Zachary sent back with us his top three quarterbacks. Who do you like in this weekend's matchups? Yeah, I'm pretty chalky this week at the quarterback position. My number three guy is Russell Wilson and I like Russell Wilson for two reasons. The number one reason is that Green Bay doesn't have that great of a pass rush. Their bottom half in the league in pressure rate to Russell Wilson should have a clean pocket. But the number two reason is that we know that Russell Wilson throws the ball down the field. He ranked in the top 10 in deep ball rate this year. He was top 10 in touchdowns on those throws and this year Green Bay allowed the seventh most deep ball passes to be completed. So we could see some more magic between Russell Wilson and DK Metcalf this week. My number two quarterback, Patrick Mahomes. Houston ranked eighth worst in adjusted fantasy points allowed to quarterbacks this year. The Chiefs have the highest implied team total on the slate. And like I said earlier with Tyree Kill, the Texans allowed the fourth highest average depth of target this season, which plays right into Patrick Mahomes' strength. But my number one quarterback, Lamar Jackson. Obviously we know what Lamar Jackson can do with his legs, but the one matchup that I like in this game is the matchup for the tight ends. Lamar Jackson this season targeted the tight end position at a historic rate, the highest rate by far over the last decade. And Tennessee was below average in both yard share and target share to the tight end position. So I like Lamar Jackson a lot in this matchup.


The Federal College of Agriculture, Akure, has said that it is targeting the production of 6,000 litres of milk per day when all the memoranda of understandings have been concluded with involved companies. The provost of the college, Dr Akeemi Fadiimu, who stated this in Akure, said the school is almost at the stage of signing MOUs with some leading dairy companies and industries in the country and would be supplying the milk collector to the companies. The provost said that the project is looking at importing her 200-cal capacity dairy farm that would be producing milk, each producing at least 30 litres per day, making 2,000 litres total.


Welcome to the session in which we would look at a deferred income tax problem that could appear on the CPA exam or you could see in your intermediate accounting course. Now why the third income taxes is considered challenging or difficult or complicated for many students? There are several reasons that this topic is challenging. The first reason is this, you have to have a good understanding of the tax code. In other words, when you get to income taxes for accounting purposes, for gap purposes, the assumption is you understand how an entry, how a transaction is being treated under the tax purposes. So you have to understand your tax code, then you have to understand how is it treated for gap and you have to reconcile the two. And as a result, you could have deferred income tax asset, you could have a deferred income tax liability. That's not the only thing. Then you have to deal with this deferred income tax asset and deferred income tax liability in future years. In other words, when those deferred income taxes and liabilities reverse. And every entry for deferred income taxes would require at least three different accounts, which is at least three, which is your income tax payable. How much do you have to pay this year to the IRS? What's your income tax expense? And also what happened to your deferred income tax asset or deferred income tax liability or both? So sometimes the entry could have the entry could have four accounts and they're all moving parts. And you have to understand how all these parts fits together. In this exercise, I will try to simplify the matter, not simplify it. I'm going to work a problem, but I'm going to explain it in details how you have to treat this. Now, if you are a CPA candidate or an intermediate accounting students, I strongly suggest you visit my website, farhatlectures.com. If I'm known for anything, I'm known for my deferred income tax explanation. In other words, my first video that reached over 100,000 views was my deferred income tax. So I strongly suggest you check out my website, farhatlectures.com. If you're taking a CPA course, that's fine. You can keep it. I'm not, I don't want to replace it. I can't replace it. I don't recommend replacing it, but I can be a useful addition. I can add 10 to 15 points by explaining each of these topics little bit more in details or differently than your CPA review course. Without giving you those short mnemonics to help you understand, then the short mnemonics will help you once you understand the concept. You can try me for one month. That's your risk. Your potential gain is passing the exam. And if not for anything, take a look at my website to find out how well your university is doing for the CPA exam. I do have resources for other courses such as intermediate accounting, as well as audit finance and any other course. Connect with me on LinkedIn. If you haven't done so, please like this YouTube, follow me on Instagram and Facebook. Okay, so let's take a look at this problem to illustrate the concept. Adam Manufacturing uses the straight line depreciation for financial statement reporting purposes and is able to deduct 100% of the cost of the equipment in the year the equipment is purchased for tax purposes. So in your mind here, you should be thinking tax, 100% deduction in the year of its purchase gap. We use the straight line. Four years after its purchase, one of Adam's manufacturing machine has a book value of 800,000. Good. Fair enough. There were no other temporary differences and no permanent differences. That's even make it easier for us. Full income was 30 million. Aram tax rate is 25%. What is the deferred tax liability to be reported on the balance sheet? Assuming the deferred tax liability balance was 248,000 the previous year prepared the appropriate journal entry. Okay, so one other piece of information we are giving that deferred tax liability was 248,000. Now this problem gave us some easy information and some information we have to kind of conclude for ourselves. The easy information is they're telling us we are dealing with a deferred tax liability. So that's easy because sometimes they don't have to tell you whether it's a deferred tax asset or deferred tax liability. Now why is this a deferred tax liability? And hopefully you understand why this is a deferred tax liability because four years ago, four years ago, they purchased an asset. They're not giving us the cost, which is that's why it's like it's tricky. They're not giving us the cost and they're not giving us the life of the asset. So we don't know what's the difference. What's going to be the difference year over year? They're not giving us this, but they're giving us a different piece of information. They're telling us four years later, the book value of this asset is 800,000 for four gap purposes. That's given. What's the book value because the third tax asset and the third tax liability deals with the difference in the book value. The difference, the book value for tax purposes. Guess how much? Well, I hope you know it's zero. Why? Well, they're giving you this information indirectly. They told you in the year they purchased it, they can deduct the whole thing. Therefore, for tax purposes, whatever the cost was for this asset, we don't even care what the cost was. All what we know is the cost minus accumulated depreciation for the full amount gave us a book value of zero, right? When we purchased it because you can take the deduction upfront. What does that mean? It means for tax purposes, you took advantage of this purchase four years ago. So you took advantage and you took the taxes. Therefore, for future years and future years, you are going to have to, you're going to have a deferred tax liability. And that's why that's what I said. I hope you understand that we have a deferred tax liability because you took advantage of this purchase four years ago. But since you took advantage four years ago, you're no longer going to be able to deduct this asset. So it doesn't matter what this asset was. Let's assume it was for two million. I'm just making this number up. The asset was for two million, okay? So you took the two million or let's say 1.5 million or it doesn't matter what number. It doesn't matter. So you took the whole 1.5 million in year one. For gap purposes, you were taking that deduction over a straight line. We don't know the life, but it doesn't matter. All what we know is we still have 800,000 to be taken in future years. All what we know. Why? Because the book value is still 800,000 and we are going to depreciate this 800,000 to bring the book value down to zero. What does that mean? It means we are still reversing this deferred tax liability. Now, how do we reverse it? Well, we don't know over for how long we're going to reverse it for how long. But we know it's going to reverse at a tax rate of 25% because we're not giving future tax rates. So we have to use the tax rate that we have. So if that's the case. If that's the case, what we have to do is if we have an 800,000, simply put, this 800,000 was taken long time ago, four years ago, was taken as a tax deduction. Now, it cannot keep on going. We cannot take it more than once. We only take it once. Okay? So what does that mean? It means we have to take the 800,000, which is the book value that's remaining, the book value that's remaining. And multiply this 800,000, multiply this by 0.25. What is that going to give us? That's going to give us how much deferred tax liability are we going to have in the future remaining? Are we going to have in the future? So let's do that 800,000 times 0.25. That's going to give us 200,000. Simply put, our deferred tax liability should be 200,000. Why? Because we still have 800,000 of book value that we took in tax deduction four years ago, we are still reversing. And the tax rate is 25%, and we're going to do it equally. We're going to do this equally because we're using the straight line. Therefore, we have to debit our deferred tax liability, 48,000. So we find out what should be our debit to deferred tax liability. That's really good, because that's going to be the journal entry. The first question, what should be the deferred tax liability balance? The balance should be 200,000. Why 200,000? Let me explain it one more time. I still have 800,000 to take for financial accounting purposes. I still have 800,000 to take. Therefore, my deferred tax liability is based on my tax rate. I still have, I should have in my deferred tax liability 200,000. 200,000. Now, prepare the journal entry. Well, we kind of figured it out already, most of it. How do we prepare the journal entry? Well, usually the journal entry, you don't start with the deferred tax liability. I did this just because to explain the concept. Always when you have a journal entry, start with taxable income. If you are giving taxable income and the tax rate, well, you would say, that's fine. My taxable income is 30 million, 30 million times 0.25. My tax bill should be 2.75 million. Therefore, I will credit, I'm sorry, not 2.7.5, 7.7.5 million. Therefore, my tax bill, I have to write a check to the IRS and the amount of 7.5 million. That's my credit. Well, I know I have to reduce my deferred tax liability by 48,000 because I still have a book value that I am taking for book purposes that I already deducted for tax purposes long time ago. I still have 800,000. It means my deferred tax liability should be 200,000. I have to reduce my deferred tax liability by 48,000. So we know how we come up with this. We know how we come up with this. So what's left is income tax expense. How do you figure out income tax expense? Income tax expense is a plug figure. Income tax expense is a plug figure. What does that mean? That means you are paying 7.5 million, 7.5 million. Your deferred tax liability is reversing at 48 million. So this number minus this number will give you your income tax expense. Your income tax expense on the financial statement, on the financial statement. So this is your financial statement income tax expense will be 7,452,000. So notice you paid the IRS 7.5 million. But you only recorded on your income tax expense, 7,452,000. Huh? Why? Well, I mean, again, I'm going to explain it in a different way. What happened is this. You are paying them 7.5 million. You are paying more than your expense is because for tax purposes, you took the cost of this equipment long time ago. Since you took the cost, that year when you took the cost, the year that you took the cost, year one. When you purchased this asset and you took the cost, what you did is you paid less. You paid less to the IRS. So you paid less to the IRS that year. But your income tax expense was higher. Your income tax expense was higher. What's happening now? The reverse is happening. The reverse is happening. Now, what's happening is you pay more. OK, you pay more in future years. You're going to start to pay more in taxes because you took the whole thing in year one. You're going to be paying more in taxes. But you are going to record less of expense on your income statement because now you are taking the depreciation on that asset. Therefore, your income tax expense will be lower than the amount of cash that you paid. So I hope this exercise makes sense or it helps you clarify the third tax asset, the third tax liability. Once again, this is not an easy. This is not an easy topic, but it's not a difficult topic. So how can you get better at this? How can you get better at this? Well, I'm going to again invite you to visit fourhatlectures.com. If I'm good at anything, well, let me rephrase it. My best lectures, my best lessons are about the third tax asset, the third tax liability. Again, how do I know this? Why do I know this? Why am I so confident that I can teach you this? It is because my first 100,000 views and my first 100 likes and my first, I'm known for this. The third tax asset, the first tax liability, I can teach you this, I can make you ace it. And so this way you can focus on other topics.  Study hard, stay safe.


Okay, so now we've got all this stuff. Yes, my name is Adrian Kingston, and I work with Digital Collections here at Te Papa. This presentation is not really about our space. It's just, or at least not about the experience or the exhibition. I'm just using our space as an example to talk about a bigger idea. And that is thinking about content and contributors beyond initial engagement. But let's look at where we are with our space now. Um, for those of you who don't know what our space is, I'm assuming a lot of you do, just go out the door, turn right, and then turn right again, you'll be right there. Take a look in the next couple of days. Basically it opened in 2008. It's, there is a map and a wall, and the primary means of engaging on the floor is by remixing media on the wall. The content that people are actually remixing comes from people contributing the media via the website or a Flickr group or on site. The contributors agreed to a contributor agreement. The content is stored in a custom-built media database which drives the exhibition and the website. Basic information such as tags, dates contributed, where it can be used in the exhibition, are stored as long as basic contributor information such as name, email, sometimes address. That's kind of what it looks like. So it's been five years and it's probably a good time to look at actually what is in there. 17,000 pieces of media, but around about 7,000 of those are from partner institutions such as TAPAPA. So when you take those away, there's about 10,000 actual pieces of user-generated content. That's a reasonable chunk. Taking up around about 800 gigabytes. It comes from 650 contributors who have added at least one image. But as you would expect with this type of project, a lot of people have only added one or two. There's actually 15 contributors who have contributed more than 100 images and they total approximately 45% of the total of the 10,000. The main contributor has added 1,500 images and that's the big blue wedge. This tells you nothing about the quality or the relevancy of the content but it is a way of actually breaking it down into logical chunks so that we can start looking at what's there. There are 13,500 tags across all of the content including the stuff that TAPAPA has contributed. There is a big range but as really important benchmarks, 50 images have been tagged with CAT and 350 with Sunset. A random selection from the very popular which you would expect through to one, bang, bang, bang, bang. Which of course has been used once and is fairly meaningless but still it's there. There is a user agreement and while it looks silly here on screen, it's actually reasonably plain English and reasonably concise but there is a couple of things I do want to pull out that the media contributed is for the purposes of the experience and for the purposes of the experience only. That TAPAPA will keep archive copies of content and time intervals of the wall experience as part of its historic holdings. Archive, content and historic holdings. Archive could mean anything. Content, we kind of know what it is. Historic holdings is essentially meaningless so it doesn't actually tell us what we need to do. So other than the fact that we said we're gonna keep it beyond the life of the exhibition, why are we actually doing it? What do the contributors think that we've agreed to? Do they think that they're part of the collection now? There's a wide spectrum of image quality and relevancy. Some of it breaches copyright. We can't make it available outside of the experience and 85% of it was actually contributed via Flickr so that 85% that 8,500 are in Flickr and under the control of the users who contributed it so why do we need to maintain it? And it certainly doesn't archive the outspace experience. So the bare minimum that we kind of need to do, if you took those words to heart, a basic archive. We could just export the content in the metadata in really simple forms. The metadata we could just have is CSV or XML, a basic file structure for the JPEGs and we could put them on tape and maybe a solid state drive, stick them on a shelf, job done. Is that really what the contributor thought we were going to do? And is that, what does that gain? A dark archive that no one can access? So is there an opportunity to do more? Is there an opportunity now that we have 10,000 images to look at it as a way of analyzing what user-generated content can actually mean for the collections? Are there criteria that we can use or should have used initially to identify images that may be relevant for the national collection? If so, what would we actually need to do? Well, we need to come up with criteria and obviously that's easier said than done. We would need to describe and add content and context. We would need to re-license and get grift agreements. That means going back to the contributors again. We would need to analyze the digital preservation requirements. We would need to store, provide access and potentially reuse, just like we do with the rest of our collections and that's quite a lot of work. So those are our two options. We could look at getting more value out of this reasonably big effort project but why didn't we ask these questions at the beginning? This presentation is not about our space. It's just an example. This presentation is about the many, many engagement projects institutions are embarking on now that involve gathering content in some form from the public. These, of course, aren't new concepts. The words are cliches already. We've been talking about them for years but the emphasis has increased and the approaches have accelerated. There's lots of enthusiasm for engaging with audiences and getting audiences to engage with collections, getting people to tell their stories to contribute their own content in many forms which is amazing. But still very little thought about how to manage the content generated beyond the initial engagement or the longer-term implications and benefits. Digital blurs the boundaries, particularly with the confusion over what exactly we mean by user-generated content, crowdsourcing, co-creation, contemporary collecting and intangible heritage. It's starting to have impacts on the rigor of collecting and preservation. They're not bad things in themselves, quite the opposite but without real understanding of what we're actually talking about. Each of these things are getting confused or even worse used as excuses. We have very different obligations to our formal collections that have been through the formal acquisition process than we do for other types of content, digital or otherwise. So what do we actually need? I'm going to come back to the asterisks in a second. We need really boring things like policy and procedure. We need a clear understanding of what we mean by user-generated content and co-created content and how it relates to the collection development and what our obligations are to that content. It needs to be flexible to allow for new ways of engagement but needs to cover off the basic principles. We need policy and procedure rather than ad hoc decisions made for every project by different people at each stage. We need to be making these decisions upfront, not afterwards when it's probably too late. We need the right skills involved in the project from the beginning, not afterwards when it's probably too late. No project should happen without some consideration of what will happen to the content and the user's expectations and resourcing for this. This means we need agreements as well. Clear understanding between the museum and the user as to what will happen with their contribution during and after the engagement. For media or other things created by users, that means licensing and potentially gift agreements. For anonymous comments, opinions or even likes, it's much simpler but the landscape is shifting and we do need clarity. We need clear understanding of where we can use the content that's been contributed and we need to ensure the contributor understands exactly what's going to happen to the content afterwards. We need information. We're not getting enough information with the content that we gather. The more effort that's required by the contributor in the content creation and then providing it to us, the more effort needs to go into the effort and gathering the information. Minimum information requirements without being a barrier. A draft I'm looking at now is five to 15 fields depending on the context of the collection. And this includes enough contact information so we can actually go back to the contributor if we need to. And the information needs to be maintained and so does the content. Ingest management context linking preservation access. These are things that are generally not considered as part of engagement projects. Not yet anyway. And it highlights the evolving roles of collections information systems versus separate systems that are built on ad hoc basis for each project. Which may not be sustainable. It's not as exciting or as glamorous as the short term solutions which are often based on the newest and fanciest technology but they are more stable, more centralized and more efficient at managing and delivering content. The information can also help us understand our audiences and the collections in the long term again beyond the engagement. An opinion, a geolocation even a simple like of an artwork does have long term usefulness particularly when it's all combined in a single place. Hybrid or temporary systems are inevitable but there has to be a longer term plan as well. Problem is that's all really boring. So I am gonna have to sell it a little bit. If we do this properly it will enable much clearer transparency and clearer expectations creating stronger relationships with our public. It will give us clarity of collection development and help us with the preservation planning. It will help us better understand how people interpret and value and use our collections, our research and our knowledge. It will give us opportunities to build the collection in a more contemporary fashion and also give us a more contemporary picture of culture. It will better enable us to understand the sentiment or attitudes over time. Just a little bit of procedure can make a huge difference. So the asterisks. Now, the thing I just said in the last four or five slides may seem a little heavy-handed but there are lighter examples that we can look at if we just took a couple of extra steps. Post-it notes in the gallery. So we've asked the public to look at a couple of artworks with a couple of questions and ask them to write a response on a post-it and stick it next to the artwork. That's information that's actually really useful for understanding how people interpret and understand our collections. We could get age and hometown not too much information but enough to provide some context for the comment. And then we could actually transcribe the comment and stick it into the artwork's record in our collection of information system and make it part of its documentation. Just like that we have more documentation of the artwork's history. This is gonna be a big one and this is happening already and it's gonna happen a lot more. Asking people to contribute content for World War I. You need to decide up front is this a collecting project or is it not? Is it a hybrid? Are digital copies really what you're after? Or are you after the original? Are you after the individual items already trying to create a big picture in which case how are you going to preserve the big picture? Does it fit your collection development policy at all? If yes, get the right permissions and documentation up front. Don't try and do it afterwards. You need quality content and information planned for storage and preservation and resources. If no, then be really clear to the contributor what will happen to the content after the conclusion of the engagement. Don't promise things you aren't resource to do. Yeah, so our space. We are gonna have to do something when it does come down eventually. If we did what I suggested at the beginning, the really simple archive, I certainly wouldn't be doing my job. But we do have to archive all the content and we will need to identify systems and processes to do this. But it will be much more thorough than what I talked about before. We need to document the experience and that seems to be something that hasn't been identified yet either. We can't archive the experience. Migration, emulation are not going to be possible for something that big. We need to develop a communication plan to the users before it happens and let them know what the change in the wording actually might mean. If we are going to collect some, this needs to be done with curatorial decisions aided by analysis of the content and the data and alignment with the collection development policy. It needs to be deliberate. There are ways of breaking it down and I've already talked about that and we will need to migrate it to our collection information system with full documentation just like our other born digital collections. This will take time and money and that hasn't been identified. So as you can tell, I don't have any of the answers. I'm just seeing a problem that is emerging. I'm constantly having people coming to me saying what do we do with this stuff now that we've finished. Some of you may be thinking that this stuff is obvious and that you're already doing well which is fantastic and there are much smarter people than me working on it already, including the Collections Trust in the UK who are looking at minimum standards and how to make this business as usual. Maybe you just agree about what the word collection even means and that's certainly one of the big things that we have many interesting discussions about. It's bigger than this 15 minutes. There will always be interactions that are out of our control and that's perfectly fine. But if we initiate some of the bigger ones we need to think about what we're going to do with user content and with the contributor beyond the initial interaction or engagement in the long term. It doesn't just apply to big fancy projects like our space, it applies to posted interaction as well. We need to stop thinking about and resourcing the short term, stop thinking about the exhibition mentality. We're doing more with engagement and it's amazing but we can get huge amounts of value for the future for our collections and for our audiences if we make the most of what they offer us. If our audiences offer us opinions, images, comments, effort, we need to respect it, preserve it and learn from it. Get as much value as you can just beyond the initial engagement.


So I'm on the way right now to Echo Park to meet up with Dan currently skate because my ankle's still bad Yeah, should be there shortly So just parked up right now a bit of an overcast day in Los Angeles, which is refreshing. It's not super hot I think it's like 70 something degrees 71 degrees Fahrenheit. I don't know how to convert that to Celsius But yeah, never been to this Echo Park skate park before looks pretty small It's literally right off the highway. All I know about Echo Park is one night me and my mate watch this movie and it was about like Hispanic people and gangs in Echo Park and there's some girl named sad girl And I was really poorly put together movie and there was a Echo Park Lake with the water coming out the top in the Lakes right here as you guys can see There's a lake right here. I can get out on a little puddle boat there.  What do we in sick after Echo Park? We had some Warburg grill and Now we're at this spot Los Angeles City College Having a bit of a gander Really don't have any plans of what we're gonna go skate or check out So we just figured we'd go in here and check out if there's anything to skate in here But yeah We've got a little three-stair here Some ledges that have been aggressively capped some flat grounds Dan's over there Look like it looks like someone's already been here skating I'm only assuming but who else would lay down a plastic barrier like that. I Don't know that's what I was just saying because who else is gonna lay it down It looks like it's been skated Why would you need to rig that up one crappy crown?  It's a bit higher Yeah, it's pretty cool. Oh, yeah, that's like a Get on and balance type one knee height Does it bounce up and down So the scary thing for side tricks. Yep. It's like you're real on it if you use cheat sticks What'd I do? I don't know got me You know be cool pop in pop out onto the other side here Yeah Just having a little bit of a tour today guys of some spots we come up on I'm definitely not gonna skate this because I'm broken off right now We just came up on a couple of I think that concrete Yeah concrete little Ben slush ledge things they look like This is the one need a room Little bit of debris and leaves falling off these trees here, but it's not that bad. Oh, are you good? That was a really good commando roll You got pinched Know what they say in Sydney just go faster Airbus Southern California Where I live now we don't say that pre-pinch on the 5-0 You look There's a lot of energy bursting Explosive energy. It's so much so much more to give By the hardware. Yeah, it's the hardware We try what we're going for people.  I haven't seen that one before and you're shutting this spot down Just just sweeping Casually just sweeping come up on another spot here in this college. It's a one Seven it's been wandered already landing looks pretty smooth Lot of run-up. There's also a sick Ledge here. It's like is that octagon shape thing. I Think it's octagon is if it's six Could be wrong. Yeah, these two ledges here have been hit quite a bit I wonder if anyone's gone like around the corner good like board slide round pop out. That'll be dope, but there's a whole bunch of tree debris Before through that crack now.  Oh, yeah, but it's steep. Okay. Yeah, it's not Yeah, it's a walk it pretty cool. It's kind of like a perfect grab Like I was filming with the mindset. I was gonna start doing YouTube.  Uh, I ended up just Sitting on the footage too long and then that's wrong got broken and then I got over it. Oh, man Yeah, I mean you can tell it was it's been bonded on this side once before and this side still looks pretty Relevant relevantly new bondo. That doesn't even make sense. This side's been like done and it's still Still okay that side's wrong The corral so people skate this trail as well, but if you have a look at it it kind of kinks towards the bottom Yeah, it's taller, I think it's just one of the situations where it's like there's a perfect rail right there So why skates this one? Yeah, everything's nbd on this so you might as well It's intimidating look imagine rolling up to this guy's throwing down and then you're on your board and Then this is where the wall usually hits usually about here If you haven't done it before there's like a imaginary wall right here You have to break through on your mind to be able to get up and on When you pop where are you aiming at leaning on about there? So remember what you were explaining to me about Was it bump to rails? Oh? Similar to this a bump to rail Like when you grab a skate park and it's like a kicker to flat bar. Yeah exact same dimensions as this all you're doing is going like this Yeah, man, so it's just switching the slant of the let so that's why a lot of people who skate bump to rails have an easier time Doing handrails because gravity is quite similar to you. It's very forgiving because you're going down Whereas a bumper rail gravity is forgiving because you're going up onto it It's like a very delicate like I'm coming on to the rail and then my body weights on it Yeah, I think with this one you're coming on to the rail and then your body weights on it. Yeah Just yeah physics science


Hikaru almost a win-on-demand situation to be able to get to the tie breaks. How did the game go? Well, the opening was I think very advantageous to me. I mean the position was certainly unique after about 10 moves I was still my preparation whereas Eduard was not But then then I use a lot of time and I went wrong when I played this G4 move. Bishop G4 I think is completely fine for black, but I don't know if it's better for black I mean it's a game but after G4 for some reason I completely forgot about this nightage form I mean I saw this knight to Qd4 knight d4 line and then somehow I started looking at other lines And I got all confused jumbled it all up and and then I was probably worse, but immediately Eduard played h3 and after that he was still probably okay, but it was very hard to play and he was already short of time So it was it was quite nice, you know to win today obviously with black and now I guess I'll play a playoff Right now in such a situation where you've got the black pieces and you know you've got to go for the win How do you decide on your openings give us some insights on that? What kind of position do you aim for and did you get it today? Well, I played something solid It's you know, I mean there's there's not a lot you can do against players who are probably I would say 2,600 plus I mean you can't you can't just play something stupid or else you'll you'll lose I mean who you find case in point, but anyway yeah, so You know you play something solid You hope maybe your opponent plays something a little bit aggressive or something where you have have an idea And you kind of just let the game flow and I think It's much easier to do that with white than with black in a muslin situation But still you know you just try to keep the game going keep keep some dynamics in the position and and it seemed seemed to work Almost perfectly today for me. I well you see you are someone who really enjoys playoffs and see it seems to be a thing How are you feeling going into the playoffs confident? Yeah, I mean I think when I won in 2008. I think I was also second third I think I had to play two tiebreak matches to win against boo and in the final one So obviously quite nice. I think I'm playing you and I beat him in the millionaire chest in a tiebreak as well So certainly I'm very familiar with him, but but obviously he's a very strong player and we'll see what happens Preparation or just gonna land up fresh on the board. Um, I'll prepare something I think because also I think if I beat him then I have to play right away against Anton So I'll have to prepare something but you know, it's it's a playoff and I you know I tied for first so regardless of what happens. I'm I'm quite happy with the result Right. Well, we're really excited to watch you in action. Good luck. Thank you


Good morning, everybody. Welcome once again to another edition of Man Crush. This is Youth in Politics. We have got two wonderful guests who are here. They're going to help me have this discussion because it's a tough one today, but it's an interesting one. Let me introduce Daniel Orogo. He's a political analyst and he's going to say what he does as well and give his social media handle in case anybody wants to reach out to him. Thank you. So what do you do? My name is Daniel Orogo. I'm a political man, but apart from that, he's the work of raising the family and trying to make these communities better, trying to make my society better and have a political agenda for the whole of the nation that would benefit us as a country. And what's your social media handle? My Facebook name is Daniel Orogo and my Twitter handle is at Daniel Orogo as well. And our other guest is Omoyo Arribe. Welcome very much. I hear you don't want to be called a political analyst, so I'll let you do that introduction. From my village, if they hear you saying Arribe, they'll think I've been baptized again. My name is Arribe Omoyo. Arribe Omoyo. I'm a lawyer by profession. My social media handle, Facebook I have 499 friends. On Facebook it's Arribe Omoyo Samba and on Twitter it's still at Omoyo Samba. Well, welcome once again. My name is Joy Mochache. You can find me on Twitter that is joy underscore mochache and we're going to dive right in. I'm hearing that we're importing fish you guys and I started with this one because it's a very easy topic to discuss because it's not necessarily political, it's more of a current affair and we've got a lot of youth that are watching us right now and so we've got to factor that in. We're importing fish from China. We're finding out that the fish has lead, mercury and all sorts of dangerous metals in them and the other time we found out that there was a problem with sugar then there was the issue with maize. What is happening? Why is everything that's coming in? Why is everything that's in our country so contaminated? I don't really think the issue is contamination for say as much as the health of the Kenyans is paramount. For me the problem is that there is somebody somewhere who's gaining at the expense of Kenyans. That is the major challenge because you realize that when the president was at Strathmore sometimes back with small and medium enterprise guys they really complained about these issues and the president was like we cannot grow foreign farms so we cannot have goods and services coming from outside the country at the expense of the local ones and now to add salt to an injury we realize that the fish has lead and has some poisonous chemicals so for me let's look at who is gaining from that at the end of the day. Don't we have enough fish in the country? We have enough fish in the country. We have fish rotting in Lake Victoria. We have fish farmers in Kirinyaga. We have fish farmers in Kisi. I mean have we finished consuming what they produce before we can go out of the country? You know that's funny because they're saying the reason they're importing is because there's not enough fish especially in the areas you've mentioned is that? Well I think I really like to join what my colleague has just talked about. It is important for us as a country especially we are speaking to a very young nation, a population that is vibrant, a population that is so energetic and techno-savvy and you see when a nation takes a direction of trying to import everything. It means that we are doubting the skills that we have. We are doubting what we have and one of the things we are doubting is the innovation opportunities for young people that we have. Like you have said we have fish and all these minerals and everything that we mentioned but then why do we have enough resources and import that should be the question and then you say that somebody's benefit of course of course there's somebody's benefiting on on behalf of so many people. Young people who are the verge of unemployed or underemployment and looking for jobs it could be very important that why would we revamp you know try to bring these industries up in Lake Victoria and instead of Lake Victoria for example being now chocked by water hyacinth nothing going on and you see our sugar industry in western and sugar belt region in Yangtze region in Kisi regions completely done and then we are importing sugar. I think there's just something so wrong with our national psyche you know as a country and when something goes wrong it's deliberately killing the future of this country so I think it's important for us even in this station and this is a youth station that we speak to the conscious of young people that you see do not shy away from speaking about politics and hence we are having one fresh piece. We really need to don't fear even as we dance we treat on social media we post on facebook mention something about what is wrong with your country. I working the consciousness of other young people to make sure that even as we live this love issue and this lifestyle there is something constantly wrong with our environment and we really need to speak about it so I think everything goes down there that we even everywhere we really need sometimes to even after we have for example party less than five minutes to reflect about what direction are we taking as a country and somebody said as I conclude somebody says that we are living in a borrowed future like you see we are holding it on behalf of our children have you ever asked yourself why is it that these people grieve rich but my father never grieve rich what happened to to these you know everybody who is in government but my father so it's the question that I don't want my future children to ask me why that why was there a problem in this country that people are busy importing fish and this fish in Lake Victoria but you guys never did something about this so these are questions that I would not really want to be asked about in the future that's why I'm doing something now and I think on the light notice that when when some people are getting the second neck of plot my grandfather got a second wife but that is not the point that is not very rich so for any country what we look at is sustainability in terms of goods in terms of services in terms of the labor market every country should aspire to grow some of these things from within so that at the end of the day nobody threatens you that if we close down the imports in terms of maybe goods or services the country is going to cripple down so that then you are self-sustainable you grow what you can consume you develop your skillset and I think that is where we are departing from as a country we are not growing what we have we the president and the country at large we have something we call buy Kenya build Kenya but to what extent that the buy Kenya build Kenya mantra work I mean there are some things that which we launch on the media and and develop social media pages for them but when you go to the to the implementation bit we don't implement them so for me I'll be very happy as a country if it's doctors we don't need them from Cuba if it's fish we don't need it from China if it's prosecutors we don't need from them from the UK if it's sugar we don't need it from Brazil I mean so that as a country we develop our own skillset yeah so what we're looking at is in general that we should focus on the future of our youth particularly not just coming up with ways in which to make things better for them but implementing them because I know we're also very good at doing things on paper but then actually implementing something and let it run and yeah allowing Kenya to be sustainable by itself is is something that we're struggling with but this is why we are here even on this panel talking this is why such like you said such conversations are important and our youth should not be oblivious to what's going on around I think before we finish on a light note some mcs from some county in central went to Rwanda to benchmark I think on some fish farming or something else only for them to be told from Rwanda that we benchmarked in I'm like these guys boarded an aircraft and went to Rwanda to benchmark when they got there they were told all what we are doing we benchmarked from where you just come from yeah what a waste of a trip before we move to the next question I'd like to remind you guys our social media handles please remember that's why 254 channel on facebook and you can also hit us up on twitter at why 254 channel and as well as instagram why 254 channel we're moving on right now to talk about kplc because i'm hearing that there is a stretch about i think 100 kilometers worth of land where there has been buildings and people living there and kplc is looking to evacuate these people because these land this land is not necessarily land that should be built on or land that should people should live on and what's happening is that they have to live by the 24th and i think it's going to be a really sad christmas for saudi you know why we are laughing no why the reason why we are laughing that i'm wondering this is a topic that is very emotive to dan oh really and this is a topic that we have had this conversation on different forums oh okay and that is why you said that people are supposed to have a kid we laughed and this has been our position i think these are some of the issues that we all agree okay the number one we don't need to have people living on public land that one by principle we agree i mean you cannot just walk into public land and just build go near an airport and put up a seven story building go to a road reserve and put up a kiosk we agree that should not happen you and you and you and we all agree that should not happen but before all these steps are taken we have some kind of government agencies which are involved before i move into occupy kbc land probably i'll get a permit to build or to put up a structure and now you cannot come out and sanctify yourself and say that you guys since you came in and we allowed you now we are turning your back that you guys you need to move that should not happen we are punishing i mean we are not calling them innocent kenyans but these government agencies i'll give you an example of safe apartments in in in high-rise yes actually they were built and commissioned by the then uh housing minister so it is standard rest in peace a government minister commissioned the building i can't forget he's dead he gave the right go ahead i mean by the time agave a cabinet secretary or a minister as then he was walks to inspect the building and give them a clean bill of health that means ordinarily that all these agencies have given it a clean bill of health how do you come 10 years later or eight years later and say guys you know you built this building near dub you need to move so there are some people who sleep on their jobs and when they sleep on their jobs then we don't need to punish kenyans the president i just said that now it's time for these government agencies and those people to be personally held responsible but have we seen dci doing anything nothing so we all agree that people need to move from road reserves from government land but then all these government people who sleep on the job and sometimes they pick taxes from those people those people pay land rates they pay business permits what happens to them exactly and i can't say no i think on this topic we've we've really they have been written you may have exhausted it it's uh that's what i'm saying that i'm just still going to um really um deliberate on some of these things like arab has mentioned any process that comes as a result of evocation or an eviction there is a procedure there is a process and well i mean it's been found that they were living in a land that uh they belongs to kplc but then who actually gave the authorization for them to start putting up these structures there to stay well these people paying these rates so if if this is confirmed then one of the things uh the the authorities needs to do is to work on a compensation a compensation procedure to compensate them for living there and what they have been paying because they have been paying the government their rates and the services are there these are guys who like you've mentioned it's headed towards a festive season and children will be going back to school to open the schools do we have that kind of humanity or we're just saying you guys need to live live and go the human beings who've been there the families who are raised there the children all that as their only home what do you have that in mind that you really need to begin to think about that but apart from this i i really need us to see the prosecution bodies taking place not really just a roadside pronouncements know that we've seen you know they need to live and i'll hold the people who issued yes the president has issued this kind of notice and i've asked people to follow up through we really need to see how many people have been held responsible i don't know even how do you hold a dead person responsible but i think uh those who are actually part of the process the procedure that issued an authority for them to stay should actually be held so that it serves as a lesson for the rest if such things are still happening right now but again there have been a problem with kplc and you see this this institution i think just needs to be i don't know what can be done be each problem be it uh high hiking uh you know prices for for you know for power be it you know using that there's just been a lot of issues i don't think they're still having a court case by apollomboyan uh in case so i think this parastatul and is in another minister of energy which is having a problem in itself again as a ministry so i think it really needs to be looked up to into totality the whole thing about energy in this country and and sometimes i even think instead of us uh thinking about electric current we really need even to think about the sustainable um sustainable energy you know wind power and all these things that we so that uh whenever such parastatul are having problems we do not be affected so much by these kind of issues exactly yeah yeah right you know kenya a lot of scandals have been going on and um i'm bringing up the n h i f one because should i let you express what you wanted to express or some things in these countries you think it's a movie you can't proceed a receptionist boarding an helicopter from town to athe river i mean it can only happen in a movie yeah you can continue which movie but you know this this this is just i mean scandal after scandal after scandal after scandal and i still can't get i can't wrap my mind around how a receptionist is able to afford that kind of lifestyle i just can't wrap my head around it and so i'm asking myself who is behind this is it how how what's happening and because before that we had the issue with ny s yeah we've just talked about kplc and it just seems it's not ending it's not what is wrong with our how can i put them what is wrong with our structures that we have put up to help our people such you know structures like n h i f in any country if there are some sectors you're not supposed to make money from yeah if you realize that in any country profits are being made from health from security and from education know that that country is doomed because these are very critical sectors which then are supposed to be used to propel the country to another level so that if there is somebody who's making a profit in the health sector then there is a life being lost somewhere if there is somebody who's being who's making a profit from the security sector then there is insecurity somewhere and the life is being is being is being lost and i'll give three examples you remember about the i'm the personnel carriers that we imported i don't know from china where which then one which steps on a land mine and then it's torn apart and you think it was a suzuki alto or something of the sort and you wonder how do we procure such defective items you come to the health sector what was the reasoning behind the national hospital insurance fund the reasoning was that let this be a contributory scheme so that at the end of the day it's like some type of some type of insurance let's put the money together to benefit those who will fall ill and in an event where you don't fall ill then you have that assurance that you are okay and if you fall ill you know that it will be paid for from somebody else's contribution that is how insurance works insurance works in that you have that piece of mind that you are making a contribution somewhere so that at the end of the day if you fall ill or something a calamity happens you'll be compensated or you'll be put in a better position than than which you were in that calamity so that for the national hospital insurance fund a lot of money is being put in there from taxpayers it's actually a compulsory contributory scheme by those people who are employed and for the unemployed people there has always been that campaign of the monthly contributions by maybe by by by phone or by something else but now if you look at it critically contributions are being made in billions at the end of the day the patients do not get paid for i think it's paid it pays for bed or something else it doesn't get to pay for everything compressively yeah if you go to a hospital now it's when they're trying to compressively do something like MRI and dialysis and such but then look at the scandals which are happening you having a receptionist taking an helicopter ride from town to at the river because they don't yeah some people walk from in attached area i don't know to time long and this is a guy who owns who earns 100 and something thousand, 160. But then, how much does an helicopter ride cost per hour? It's so much. I mean, this is some kind of mediocrity and some kind of thuggery. We cannot call this corruption. This is some kind of thuggery and some kind of robbery, which is happening in this country by some civil servants. This is day like robbery. Oh, wow. This has touched you people a little. I mean, go to Kenyatta Hospital. OK. Go to Bagadi. Look at the number of people who are suffering.  I'm sorry, we used that one.  Who takes an helicopter ride on taxpayers' money? We do this culture anyway. I'm going to use that one. Look at this person, because he sits in the tender commit and the matter is before court, but then you cannot justify that kind of living.  You cannot justify some things. I'm some blessing. You are blessed to want. No, no, no, no, no. Miracles happen to you. Which miracles? Has it happened to you? Has it happened to your life? Let's say, let's see what's going on. I mean, what happened in your life? I'm trying to justify. Let's see what Daniel has to say. I'm trying to justify.  You're free to play the devil's advocate. What I'm just saying is, you are a lawyer. He is subject to due process of the law. And I think right now, the investigatory board is trying to find out how did he manage to accumulate such a wealth by being a receptionist. That will leave to the authorities. But I'm saying, if, like you said, for example, there are sectors in this country that you should never, never try to draw money from in illegal ways. And it's mentioned, especially health of a nation. A healthy nation was always a wealthy nation. That has been said. But one of the most striking things is like, you see, I really don't understand. In the backdrop of the president launching universal health coverage, you know? And in the backdrop, somebody somewhere is trying to tear that apart. That kind of a good initiative by scandals like this. So we are seeing a government. And the reason as to why I say that the buck stops with the president, he can issue a directive. He's just a directive. That he needs this to be investigated. He needs this to be brought to book as soon as possible. I have not heard him talk about that. But I think he's probably he will talk about that. Because this will make his legacy, especially on universal health coverage. I just a mere PR. People need to accrue this. But the dynamic that I would want to give it right now. I always give the youth dynamic. But in areas where, for example, employment of people who are serving at NHIA for these bodies, the young people who are skilled and are still tamerking, the money, even if it's not for, even if it's for health recovery. But then you're denying other people opportunities that they might have crude by getting employment at these services. Because you are earning illegally, where you're taking a resource that could have been channeled toward the initiative. So I think this is something that I would say it's close to the hearts of not only us here, but so many Kenyans. Because the problem we are having as a country, we are an alien country. And by alien country, we really need to have a very comprehensive universal health coverage and a cover for health. Well, OK. Well, thank you so much for that. Your views have just been amazing. And actually, we're going to go and take a break right now. So we'll be back in two minutes. Please stay tuned.


Roma wines taste better because only Roma select from the world's greatest wine reserves for your pleasure. And now Roma wines, R-O-M-A, Roma wines, presents Suspense! Tonight Roma wines bring you Miss Lily Palmer in Philomal Cottage, a suspense play produced, edited and directed for Roma wines by William Spear. Suspense, radio's outstanding theater of thrills, is presented for your enjoyment by Roma wines. That's R-O-M-A, Roma wines, those better-tasting California wines enjoyed by more Americans than any other wine, for friendly entertaining, for delightful dining. Tonight in our suspense theater we celebrate the talents of two distinguished ladies. Our play is by Agatha Christie, England's number one suspense specialist, and our heroine is the distinguished continental star who has recently come to join our Hollywood film colony, Miss Lily Palmer. But before we ring up the curtain on tonight's play and on the performance of Miss Palmer, let me make a suggestion. Rich in tradition is the custom of bidding the old year farewell with champagne, and rich in rare taste pleasure is that custom when you say it with Roma. For brilliant bubbling Roma California champagne lends unforgettable distinction to your new year's hospitality. And pale gold, sprightly dry Roma champagne, naturally fermented by the world-famed Charmont bulk process, is sparkling wine at its best. So make those golden moments live forever. Say it with Roma champagne. Roma champagne tastes better because the heritage of character that distinguishes Roma champagne begins with choicest grapes carefully selected. Then Roma vintners ancient skill with the magic of necessary time and America's finest winemaking resources guide this great treasure to taste luxury. Finally from the famed Roma champagne sellers to you comes Roma champagne, the finest in sparkling enjoyment. So welcome the new year with Roma, Roma champagne, golden masterpiece of Roma America's greatest vintner. Yes, right now a glass bowl would be very pleasant as Roma wines bring you Miss Lily Palmer as Alex Martin with Raymond E. Lewis as her husband Gerald in Philomel Cottage, a tale well calculated to keep you in suspense. Philomel Cottage. What's that Alex? Oh I was just reading the sign over the gate. What does Philomel mean? Why you little foreigner, we've been here for three weeks and you still don't know. Philomel is another name for the bird that's supposed to sing only for lovers. We've been hearing it every twilight. Nightingale. Of course. That signed Philomel Cottage is the main reason I wanted this place for us. Glad you bought it. Oh Gerald, this was a 50-50 investment and you know it. 50-50. A thousand pounds from me and two from you. But we did have to have the place, didn't we? Oh, what an utterly hopeless romantic I'm at. Well, you can't get out of it now. Oh Gerald, do you know what day today is? Today it's the 13th. Our anniversary darling, we've known each other exactly a month. No, exactly 30 days. Oh Gerald, really now. Oh, what is it dear? Do you have that pain again? No, no. It's just a little indigestion I think. Oh Gerald, let me have it. Do you want me to get your... No, no. Well dear, it's 11.35. I'd better get out of the village. Want to get that camera equipment. And the human timetable walks through the garden gate. My dear, there's nothing wrong with system even on a honeymoon. The sooner I go, the sooner I get back. Come on Gerald, forget your old photography. Why don't you stay and do some gardening. Be good for you. Better for old George. He gets paid for it. He's not you again until Saturday. The place will go to rack and ruin. Over my dead body. Goodbye dear. Now don't walk too fast dear. Remember last time? And be careful darling. Wait, it just slipped out. Be careful. I was swinging there on the garden gate smiling out my happiness across a part of England that was as remote and plaited as any you'd care to find.  If this were London, say, that would have... London? And slowly my smile fell away. I knew then that the memory of that last week in London had never really been far from my mind. That and that last talk with Dick on the top deck of the bus crossing Trafalgar Square. I'd never seen him like that before. So old and muscle.  You know nothing about him. I know that I love him. How can you know in a week? You've only met him. That doesn't take every one seven years to find out they're in love with the girl. That's meant for me isn't it, Alex? It's no use Dick. Alex, don't you know what it's been for me not being able to tell you. I couldn't not with the income I had. Never decided I couldn't wait any more. I was going to tell you anyway. Do you know what happened? I'm afraid I don't. Yes you do. But money you inherited. That money from your cousin or uncle or whoever it was. Well I don't see what. You didn't think that I could ask you to marry me then do you? You don't think I could live off your money? I'm sorry, Dick. Believe me I am but I... It really doesn't matter now one way or the other. It doesn't matter does it? You can let it matter to that mutton chap. That's what he's after. You mark my words he's up to your money. Dick, it might interest you to know that Gerald has money of his own. Far more than I have. Than more than I am. Maybe that's the difference. I've had enough of this. I'm getting off at the next stop. Alex please. All right. But let me tell you something.  I'll catch up with him. I'll catch up with him if it's the last thing I do. I'll catch up with him if it's the last thing I do. Oh, it was just a heat of the moment outburst of hurt pride. I shook my head and shook it away. Then the telephone rang inside the cottage. Who could be calling? Couldn't be Gerald. Gerald had hardly had time to get beyond the turn in the road. Except if something had happened to him. If he'd had another attack maybe maybe one of the villagers was calling to say that he... Hello? Alex, this is Dick. What? Who did you say? Dick? Alex, what's the matter with your voice? I wouldn't have known it. It's Dick. Dick Gwindeforum. Oh, where are you? Traveller's Arms. That's the right name, isn't it? Round you or quaded with your village pub. You mean you're here? Yes, I'm on holiday doing a bit of fishing. Any objection to my looking up you two good people's afternoon? Oh no, no. No, you mustn't. I'm sorry, Dick, but I only meant that we'd be away this afternoon. Won't you come this evening? Thanks very much, but I'll probably be away by then. Depends upon whether a pal of mine turns up or not. Goodbye, Alex. One moment, I stood quite still.  I would say nothing to Gerald about it. I stepped out into the garden and... Oh, why George? I thought you'd agreed that Saturday was your day here. Oh, well, there'd be a fair over the squares on Saturday and I said to myself, I says, Mr. and Mrs. Martin, they won't mind if I come for one for the Wednesday instead of a Saturday. Oh, of course, Mr. Oh, and I thought too, I might as well see you before you go away so as to learn your wishes about the boxwood edges. Before I go away? Ah, to London tomorrow. Me? Going to London tomorrow? Where did you hear that? I met Mr. Martin down at village yesterday. He told me it was both going away to London tomorrow and it was uncertain when you'd be back again. Well, now, don't tell me that you and the master did agree in all that, eh? Oh, naturally not, no. This trip just slipped my mind, George. Yeah.  And after fixing up this place I see, there were cats all over everywhere. You're going to take a loss, I says, to him when I seen he put the place up on sale. It's not everyone that will have your sad for washing themselves in every room in the outslide. But George, he said to me, I'll get every penny at two thousand pounds for this house and buy a gummy date. He got three thousand? Two thousand. So, me without him was talked of at the time and the very eyes figured it was thought to be. No, George, you see, I gave to him. Well, it really was three thousand. Mr. Ainsworth, the cheque is three thousand to you. Well, he didn't say it to me, he said it to my husband. Well, I can now do some spading now. And the price was still bad. As I strolled on across the garden, I was conscious of a thin, vague thought struggling to make itself heard. And then abruptly it was gone. My eye had fallen upon a small, dark green object lying in the far-overside one of the flower beds. It was Gerald's diary, my husband's focal diary. I picked it up and opened it. I remember I scanned the entries with some amusement. I once again reminded of Gerald's enslavement of time and systems. On page 21, there was an entry. April 14, Mary Alex at St. Peter's Church, 230. And then I looked at today's date, Wednesday, May 13. Only one thing was written there in red pencil. It said, 6 p.m. Now, what did it mean? What was to happen at 6 p.m.? And I, something just, oh no. But this is ridiculous. What am I afraid of? Gerald is my husband. I love him. I trust him. Then I looked again at that cryptic entry. 6 p.m. Yes? Miss me, darling? Oh, why wouldn't I? It's 3 o'clock. You've had time to buy out the whole village. Only the camera shop. Now, if I don't have the best equipped darkroom this side of London won't be my fault. If you're not careful, that darkroom of yours is going to overfill the whole cellar. Oh, incidentally, here's something you've been watering the flowers with. Catch. Oh, my diary. Dropped it in the garden, did I? I know all your secrets. Oh, not guilty. Well, I'm not so sure. What about your resignation at 6 p.m. today? Oh, that. Well, you've caught me at last. It's a rendezvous with a very handsome young woman. Quite remarkably like you, in fact. You're evading the issue. Not at all. I simply a reminder that I want you to help me develop some negatives this evening. At 6 o'clock? Well, I'll be getting dinner. We might have just a sandwich or two of some coffee out on the porch. But before we work on the negatives, you mean? Yes, that'll be pleasant, won't it? You know something, Alex? I've never found anybody yet who could touch your coffee. No, really. And that covers Australian Canada, too. You and your mysterious past. Why do you say that? No reason, I... But, Gerrit, I do wish I knew more about you. Alex, you're serious. Well, I know it's silly. Darling, I've told you all about me, my boyhood in Sydney, my life in Canada. Oh, I see. You mean love affairs, you women are all alike. Well, but there must have been other women.  What? Bluebeard? What's your mind on such a subject, anyway? Never mentioned it before? Oh, I don't know, Gerrit. I've been rather upset all day. I imagine I can thank old George for that. The gardener, you mean? Yes. He had some ridiculous idea. We were going away to London. He said you told him so. Where did you see him? Oh, he came to work today instead of Saturday.  Why, Gerrit?  I want to... Gerrit! Oh, Gerrit! Fly down, fly down here, darling.  Some... your medicine. Are you all right?   Oh, I... I... I made some weak joke to him about being off to London in the morning. He must have taken it seriously, or else he wouldn't hear properly. Just straightened him out, I suppose. Oh, hardly you know the gossip he is. I didn't want the whole village to think my husband was leaving me in the dark about his plan. Are you all right, dear? Really? You told him we were going there? Naturally. Yes, of course. Sorry you were placed in that kind of a situation, darling. I suppose you ran into anybody else today. This far from the world, Gerrit? It isn't very likely, is it? Well, Gerrit... Now, not another word. You aren't yourself now.  You'll be right as rain by six o'clock. Must you do those photographs tonight? You don't... My dear, when once is the time to do something, one should stick to it. That's the only way to get through one twerk. All right, up with you. Upstairs to your bed now. Very well, dear. I'll be getting things arranged in the dark. I went upstairs to my room. I told myself there was no basis, no basis whatever for my state of mind. And still the turmoil, the doubt, the odd unaccountable sense of dread persisted, grew and grew until quite clearly I knew what I must do. Knew I must find some testimony to my husband's past, something to reassure me in. And then, strangely, I remembered that single lock drawer in Gerrit's bureau. I took tour to the door at the head of the stairs, opened it, and entered my husband's room. A key. If only I could find the key to that lock drawer, but there was none in sight. The closet, and then his coat pockets, and then... There, my feet. They're on the floor. I saw it. I opened the drawer, looked down. A small packet of letters tied with a light blue ribbon. And when I saw the uppermost envelope, my face flushed with shame. They were my own letters, love letters written to Gerald before we were married. There was nothing else in the drawer, just a roll of ancient faded newspaper clippings. My glance to the top clipping, it was from an American paper. The trial of one Charles Lemaître, notorious, window-ambiguous. A skeleton had been found beneath the floor of his house, and most of the women he'd married had never been heard of again. Another of the clippings described Lemaître's behavior in court. His interest in the cameras, of the news photographers, his sensational escape from prison, and another displaced picture, long-bearded, scholarly-looking fellow. Reminded me of someone. I glanced at the caption beneath the picture, Modern Bluebeard. Modern Bluebeard! My eyes went back to the picture, and in a flash, I saw there was evidence. I went through the other clippings. Dates had been found in the man's pocket diary. Dates, it was contended when he'd done away with his victims. He was an amateur photographer. He was from Sydney, from Canada. He was subject to heart attacks. He was, he was terrified. Dick had tried to warn me.  It was then that I noticed a sound. There was a pipe in the corner running up through the room from below, near its base. Something was striking at that pipe as though someone were, as though someone were tea. I knew then that Charles Lemaître was preparing the dark room for the latest one from his victims. Six o'clock. Less than an hour from now. All the dicks or pieces shot into place. The money paid for the house. My money! My money only. The bond side entrusted to his keeping me. And then suddenly, I heard the quiet. The digging had stopped. It came from that house at once, before he came out. The clippings, back in the drawer. Don't lock it. Don't lock it. Don't bother. Just, just get away. I rushed to the door. Out on the hall and... Yes, my dear? You, you started with me. I, I, I was just, I was just trying to find you an e-file. Were you, dear? Well, that's nothing to look so guilty about now, is it? Better come on down, getting late, you know. Just have time to make the coffee and sandwiches before we do the pictures. Well, I'll be right down, darling. As soon as... You really mustn't delay, must we? Coming, Alex? Very well. Never mind, Jared. Hi, Alex. How cold you are. Cold? Oh, yes. Yes, I am rather. Well, I will soon pass away, I'm sure. Hurry along, dear. Hurry along. Yes. Into the kitchen. Alex, what is the matter? Oh, nothing. I'll be all right. The kitchen. Yes, yes. I'll fix it something in a second. You just sit here in the living room and... Oh, no, no, no, the porch. That would be more comfortable, won't it? And I'll be right with you. Glanded, Alex. I'll just... Why, no, of course not. What, Jared? How rotten of me not to have suggested it, since you're feeling a bit under par, you can probably do with some help. I'll come with you. I knew then that someway, somehow, I must get word to big. The possibility that he might be gone by now, I just put out of my mind. No more panic. No more panic. When I carried the coffee out on the porch, I glanced at the clock on the mantel. It was ten minutes till six. A pity you're so abstracted, my dear. Huh? Oh, why do you say that? Because you're missing the loveliest sight you are likely to see again. Look out beyond the garden, the first soft shades of twilight. Twilight of a Philomel cottage. I say, Alex, you are below par. Oh, what do you mean? It was the first time you've ever slipped on the coffee. You must have tossed in the entire canister. Oh, I'll be more careful after this. Oh, dear, that reminds me. Alex, where are you going? Nothing to get excited about, Gerald. I forgot to order things for tomorrow. I'm just going to phone the grocer. Grocer this time of evening? Oh, he generally stays late on Wednesdays. I'll be right back, Alex.  Oh, it keeps the insect out of the living room. Oh, you're not afraid. I'm going to make love to the grocer, are you? Operator. Exchange. Operator, get me the traveller's arms. Please, hurry. Hello? Hello? Mr. Wendiford, please. Will you? What? You don't know if he's still there? Oh, well, see, won't you? It's most important. Don't let me disturb you. Oh, darling, you do.  But I do, Gerald, truly. You're quite sure you're really calling the grocer. Well, as a matter of fact, I'm not sure. What? What I mean is, I'm afraid I've got the wrong person. A perfect stranger. I don't understand. Someone I know nothing about. You know nothing about them? Why don't you hang up? Here, who's at the end of that wire? Let me see. Hello? Hello? Oh, it's dead. All right, my dear. Might as well get started. Oh, we're late now. Late? Other pictures? Precisely. Three minutes after six. Quite Gerald. It won't be six o'clock for eight minutes. Look, it's a clock there on the menu. Oh, I don't go by that relic. I go by my own wristwatch. Gerald, listen. Stop pacing and listen to me. I don't feel up to it tonight. I'm upset and I'm tired.  No, I'm not going to wait one minute longer. No, I won't do it. I'm not coming with you. How long, Alex? Or I'll carry you there. No! No! Gerald, stop! Stop! I've got something to tell you. Something to confess. Confess? Yes. Yes, to confess. Something I ought to have told you before. I've had my secret path, too. A former lover, I suppose. Well, in a way, but something else. You'd call it... Yes. I expect you'd call it a crime. A crime? You? I don't believe it. You'd better sit down now, Gerald. There. I told you, I'd never been married before. That was not entirely true. There was a marriage when I was 22 in Vienna. He... He... He was an elderly man with a little property. I... Go on. I induced him to ensure his life in my favor. And at one time I was a nurse with access to a number of poisons. And there's one poison, a white powder. You know something about poisons, perhaps? No, I know very little about them. How? Well, this one is absolutely untraceable. Any doctor would give a certificate of heart failure. And that... I can't... Go on. I want to hear it. I... Well... All right. I always made his coffee for him. And one evening I put a pinch of this poison in his cup. I remember that evening how very much like... How very much like this it was, how peaceful he... Gasp a little and tried to move from his chair but couldn't. And presently he died. How much was the insurance money? Oh, about 2,000 pounds. I... I speculated though I lost it. And it was over two years before I married again. And he was a much younger man. Quite well off. There was a will in my favor. To make his coffee too, just as my first husband had done. I made very good coffee. Alex. It was the same. Along about twilight. The coffee. It was the same as the other. He just sat there in his chair. The coffee. And died. Our village doctor pronounced it heart failure. My husband did have a weak heart, you see. And that helped. It helped a great deal. Alex, listen. That netted me over 4,000 pounds. I didn't speculate with coffee. That's why I tasted it that way. You never poisoned me. You poisoned me.  Yes, I poisoned you. And already the poison is working, you see. You can't move from your chair. You're lying.   Don't do, Alex. Constable, you'll see what's happening in that room. Right, sir? I had to tell him. And the most horrible story. Oh, I couldn't have kept it up any longer. You came just in time, Dick. You understood on the phone. Darling, when I heard you say you've got the wrong person, someone you knew nothing about. Excuse me, sir. What did you find, Constable? A man sitting in a chair, sir. Our trouble, it looks like. And, uh... Yes. Well, sir. He's dead. Your husband, man. And you might say... A perfect stranger. He was just sitting in his chair. And presently, he died. Suspends. Presented by Roma Wines, R-O-M-A. Roma, America's favorite wine. And now this is Ken Niles bringing back to our suspense microphone the star of tonight's play, a lovely newcomer whose great acting talent has carried her to overnight Hollywood stardom, Miss Lily Pump. Lily, your performance tonight certainly qualifies you as one of Hollywood's reigning queens of suspense. Well, thank you, Ken. But how can I accept another throne? I'm already married to the king of Siam. You're what? If you remember, it's my husband who plays the Siamese monarch on the screen. Oh, yes, of course. And for your majesty's entertaining pleasure, this New Year's Eve, here's a little present from Roma, America's greatest vendor. A gift basket of Roma California Champagne. Did you see a little present? I call Roma Champagne a magnificent gift. Well, true, Lily. And your friends will call Roma Champagne magnificent, too. For pale gold, sprightly dry Roma Champagne adds a touch of continental smartness to New Year parties. Naturally fermented by the world-famed Charmont bulk process, brilliant bubbling Roma Champagne is sparkling wine at its finest. It will make those golden moments live forever. Say it with Roma Champagne. Say it with Roma. I will, Ken. And, Lily, to bring you the finest in sparkling enjoyment, Roma begins with choicest grapes, especially selected for fine Champagne. Then ancient Roma skill and the magic of necessary time guide this grape treasure to rare taste luxury in America's finest Champagne sellers. That's why those who know Champagne will call Roma Champagne golden masterpiece of America's greatest vendor. So welcome the New Year smartly. Say it with Roma Champagne. Right, Ken. Good night. Next Thursday, same time, you will hear Mr. Mark Stevens as star of Suspense, produced and directed by William Spear for the Roma Wine Company of Fresno, California. Stay tuned for the thrilling adventures of the FBI in peace and war following immediately over most of these stations. In the coming weeks, Suspense will present such stars as Dan Douye, Alexander Kitchcock, and others. Make it a point to listen each Thursday to Suspense, radio's outstanding theater of thrills. Suspense is broadcast from coast to coast and to our men and women overseas by shortwave and through the worldwide facilities of the Armed Forces Radio Service. This is CBS, the Columbia Broadcasting District.


Legal practitioners have met in Lagos to chart the way forward for the regulation of practice in the sector. This was the main thrust of the 16th edition of the signature annual business launch of legal firm SBA, Ajibade and Co. Introduced in 2008, the annual business launch of a corporate social responsibility event is directed at highlighting contemporary issues affecting the legal profession in Nigeria. It is also intended to assist in identifying walkable and practical solutions to these problems. The theme for this year's launcheon is the regulation of legal practice in Nigeria, charting a way forward. Well, the annual business launcheon is part of our corporate social responsibility programs to the profession. At SBA, Ajibade and Co. we like to say that we are passionate about the legal profession. And we've been doing this for 16 years now, once a year, and it's our contribution to ensuring that the profession improves. I think that the impact this program will have is to sensitize those in positions of authority within the profession and in the country as a whole, as to the urgent need to fix the regulatory framework for the legal profession. Well, I think I take them for the Nigerian lawyers outside is that we all need to work together to make the profession better. You will notice that from the polls that were administered in the course of the program, the results to my mind were not indicative of a realization on the part of Nigerian legal practitioners that there is a need for significant change. So I'm hoping that, you know, some of the discussions from the panelists will make us realize that there is a need for significant change. It is a political commitment toward reform and actual action taking to move that bill to the national assembly. As I said during the lecture that definitely there may be some people who will be opposed to some portions of it, but there are many of more people who appreciate and understand that there's a need for reform. And when you look at the global issues, global competition, you look at the changing needs of the clients, you look at the inclusion of technology, you look at the high complaints around the standards and the inability due to the fragmented legal structure we have for regulation now to deal with those issues, then the necessity for a single apex regulator becomes imperative. And that is the structure that will take us to the next stage and enable legal practitioners to be competitive, not only in Nigeria but to be able to create global firms that can compete globally.


Then the Scythians influenced Celtic art. The Scythians and the Celts were two great civilisations of the ancient world, and the evidence is emerging of the interaction between the two cultures. But first, who were these two groups? The Celts were bound together by their use of Celtic languages as well as cultural traits. They stretched from the British Isles to Western Europe, and they gradually started migrating east into Eastern Europe and places as far as Turkey. The traditional view was that the proto-Celts emerged around 1200 BC in central Europe, and then migrated and diverged from there. The golden age of ancient Celtic civilisation started around 500 BC, and lasted until the Roman Empire conquered much of Celtic territory by around the 1st century AD. The exact origins of the Celts is debated, but we'll leave that for another video. Celtic languages are still spoken today, however, in places such as Ireland, Scotland, Cornwall, the Isle of Man, Wales and Brittany and modern France. These are some of the high-level details on the Celts, but I'm actually going to make a full video on the history of the Celts coming up soon. The Scythians, on the other hand, were a nomadic people that roamed the Eurasian steppe, a region of grasslands perfect for riding horses, stretching from Hungary all the way to Mongolia. And the Scythians were known for the love of horses. They briefly established a kingdom in the Pontic Caspian steppe, just north of the Black Sea, centred around Crimea and the territory of Ukraine today, from around the 6th to the 3rd century BC. They entered the historical record around the 9th century BC, and they disappeared from history around the 3rd century AD, although they do survive with various Scythian groups surviving well after that point. The Alans in the Caucasus region is one main example that was referenced as the Alans up until the 14th century, and many people in Asetia still claim descent from the Alans to some degree at least. There does seem to be some cultural crossover between the two groups, between the Celts and Scythians. As the Celts migrated from Western Europe, east into Eastern Europe, and potentially the Pontic Caspian steppe, whereas the Scythians, on the other hand, were located or centred in Central Asia, and then spread west into the Pontic Caspian steppe to establish their kingdom there for a few hundred years. The bulk of the cultural crossover is potentially still buried under the ground, in places such as Ukraine and Hungary, but we do have some insight into the influence of the Scythians on the Celts and vice versa. I did make a full video on the Scythians that I'll link above where I go into much more detail. Many have argued that Celtic art was influenced by the Scythians. Sir Arthur Evans, a British archaeologist from the 19th century, wrote in the origins of Celtic art. The Celtic art emerged from the interaction of numerous cultures. He notes that Celtic art was influenced by the Greeks, their Truscans, which was a kind of pre-Roman civilization, as well as the Hallstatt culture of the East Alpine region. And he also writes that Scythian motifs also influenced Celtic art. Barry Cunliffe, the Emirates Professor of European Archaeology at the University of Oxford, wrote in his book The Ancient Celts about some of the potential interactions between the Scythians and the Celts. It should be noted that the interactions between these two cultures is still somewhat limited at the moment, but it certainly could be the case given the geography and the timelines of the two cultures, the two civilizations, that there certainly would have been crossover between the two peoples. Cunliffe notes that a bronze drinking horn, found in Hungary, which ends with an open-mouthed dragon wearing a torque, maybe just one example. A torque made of iron and covered in silver, depicting two ram's heads, found in Germany, which may have been of local origin, would have been comfortably familiar to a Scythian. Cunliffe also notes that various Latin or Celtic metalwork has been found in numerous Scythian graves. Cunliffe also notes that Celtic swords have been found in Scythian graves, and the Celtic bracelets have been found in other Scythian cemeteries, potentially signifying the exchange of goods and women among the elites. A general theme in Scythian art is struggling animals. Cunliffe notes a scene of a deer being attacked by two ferocious wolves, inscribed on a pottery vessel from Hungary, as being just one potential example of steppe art in Eastern Europe. Geographically, we know that Celts settle large parts of the Balkans, including moving into modern Serbia, with the Celtic tribe known as the Skardisi in this area, which I have previously made a video on. Cunliffe writes that the notion that groups of Celts move further east into Moldova and parts of Ukraine now seems tolerably certain, with this mentioned on a marble inscription in Albia from around the 3rd century BC. Albia was an important Greek outpost in the Black Sea that allowed the Greeks to trade with the Scythians. Given the geographical migration patterns of the Celts and the Scythians, the Celts moving from west to east, and the Scythians moving from east to west, it seems almost impossible that there wasn't a cultural crossover, particularly considering the dates of these migrations. The full extent of this cultural clash of civilisations is still to reveal itself, yet we are gaining some insights into the cultural presence of Celts in Ukraine in recent years. The Celts and the Scythians, unfortunately, did not keep written records like the Greeks or the Romans. If they did, it would make my job much easier trying to trace the origins of these peoples. It does seem the case though, that the Celtic presence in Ukraine is slowly revealing itself, with certain archaeological finds just in the last couple of years. But the true extent of the clash of civilisations between the Scythians and the Celts still seems buried under the soil. Just waiting to reveal itself. For a full breakdown on the history of the Scythians, please click here, where I go through the people in much more detail. Thanks for watching, please support this work through Patreon, buy me a coffee and PayPal, all the links are in the description below. Thanks again for watching, please subscribe and hit the bell, and I'll see you next time.


Force Protection Level Alpha was elevated to Bravo May 8th due to a general environment of heightened threats. Protection Level Bravo describes a situation with a somewhat predictable terrorist threat. This is the first time Alpha has been raised to Bravo since 2011. USNS Brunswick will soon be the sixth Joint High Speed Vessel to be christened. Joint High Speed Vessels provide mobility and flexible roles such as humanitarian assistance and transportation of troops, supplies and equipment. Congratulations to the crew of USS Wayne E. Meyer for receiving the coveted Spokane Trophy. The trophy is awarded to the U.S. Pacific Fleet's surface ship with the highest level of operational readiness in areas such as air, surface and undersea warfare. Sailors, Marines and Coast Guardsmen from five ships are participating in Fleet Week Port Everglades. This Fleet Week is an annual celebration and collaboration with the South Florida community. For these stories and more, visit navy.mil.