirteen. One, three, two, three, five. On the pelts on my right. Yeah. Go down low. Two, six, that's your turn.  Please. So we haven't got an exact measurement for the wits, so we're going to go for the brick size and then the brick on the half. So we're going to trace the bond out. We've got 2.6 to play with because you want the brick bond to work out. So I've pointed it, that was right. Yeah. Mate, it's probably not right. I don't know how I've got that one. It's such a bad thing. Oh, I've got a big brother. So does that break to a half as well then as well? Let's see what that measures. Six, twenty, two, six, twenty, is that right? Yeah. So two, twenty, six, two, zero. Squared. Squared. The six, point, eight, six, blah, blah, blah. Plus, so you add that to your side number. What's that big number there? A major one here. One, three, two, two, five. So that's eight point one, eight, six, nine. So now to get your diagonal, square root it. That's two point eight. Two meters, eight hundred and sixty-one. Two meters, eight hundred and sixty-one. That's the only thing from school that I still use. Yeah. A squared plus B squared is C squared. That's right. Two eight, six, one. Right, let me write down. Two eight, six, one. Two, six, twenty. Mm-hmm. Right corner. Welcome to all foundations set up very easy. There you go. Set out. Projection 1150 with two, six, twenty. And then we've got the diagonal thing. So now we can get loaded out. Right, that's us, Brutam now. We're all loaded. That's this end loaded plus what's going on in the scaffold because we're going to have a little half pike lean to roof at either end. Yeah, pretty much it. Five course of facebrick off the concrete. I'll just put a picture of the dig. Nice dig. And I think there must be good 450 concrete in there. Maybe even more. There's a cube. Over a cube gone in. So that's all set. And forwards have been and brought all the rest of the gear so we can just crack on today. We'll get it up to damp, ready for slab, and then look what we just carry on with this wall. Take this wall up, take the facebrick up on this end. Just give it a bit of a head start. And then we mix in our own concrete for the slab and then so we can do that tomorrow. Maybe Saturday. See what the weather's like. And then once we've slabbed it, we can carry on. And then we'll probably leave here. We'll probably leave a bit of a V out in the brickwork here because this is where the window's going. About here. So we need access. Obviously, because we're not doing the brick down until the roof's on. I think customers doing that themselves. We'll go and get a brew anyway. Right, we've got our outside face mark. We're going to come in a hundred and a bit. And we're going to do this put our cuttings on the western DPC that goes slots in. Which, we don't see the point of putting it in but a lot of people seem to be reading it. So we'll put them in both sides. So we're going to turn that to the cutting. There's probably other marks on as well for the internal wall as well. After you. Do you mean after me? I'm still mixing. I thought you were taking the motor. I thought you were taking it? No, I'm filming you. Carry on.  Yeah, thank you. I can't do it, you have to do it for me. Come on. Oh, touch camp. Hey, do you like the blue paparazzi here, you know? Whoa, whoa. Where do you want it? On there please. It's not the best one but it's magic. It's magic. It's magic. It's magic. All right, ready to rock and roll. Here's our mark back in the dust. Let's go DPC cutting as high as I can reach. Now, DPC's here. As you can see. When we get to the vents, it goes up and over. So I'm pretty sure floor level's going to be up this area. So we're going to put our DPC at this height. So it's five to damp. Which should be five block. Sorry, two courses of block, hopefully. And she's known it works out with Imperial Bridge. She says. Remember last time we needed a 12, 30, 10mm?  But in the street, we say it's supposed to use eight. So now you can actually level off here. Be careful picking it up though because you might get it too quick. Be very careful with it. It's super busy. Yeah. That van is halfway down that street. What is? That van you can hear. Oh. Yeah. Don't take them both out. The bricks are so dry. It joins them almost every course. We're going to start running in a bit. The pipe. Rock hard. The bricks are so dry. It joins them almost. That's it. All sorted. That's damp course level. Floor level. Floor level-ish. We'll see when we push through to find where the level is. And then we're going to be concreting this ourselves with the mixer. So that's it. I've quickly reached now. And we're going to get it leveled. Get up to DPC today. Because I've got to go off and get my COVID injection this afternoon. I never thought I'd be glad to be having an injection but I am today. So we have to leave it up there. Right. Alex is just getting half a mix in. Down there. I'm going to concre on the block work now. We'll start running that round. There's going to be two tight courses. And then Alex is going to get this route running. And then if anything left over I'm just going to run a corner out here. Just to use them all up. Because it's all ready for profiles now. So that's it for now. Let's go back to 10 blocks. Right. 25 to 3. You've got it the right way up. Yeah. That's going out tonight that. Yeah Alex is all tidied up. We're going to use the mixer now today. So we're going to cover up now. Just before you do that. Can I cover the sander with the board? Yeah. Yeah. Because we can always use that plastic that's by the bricks for the blocks.  It's alright.  Use one of them. Alright. Anyway. Back to it. Quick update. I've just had to nip off to screw fix to pick up a couple of the vents. I'm not putting the periscopes in. We're just going to put the vents in there. What I've done is I'm going to pipe from under the vent. Obviously to vent the floor I'm just going to put a 4-inch piping straight across. And that's going to vent into the cavity. And then we're going to put the air brick in the top course. Same here. I just need to cut that out before we go. And then so obviously that's going to be... We're putting two pipes in. There's only one. We're only covering one vent. So we're putting two vents in to make sure it's well ventilated. And then plastic vents on the top. Then these vents are going to vent all this cavity. Because this is all going to be open. Installation starts there. So you've got all this open. Then you've got two pipes. So that's plenty. We've cut round the gas pipe. So we're not sat on it. So that's all clear. Same there. So the plan now is get the rest of these face brick on. And maybe put a bit of a corner up to use the motor up. And fully fill the holes up. Ready to put the damp on. But tomorrow is backfill to here. Hardcore. And then it's installation 125. Then it's a hundred mil slab. And we're going to mix the concrete ourselves. So this armoured cable is going to be all. It's going to be under the floor. So it comes out behind the blocks. Under there. And then put this back up there.  So it's a broken brick. I can stay in here. I was going to fill it down to clean the cavity. I don't want to put it over yet.


This paper presents a novel methodology for optimizing the composition of perfluorocarbon nanomulsions, PFC and ES, to maximize their stability in fluorescence signal retention. This methodology utilizes multiple linear regression, MLR, to identify the optimal combination of PFC type and hydrocarbon concentration that results in the highest percentage diameter change, lowest polydispersity index, PDI, and least amount of fluorescence signal loss when loaded with curcumin, a known natural product with wide therapeutic potential. The optimized PFC NE is shown to have stable fluorescence even when loaded with curcumin, which is known to interfere with fluorescent dyes. This work demonstrates the utility of MLR and the development and optimization of fluorescent and theranostic PFC nanomulsions. This article was authored by Michelle Hernizzi and Yelena M. Janczyk.


Hello and welcome to CMC Markets on Friday the 2nd of February and this quick look at the week beginning the 5th of February and it's going to be a pretty sterling focus week this week simply because we've got the latest Bank of England rate meeting followed by the quarterly inflation report as well as a whole host of manufacturing data for December which should round off a fairly decent Q4 for the UK economy as well as services PMI on the Monday which should give us an indication as to how well the UK economy has got off to 2018 and given the recent data that we've seen it's been a bit of a mixed picture because we've seen a little bit of a slowdown in the manufacturing sector with a PMI dropping to 55.6 in January back from 56.3 in December more importantly though input prices have risen quite sharply to the highest levels in around about 10 or 11 months so that does really raise the question as to whether or not the peak inflation at the Bank of England was talking about at its November inflation report whether or not that is still the case when they update the market on Thursday we're not expecting any surprises when it comes to interest rates but certainly I think some of the recent comments by Governor Mark Carney would appear to suggest that maybe he wants to keep alive the prospect that we could see further rate rises from the Bank of England later this year in relation to the stickiness of current levels of inflation we can see that born out I think in the way that the pound has performed over the course of the past 12 months it's up 18% pretty much from this time last year it's still near the highest levels it's been post Brexit vote but it is running in to some significant resistance levels around about 144 that's where the 200 week moving average is zero dollar has broken above it's 200 week moving average and I think as a result of that what we're seeing is a little bit of a dollar rebound as well in light of a very strong wages number for January in the US economy that came in at 2.9 percent well above expectations of 2.6 and a large part of the reason for that jump was because 18 states in the US raised their minimum wage in January that's in addition to a whole host of announcements by US companies that they were giving they were going to be paying pay rises as well as bonuses to their staff over the course of the next few weeks and months and that's really given US wage growth a significant lift higher if only we could get a similar sort of uplift with UK wage growth later this month we'll certainly get some idea of that in about two to three weeks time but the inflation numbers I think are the real concern at the moment and input prices are rising have risen in the manufacturing sector and the recent CPI data that we saw for December showed that we were getting a little bit of divergence between RPI and CPI so I think it's likely that even though the pound is much stronger now than it was a year ago we could still see some latent inflationary pressure stop inflation coming down too quickly we just need to hope that wages start to push higher so services PMI for the UK economy expecting that to moderate slightly in January to around about 54.2 more broadly we've also got European services PMI's and they have been fairly strong along with the manufacturing numbers but I think there could be some evidence that maybe they could be starting to come off the boil a little bit at a time when bond yields are really pushing aggressively higher particularly in the US where the 10 year is above 2.8% and even here in the UK where the 10 year guilt is actually well above the levels it was prior to the Brexit vote it's been hit the highest level at 1.56% since May 2016 so certainly markets are starting to price in the prospect of higher rates and actually UK five year five year inflation expectations are 1% above US five year five year inflation expectations so if you look at that you could argue that UK rates are actually too low also keeping an eye on the RBA this week and the RBNZ expecting some central bank announcements from those two central banks I think the RBA will probably be probably less hawkish and probably more dovish but the reason that they may not be as dovish as they originally thought was because we've seen the Aussie dollar come off the highs on the back of a slightly stronger dollar over the course of the past few days and I think maybe we could well start to see a little bit of a dollar rebound over the course of the next few days always assuming of course that the US government avoids a government shutdown on the 8th of February the last spending bill basically rolled that particular problem forward from the end of January to the 8th of February so we could get a little bit of decision-making around that process maybe it could get then maybe it's going to get kicked further down the road over the course of the next couple of weeks companies reporting this week we've got BP's full year results how well the rise in oil prices affected those numbers we've also got Rio Tinta four year results there as well and we've got first quarter results from Disney and fourth quarter results from Tesla so fairly busy week very sterling centric that's it for this week thanks very much Michael Houston talking to you from CMC markets


Legendary artist and songwriter Leonard Cohen may not be with us any longer, but he lived quite the eccentric life while he was Earthside. Despite his career as an entertainer, Cohen found himself on the brink of insanity following a tiring tour in 1994. You may not know this, but the Canadian singer then turned to Zen Buddhism as a result of feeling hopeless, becoming a monk for many years. Even aside from this period of life, Cohen lived as a nomad more often than not, with homes in various countries, each of which contributed to his creative inspiration. From Leonard's birthplace in Westmount, Quebec, to his final resting place in Los Angeles, the artist's journey unfolded in multiple locations, each leaving a legacy, and today, we're going to be taking a deeper look. Born in 1934 in Westmount, a suburb of Montreal, Leonard Cohen spent his early years in the culturally rich and multilingual environments of the province of Quebec, Canada. Raised in a middle-class Jewish family, he absorbed the influences of Montreal's diverse cultural landscape, an influence that would later find expression in his poetry and music. After completing his undergraduate studies at McGill University in Montreal, Cohen ventured away from home. In the 1960s, he lived on the Greek island of Hydra, seeking refuge and creative inspiration. The simplicity and solitude of Hydra provided him with the space to focus on his writing, resulting in the creation of some of his early and influential work. Cohen's journey continued to New York City, where he immersed himself in the vibrant folk music scene of the 60s. The creative energy of Greenwich Village and the blossoming counterculture influenced his shift from poetry to music. New York became a pivotal point in Cohen's career, marking the beginning of his musical exploration. In the mid-1960s, his debut album Songs of Leonard Cohen featured timeless tracks, such as Suzanne and So Long Marianne. His unique fusion of folk, rock, and a touch of melancholic spirituality set him apart in the popular music scene. In the early 1970s, Cohen returned to his homeland, settling in the artistic community of Montreal. His connection to the city remained strong throughout his life, and he often spoke fondly of the creative atmosphere and impact the city had on his work. Hallelujah from his 1984 album Various Positions became one of his most iconic songs, covered by countless artists over the years. Overwhelmed by a sense of hopelessness after touring his album The Future, Leonard turned to numbing himself with four bottles of wine daily, attempting to clear the vigorous pain in his knees. He took a hiatus from the music industry in 1994 after a tour, and he retreated to a Zen Buddhist monastery on California's Mount Balty. It's here that he sought spiritual solace. Spending five years under the guidance of the monastery's founder, Cohen aimed to address his mental health challenges. Despite the added structure to his life, Cohen found an unexpected companion in the founder Roshi during late-night whiskey sessions. All of this led Cohen to decide to leave in 1999. Reflecting on his departure, Cohen expressed, I felt it wasn't doing any good. It wasn't really addressing this problem. Distress, which is the background for all my activities, feelings, and thoughts. It was a lot of work for very little return. While Cohen may not have felt that his time in the monastery improved his life, it strengthened his connection with his Jewish faith and led him to the realization that material luxuries were not essential for survival. Not to mention, his experiences during this period influenced his later work, particularly the album's 10 new songs in 2001 and Dear Heather in 2004. Let's rewind back to Leonard Cohen's home in Quebec, Canada. He grew up on Belmont Avenue in the affluent Westmount neighborhood of Montreal, where he used to play in Murray Hill Park behind the family home. In 2006, Leonard told an interviewer, I feel at home when I'm in Montreal in a way that I don't feel anywhere else. I don't know what it is, but the feeling gets stronger as I get older. Cohen began his poetic journey at McGill University nearby, where he held the positions of president in both the McGill Debating Union and the Zeta Beta Tau fraternity. Under the guidance of esteemed poetry professors, Lewis Dudek and Irving Layton, Leonard garnered the Chester but Nathan literary prize in 1955. Another place in Montreal that has ties to Cohen is the Sommer Building. at 423 Mayor Street, which housed his grandfather's clothing factory and where Leonard worked during the 1950s, fostering his love for suits. Situated in the Plateau Montréal District, Cohen's one-time triplex home at 28 Rue de Valliers just off Saint Laurent Boulevard earned its name as La Main by Montrealers. Another place that Cohen was a familiar presence at was Park du Portugal, which was directly across from this residence. On September 27, 1960, six days after his 26th birthday, Leonard Cohen bought a house in Hydra, Greece for $1,500 using inheritance from his recently deceased grandmother. This was a decision that would change his life forever. This was a big deal in the words of one of Cohen's friends, a commitment to a place in a world that was mysterious and unusual. Buying the house was a complicated act, needing the help of his friend Dimitri as translator, and witness to the deed. Cohen later said it was the smartest decision he ever made. The three-story ancient whitewash building with its five rooms on multiple levels was run down and had no electricity, plumbing or running water at the time. However, there was a private place where Cohen could work, either in the large terrace or in his music room on the third floor. In the 1960s, Hydra was a bohemian sanctuary, drawing in artists, writers, and musicians from all over the globe. It became a haven where creativity flourished with its relaxed lifestyle and breathtaking natural surroundings. The absence of cars on the island was also a plus as cobblestone streets were navigated by donkeys. This was the primary mode of transportation here. Hydra's fusion of traditional Greek architecture and rugged landscapes attracted individuals seeking solace from the chaotic outside world, just like artists like Cohen. In Hydra, Leonard Cohen not only found an appreciation for the island, but also discovered love with Marianne Elin, a Norwegian woman who captured his heart. Their romantic tale became legendary, immortalized in Cohen's music and poetry. Marianne became his muse, inspiring timeless songs like So Long Marianne and Bird on the Wire. For seven blissful years, Leonard and Marianne shared the Hydra House, where creativity flowed as effortlessly as the island's crystal waters. During this time, Cohen authored some of his most profound and iconic works, including his debut novel Beautiful Losers and the album Songs of Leonard Cohen. Cohen once described his Greek home to his mother. It has a huge terrace with a view of dramatic mountain and shining white houses. The rooms are large and cool with deep windows set in thick walls. I suppose it's about 200 years old and many generations of seamen must have lived here. I will do a little work on it every year and in a few years it will be a mansion. I live on a hill and life has been going on here exactly the same for hundreds of years. All through the day you hear the calls of the street vendors and they're really rather musical. I get up around 7 generally and work till about noon. Early morning is coolest and therefore best, but I love the heat anyhow, especially when the agency is 10 minutes from my door. Leonard's house here provided him with a stable foundation, easing the urban rush as he said to a friend. Stating that having this residence made cities less intimidating, it served as a reassuring retreat, allowing him to spend plenty of time in the city too, but keeping a connection to his sanctuary. In Hydra, he could live in virtually complete seclusion at a fraction of the cost it would take in Northern Europe or Canada, where the people were unconcerned as to who you were or what you did. Leonard discovered the Greek way of life, alternating rhythms of work and leisure, both on the seasonal and daily basis, which were so healthy for a creative thought. Adam Coe and Leonard Coe and son carries on his father's legacy, not only through music and poetry, but also in his connection to Hydra. Now owned by Adam, the home remains a cherished family retreat. Like his father, Adam returns here especially during the summer months to find inspiration and reconnect with the island's soul. Following in Leonard's footsteps, Adam is a gifted musician and songwriter. In 2014, Adam returned to Greece to record his album, We Go Home. In a behind-the-scenes video, he paid homage to his father, showing the traditional house in Hydra and offering glimpses of its timeless attraction. The street outside the house now bears the name Leonard Cohen, a fitting tribute to the man who left quite the mark on the island. Of course, like most celebrities, Leonard also had property in California, the home where Leonard once lived in Los Angeles was a modest two-story apartment away from the Hollywood Hills mansion, believe it or not. Cohen's former street is tree-lined and quiet, and neighbors can be seen working on their gardens or her dragging their recycling bins onto driveways after pickup. On the lawn outside his former house, it's two green wood slat chairs and an old wooden picnic table. While not much is known about Cohen's home here, this is where he would end up passing away. In his later years, Cohen divided his time between Los Angeles and Montreal and his home in the quiet neighborhood of Wilshire Boulevard in LA. He came a significant chapter in his life. This is where he continued to produce profound and introspective works until passing away in 2016. Cohen's later years were marked by resurgence in popularity with albums like Old Ideas in 2012 and You Want It Darker in 2016, receiving critical acclaim. You Want It Darker was released just weeks before his passing, on November 7, 2016, at the age of 82. Leonard Cohen's legacy extends beyond his music and he remained a prolific poet and novelist throughout his life. His influence on contemporary music and his ability to articulate the complexities of the human experience have left a big mark on art and culture. His induction into the rock and roll Hall of Fame in 2008 and a Grammy Lifetime Achievement Award in 2010 just proved Cohen's place as a respected figure in music and literature. For today, that'll wrap up our look into the homes and life of the late Leonard Cohen. Before we go, answer this question for me. Would you ever retreat to a monastery and become a monk in hopes of finding peace and solitude? Let me know in the comments below if you'd ever do something so extreme. Don't forget to hit subscribe and turn on your notifications so you never miss a video. I'm Kara the Vampire Sayer. Follow me on Instagram to chat and I'll see you all next time. Bye.


Israel's siege of Al-Shifa Hospital has turned into a full-fledged raid. We bring you the latest from this brutal offensive. A Sri Lankan court has held former President Gautabaya Rajapaksa and other officials responsible for the country's devastating economic crisis. What does this unique judgment say? This is the Daily Debrief. These are your stories for the day. And before we go any further, if you're watching this on YouTube, please hit that subscribe button. Israeli forces have entered Al-Shifa Hospital in Gaza and wreaked havoc while details are scarce due to the crackdown, reports mentioned harassment of patients. Thousands of people including hundreds of patients are stranded inside the hospital. Israel is usual claims that it is targeting Hamas but a claim has been called out by journalists and a host of organizations across the world. We go to Abdul for details. The reports have been quite shocking in every sense of the term. So maybe although it's a developing story as we know things might change by the time this recording comes out, but let's first quickly go through what the details are with us right now. Well, as per the latest reports coming from the Gaza, the Israeli troops finally entered the Al-Shifa Hospital, which they were kind of surrounding for some days now and they have been bombing the premises of the hospital for several days, including kind of firing with artillery and other things. So they finally entered the ground troops, finally entered the premises on Wednesday morning, early morning and there are reports, whatever reports are coming because as per the claims made by different people on social media, the journalists have been arrested and there has been complete communication blockade imposed by the Israeli troops. So whatever reports were there and what are reports are coming from the eyewitnesses living in and around the hospital, there are claims that Israeli troops are interrogating people and there are around 600 plus patients mostly wounded in the Israeli bombings. There are around 2,500 other relatives and people who have taken shelter inside. Apart from that, there are more than 200 health workers also. So altogether around 4,000 people are there inside the hospital and there have been, of course, there has been attempts to terrorize them, humiliate them, which has been reported. As Israel has claimed, despite repeated denials and repeated rejections by the Gaza authorities, by the hospital management, that the hospital has been used by the Hamas for carrying out attacks on Israeli targets, so far there has been no report of anything of that sort being confirmed. In fact, Israeli attack was followed after the US basically backed the Israeli claim that the hospital has been used by Hamas. When the journalists ask about evidence, do they have any evidence from their intelligence and other things? The US spokesperson completely, John Kirby, completely tried to evade the question. So it seems the attack, the ground offensive was finally carried out after the US are green signaling it through a public statement. And apart from what is happening in Al-Sifa Hospital, the bombings all across Gaza Strip has also increased. In fact, the South Gaza is under tremendous bombing on the West End Wednesday afternoon. So yeah, that is the basic ground situation as per the reports from Gaza. Like Abdul, you mentioned, of course, the shocking statement by the United States, which kind of continues in its vein of its policies where it has sort of, of course, said that Israel is acting in self-defense and to, at various points, question the death toll itself, although all international organizations accept the Palestinian Ministry of Health. And now we have this, you know, this argument about it being a Hamas operation center and the Israeli army also released a widely controversial video around that. So quite a, you know, there's this tendency of the US actually continuously backing positions while making vague noises. Yeah, it seems that they're basically looking ways to justify their killing of thousands of innocent civilians, particularly Palestinian children in Gaza, in the name of fighting Hamas. That's what the branding has been. In certain media you will see it is not a war on Gaza or war on Palestinians, but war against Hamas. As if the more than 6,000, 7,000 children and women killed in Gaza are all Hamas operatives. And that is attempt basically and US position in particular is strange to say the least because if you see the popular perception and the kind of mobilization which has happened in US, in fact, there is a survey published on Wednesday by Reuters which says more than 60% of all US people, citizens basically are in favor of ceasefire, US calling for the ceasefire. Despite the popular perception, despite the pressure created by the people all in the US and across the world, US is basically completely, you can say, unable to kind of exert any pressure on Israelis to kind of stop their massacre in Gaza. And that basically is a complete, is a sign of complete failure. Of course, whatever diplomatic links they had with Israel, they are not able to kind of stop Israel from committing whatever the crimes they are committing in Palestine. But they are also, and since they are not able to do that, they have to invent newer excuses every day. It sounds very much similar to what happened in 2003 Iraq. You see going to UN and saying that Iran, Iraq has the weapons of mass destruction without providing any evidence. Similar things are happening, but of course the scale is different, the nature of the attacks are different. And of course the overall repercussion is different because that time they were able to create some kind of confusion among some certain section of people. This time there is no confusion, at least in the larger masses across the globe. Right, the stark nature of this genocidal war making things very clear. And the US of course has a different agenda and not wanting to stop Israel also when it comes to its operations as well. So we'll come back to you for another story soon. Thank you so much. Sri Lanka Supreme Court has held former President Gautama Rajapaksa, his brother, former Prime Minister Mahindra Rajapaksa and other officials responsible for causing the devastating economic crisis of 2022, the impact of which continues to haunt people. The ruling was based on a petition filed by various activist groups. Others named include former Finance Minister Basil Rajapaksa, two former central bank governors and two former Treasury secretaries. Interestingly, the court said that they had violated the fundamental rights of people by causing this crisis. We go back to Abdul. Abdul, welcome back. A bit of a unique judgment. You don't see many courts in the country declaring some of the top leaders responsible for an economic crisis. And we know that many countries in the world are actually suffering very similar economic crisis to Sri Lanka. So let's maybe do a bit of context in the sense that what exactly are these very powerful politicians including the former President Gautama Rajapaksa, his brother, who is also a former president. What are they accused of really? Well, some of the groups, you can say transparency international and other people had filed a kind of petition in the Sri Lankan Supreme Court in which they basically accused these people of being responsible for what happened to Sri Lanka. The people in Sri Lanka in 2022 in particular, and they basically claimed they had, of course, a kind of, you can say, a list of acquisitions on which they wanted the Supreme Court to opine and which included how the tax benefits were given to the rich, which were kind of more than 680 billion in Sri Lankan rupees, of course. Then there how it basically pegged irrationally the Sri Lankan rupees with the US dollar at the time, how the government basically failed to approach IMF on time to kind of find a bailout package and how they basically decided to honor a kind of sovereign bond of 500 million dollars at a time when Sri Lankan state coffers had no money to kind of spare. And despite these decisions, these federal decisions were taken by these people, you named, of course, the Rajapaksa family, which was ruling the country at the time. Along with that, the central bank governors, two of them were also kind of accused and Sri Lankan court, of course, did not go beyond admitting that these people managed, mismanaged the economy and violated the fundamental right of the Sri Lankan people and kind of impose certain kind of monetary penalties, but it has the symbolic, the judgment at a symbolic value in a sense that for the first time and it's kind of unique also that the head of the state and the head of the government at the time, the powerful politicians in a country and top economists, you can say financial managers, where are held responsible for what happened to the country and the people. And in that way it is a unique judgment, of course. And I think it may have certain, I don't know what political implications, whether they will be charged further and there will be some cases taken against them. On the basis of this judgment, but it will have political implication and hopefully have an impact on the politicians in Sri Lanka. Right, Abdul also interesting to think of countries ranging from Pakistan to Ghana, you know, where in many countries where leaders might be similarly charged. But also important to note, of course, that none of this is really meant a major change in Sri Lanka's economic policy trajectory. We know that the current president is also basically in power because of the Rajapaksas. Although the Rajapaksas are not officially holding power, they are the power behind the current president and who has also followed exactly the same neoliberal austerity policies and neoliberal policies in that trajectory that the Rajapaksas had followed in the past as well. So it doesn't look like the trial will specifically, this case will specifically have any economic implications, at least in terms of policy frameworks. But like you said, the question really is about the elections that are coming up, so we'll be closely watching it as well. Thank you so much for talking to us. And that's all we have time for in today's episode. Do come back tomorrow for the next episode and in the meanwhile do visit our website peoplesdispatch.org and follow us on all social media platforms.


Studying the Merchant of Venice. Here's how you can analyze the first half of Act 5, Scene 1. The scene opens with Lorenzo and Jessica walking at night and Lorenzo speaks here using poetic fallacy to describe how beautiful the night is. The night makes them think of these famous lovers who all committed acts of daring at night in order to be together with each other. This makes Lorenzo and Jessica think of the daring activities that they did to be together. Lorenzo then reflects on how Jessica also committed acts of daring by stealing from her father and running away in order to elope with him. Jessica then repeats what Lorenzo said and then she speaks using iambic pentameter to also say that it was on this night that Lorenzo stole her away from her father and stole her heart. The stage directions then show Portia's servant Stefano entering and he announces to Jessica and Lorenzo that Portia will be there before the break of day. Lancelot then enters and informs both Jessica and Lorenzo that Bessonio will be coming back. The stage directions then show that Portia and Larissa have come back from Venice and they are now dressed as women again. When she comes in Portia greets Lorenzo and Jessica and she speaks in alliteration basically lying and saying that they've just come back from the monastery after praying for the health of Bessonio and Grattiano. Portia then pretends to act as if she doesn't know where they are and she asks Lorenzo if they've come back. Just as Lorenzo is telling Portia that they haven't come back these stage directions show that Bessonio Antonio Grattiano have come back to Belmont with all their followers and the train of people. Portia is really excited about their return and she speaks in repetition here to show that she's feeling really happy and flighty about their safe return. Yet she speaks using oxymoron where she contrasts like wife with hezzy husband in other words she's saying that if she's too happy and flighty this is not going to make her a virtuous woman and an un-virtuous woman makes a really unhappy husband. We can see that Portia is being light-hearted and comedic here. Bessonio is really happy to be back he speaks in repetition referring to this is as well as hyperbole to introduce Antonio to Portia. Portia then speaks using repetition here to show that she understands that Antonio and Bessonio have a really unbreakable bond.


The two-step treatment prophylaxis complex which permitted to prevent the fetus infection and to improve the flow of pregnancy-based end study of 70 pregnant women with reproductive losses in an amnesis was carried out. This article was authored by Ivor Obiova, New York Scripchenko, T.S. Chernenko, and others.


Hello and welcome to the session. The given question says, the sum of the digits of a two-digit number is 12. The number obtained by interchanging the two-digit exceeds the given number by 18. Find the number. Let's start with the solution and let the digit at the unit's place of the required number, the digit at the 10th place of the required number be, therefore, required number is given by 10 into y plus x, since y is in the 10th place and x is in the unit's place, so we multiply y by 10 and x by 1. Now the question further says, the number obtained by interchanging the two digits exceeds the given number by 18. Interchanging the digits of the number which are x and y, the new number is, now on interchanging the digits place, so we have multiplied it by 10 and y comes on the unit's place, so we have multiplied it by 1. So this is the new number which we have obtained by interchanging the digits x and y. Now the question says, the number obtained by interchanging the two digits exceeds the given number, the new number which is 10x plus y is greater than the required number which is 10y plus this be equation number 1. So we are given that the sum of digits of a two-digit number is 12, therefore this is the equation number 2. Here x and y are the digits of two-digit number. Now on subtracting the second equation from the first equation we have minus, minus and here also minus, cancelling the right terms with opposite sign we have minus 2y is equal to minus 10. Now substituting 25, in equation number 1 we have x minus 5 is equal to 2 or x is equal to, therefore we have y is equal to the required number which is equal to 10y plus x is equal to 10. Two-digit number is shouldn't buy and take care.