Remember a Hallmark card when you carry enough to thin the very best. Here's of Hallmark greeting cards bring you Jane Wyman in Whistler's Mother on the Hallmark Playhouse. It brings you Hollywood's greatest stars in outstanding stories chosen by one of the world's best known authors. They distinguish novelist Mr. James Hilton. Good evening, ladies and gentlemen. This is James Hilton.  Born of an old Carolina family of Scottish descent, she married a young West pointer named Whistler who distinguished himself in the United States Army. Their son James, born in 1834, went to England in his 20s and soon became celebrated as a painter. Like many another successful son, he made his mother famous, but there was also a special sense in which his mother made him famous. For one of his paintings was of the old lady herself and done with such tenderness and skill that it has since become one of the best known paintings in the world. No one who has ever admired this superb work of art, either the original which is in Paris or its countless reproductions, can fail to derive from it the feeling of that utmost serenity and devotion which is the essence of motherhood. To tell our story of Whistler's mother, we have drawn on an interesting biography by Elizabeth Monford and to take the honoured role we are fortunate indeed to have with us that fine actress Jane Wyman. And now here is Frank Goss from the makers of Hallmark Cart. When you want to remember your friends, there is one way to be sure the card you send receives an extra welcome. Look for that identifying hallmark on the back when you select it. For words to express your feelings and designs to express your good taste, that hallmark on the back is your guide. Like the sterling on silver it's a mark of distinction that all quickly recognize and it tells your friends you cared enough to send the very best. And now here is the first act of Elizabeth Monford's Whistler's mother, starring Jane Wyman. A pale sunlight streaming through an artist's window. Anna Whistler at ease in the straight back chair, her hands folded in her lap. Now then she smiles quietly as she hears the mutterings of the painter. For he is hard to satisfy this young man who loves her, who loves her very dearly, her own son. This light, this ridiculous London daylight, hardly bright enough to cast a shadow. That's better. Now if something's wrong, perhaps it's me. I know the effect I want, the mood it must have on yet, it escapes me. My dear, you've worked so long, it feared only rest a bit. No, no mother, not until it's right, until it's perfect, absolutely perfect. Oh mother, please, you're smiling again. I can't help it dear, at times you're so much like your father, so intense, so restless, so ambitious. Yes, but with a difference mother, he realized his ambitions. And so will you, because you have the same touch of greatness. I wish you could have known him as I did, Jamie.  I think I loved your father even before I'd even seen him. When he was still just a name, the name of my brother's classmate at West Point. I was 14, and completely awed by my brother's cadet uniform and his stories of the academy, and of a boy he called Pipes. His name is George Whistler, but we all call him Pipes, because he plays the flute. Yes, really he does. He was born out on the western frontier and grew up in a fort. He's seen Indians on the warpath and he's shot wolves and wild panthers. And yet, from his manners, you'd think he'd spent his whole life in a New York drawing room. I tried to imagine what Pipes looked like, how he talked, and the sound of his laugh. For the first time in my life, I felt there was someone even more wonderful than my own brother Will. And then one summer vacation, Will came home unexpectedly. I remember the exact moment. It was just before dinner. I was carrying a tray of glassware to the table. Hello Annie. I want you to meet my best friend. This is Pipes. Annie. He was standing there smiling at me, and then helping me pick up the broken glass and laughing away my blushes. He came often to visit us after that. And by the time Cadet Whistler became Lieutenant Whistler of the Army Engineers, he was almost a part of our family. On my 17th birthday, he gave me a present. And then followed that surprise with still another. Anna, you notice anything different about me? Different, George? No, I don't mean my new mustache. But surely I must show some of the symptoms. Symptoms? George, are you sick? No, in love. I haven't told anyone else yet, but I'm engaged.  I'm going to be married. Doesn't it mean anything to you? Yes, it does. I hope you'll be very happy, George. I wish you and your wife every happiness. They were happy, George and Mary. But for only a few pitifully short years, Mary died and George was left with three motherless children. He tried to forget his sorrow through work. The Army granted him a leave of absence to become a construction engineer. My own life seemed empty and without point. I was a woman in love and with no hope for her love. Not even George Whistler guessed my secret that summer when he came back to visit our family. He was no longer the carefree boy from West Point. He was very serious now, a man with a vision. He talked about it one evening. The night he took me in the carriage to attend a concert. Anna, do you think I'm a wild-eyed dreamer, a tinkering fool, and an enemy of the public welfare? What? Oh, good heaven, George. A lot of people think of Anna.  That if a man has the courage to ride on one, he'll be killed by the speed of traveling eight miles an hour. Oh, but surely you don't care what people think or say? Anna, the railroads are going to mean a new America. They'll open up new territories. They'll push back the wilderness. They'll bring friends closer together and make it truly United States.  It's a future worth fighting for. It's got to be lived for, too, Anna. Today counts as well as tomorrow. Anna, do you think it's possible for a man who is loved to love again? No, don't look away. Tell me. You should know the answer, George. Did you close your heart to your second child because you already loved your first? Oh, never. Oh, Anna, I was hoping you would understand. My dearest, if you could love me... If? If? Oh, my darling, if I ever stopped loving you, I would stop living. On the day we were married, I became the stepmother of three wonderful children. Two years later, we moved to Lowell, Massachusetts. George was to build the new railroad to Boston. I'd never seen him so happy. It's so excited. I remember the day he took me down to see the company's machine shop. What have we had shipped to us from England? I've dismantled the whole engine and figured out dozens of ways I can improve it. How fast will it go, dear? It'll go about 12 miles an hour if it doesn't have to pull more than 10 passengers. But now, here's the locomotive we're building ourselves. The first really good engine built in America. I'm going to drink it and it'll do 20 miles an hour. You hear me, dear? 20 miles an hour. Hi. I think it's the noise or the fumes. Oh, George. Take my arm. We'll get some fresh air. Are they all right in a moment? Darling, you're crying. I'm not with happiness, George.  Even as a baby, you were so much like your father, Jamie, eager and restless and oh, so curious. The day your little brother, William, was born, you spent hours and hours just staring at the sky to find out what the stork looked like.  Do you remember, Jamie, the day you disappeared and I hunted everywhere for you? Jamie? Jamie? Yes, Mama. Jamie, what are you doing up here in the attic? I wanted to see what was in Papa's old truck. Oh, I ought to spank you.  Mama, who's the lady in this picture? I found her in the truck. She's your grandmother, dear. Your father's mother. He painted this picture of her when he was a little boy. Mama, I'd like to paint a picture of you, too. Perhaps someday, dear. Mama? Mama? I'll put the picture back where you found it. I will. Oh, dear, what a surprise. I wasn't expecting you home for hours. I had to talk to you, dear. We've got a big decision to make. A tremendous decision. Darling? A colonel, Boutets, came to see me at the machine shop. He represents the Tsar of Russia. The Tsar? It seems the Russians want to build a railroad between St. Petersburg and Moscow. The Tsar's engineers have looked over all the available men in Europe and America and they've decided I'm the man for the job. Thank you. More important, my dear, the world is recognizing America. American ideas and methods and machines. Oh, it could be a magnificent proof of what we are. My dear, it's a big decision. A decision only you can make. You want me to make the decision? Darling, why? Because of what it would mean to us. For you and the children. It would mean separation at first. For how long? Well, Colonel Boutets says at least a year before I could send for you and the children. Even then, my darling, we'd be gone from four to seven years, living in a strange land among strange people. You know what that means. I do. To leave America, our friends, our home, schools for the children, everything we know and love. Mama! No, no, not Jamie. Don't let Papa go, I'm afraid. You mustn't be, dear. Jamie, listen to me. You tell me your prayers. What do you say? God bless Papa. And then? God bless Mama. And then? God bless Deborah and Charlie and George and William and me. And he has, dear. As long as we trust in him, no matter how long we're separated or how far away, everything will be all right. George. Tell Colonel Boutets that his offer is accepted, that you leave for Russia at once. We will return to the second act of Whistler's Mother, starring Jane Wyman. Something happened today that made me realize more than ever that good intentions have to be helped along. A 13-year-old niece of mine had a birthday the other day, and as she opened her presents, her mother said, now you must be sure and write your thank-you notes right away. Since I received my thanks in person, I was pleasantly surprised to find a thank-you note in the mail today. And my thoughts went back to the time we were being trained by our own mothers with almost the same words and the time she had to repeat them. As I looked at the note in my hand, I decided the difference was not in the training, not in the children, but in this matter of receiving help along the way. My niece had used a hallmark note, a beautiful design filled the cover, and she confined her writing to a simple sentence on the inside. The whole effect was charming and spontaneous, much more so than our labored notes of years ago when we were faced with a whole blank page to fill up with thanks. These hallmark notes come in a wide variety of designs, designs that really serve as inspiration to young and old alike, because they're styled by those same famous hallmark artists who know how to express beauty and good taste in color and design. You'll find there are special hallmark notes for those many extra note writing occasions, weddings, showers, baby gifts and the like, as well as delicate forward designs that you can use at any time. They come in boxes of 12 and 20, and you'll find them at all stores that feature hallmark cards, the cards you send when you carry enough to send the very best. Now back to James Hilton and the second act of Whistler's mother, starring Jane Wyman. So the artist concentrates with brush and palette, seeking to capture on canvas the face that means so much to him. Across the room Anna Whistler gazes fondly at her son, the son who in so many ways reminds her of another man. Jamie, the son's going down. I could still paint a little longer, mother.  Strength, courage. Oh, now, Jamie. I know, you always laugh. You laughed when everyone insisted it was dangerous for you to follow father to St. Petersburg. I remember what they said, a lone woman and her children setting out for some strange foreign country. One does what one must, Jamie. I shall never forget our first sight of the golden towers and dunes of St. Petersburg listening through the morning haze. No, nor that magic moment when I heard your father's voice calling across the water to us. Remember that enormous house he rented for us, Jamie. I felt like the Empress of Russia herself, but I wanted nothing except to see more of your father. I've got to be off again in the morning, dear. Oh, George, you look so tired if you'd only rest. Oh, there's no time. I've got 200 locomotives and 6,000 cars to build and 60,000 workers depending on me to direct them and feed them and house them. It's work, Anna, but I love it. For 17 hours a day, George was on horseback riding the construction line. The months and years slipped past. On your father's 47th Thursday, the opening section of Russia's first railroad was placed in service. The Tsar hung the ribbon of the order of St. Anne around George's neck. And that evening there was a great reception. The ballroom was lighted by a thousand candles and there were nobles and beautiful women and handsome generals. George whirled me round and round the floors, gay and as light-hearted as if he were still Pipe's whistler of West Point. Any previous thoughts, Mrs. Whistler? Or, should I say, a ruble? Oh, I was just remembering something, dear.  George, why, that's almost uncanny. Hanukkah and dreary is perfectly natural, but two people are in love. We don't need to talk or reach out our hands to each other. Because we're one, Anna. Mines, hearts and souls. There will always be one, darling. Always. And then you know the rest of what I was thinking. Yes, you're homesick and so am I. Well, only two years more, Anna. Two years. Oh, George. George, what's wrong? Nothing, my dear. Let me just sit down. I'm so tired. But he was more than just tired. Late one night when the rest of the house was asleep he called me to his bedside. Anna, I failed. Oh, darling, no. I have. I wanted to finish the railroad, but it's too late.  George, you mustn't give up. Jamie and William are so young, Anna. So young. You've been a wonderful mother to the manna. But now you'll have to be a father, too. Be brave, darling. He's so very brave. Madame Witzler. General Melnikoff. His Imperial Majesty has sent me to express to you his profound sympathy. Your loss is also the Emperor's. For your husband was more than a great engineer to his Majesty. He was a dear friend. Now, madam, the Emperor wishes to know how you desire him to be of service. Please thank his Majesty, General Melnikoff. But my only desire is to return with my sons to America. The Emperor has anticipated that, madam. And has praised at your disposal his Majesty's personal ship.  It was six years since we'd last seen the shores of America. The good old Russian California were on everyone's tone. But for us, there was no excitement, no challenge. Except the struggle to survive. But we really didn't care. We were home.  Mother. Mother, I thought you'd be gone to bed hours ago. Oh, I was just going over the bills, Jamie. There never seems to be time during the day. I know. All the cooking and washing and sewing for Bill and me. Mother, you've sacrificed enough for us. I want to make it easier for you. Oh, now, Jamie. I want to go to West Point, mother. If I can only get an appointment. Why shouldn't you?  I'll write some of your father's old friends. Would you, mother? On one condition, dear. That when you get to West Point, you don't draw caricatures of your teachers right before their very eyes. I promise. I've easily made, and even with the best of intentions, so easily broken, West Point soon knew that the son of Cadet Pipe Whistler had arrived, and a little later that he had left, all because of a slight difference of opinions. Well, at least, mother, I almost passed the examination. If silicon had been a gas, I'd be a major general. Jamie, you can't laugh your way through life if I could only help you. Oh, you can, mother, by giving me your permission to go to Paris. Paris? And now I want to study part. May I, mother? My dear, once I helped your father make a hard decision, I told him he must do what was right for him to do. And so must you, Jamie. I'll pay your passage to Europe, and I'll send all the money that I can save. Being a parting, I'd come to know it so well. With you in Paris, Jamie, Deborah in London, William away at medical school, stay alone for the first time in my life, but life was still full. There were old friends to see and books to read and letters from all of you to answer. London, June 2nd, 1863. Paris was magnificent, mother, but London is where I can really work.  But actually I have only one real home, mother. That's wherever you are. I know, mother, the Deborah is writing to you about my health, but you must pay no attention to her. I have been working too hard, painting too much, but all I need is rest. Don't worry, but surely you knew me better than that, Jamie. I was visiting with friends in Wilmington, Delaware when your letter reached me. The armies of the North and South cut off all chance of my going to New York and take ship for England. Tell me, ma'am, my ship is no place for a woman. The Yankee gunboots are laying two off the coast primed and waiting for a blockade run. I'm aware of that, Captain, but my son hates me. When you sail tonight, I sail with you. Ma'am, I'm warning you. You may never see the light of another dawn. Captain, I taught my children to trust in God, and now I can do no less myself. You did need me here, Jamie. You were sick. You were a nurse and the right food. Someone to take your paintbrushes away from you and to send you to bed before the night was half gone. And now, now, Jamie, it's time for you to stop again. Yes, and for me to fix dinner. Goodness, I, I didn't mean to go on and on and so. I've loved every moment of it, mother. Perhaps this will tell you how much it's meant to me. Jamie, the painting's finished. Yes. And it's the best work I've ever done because my model is the greatest inspiration an artist ever had. His mother. Oh, my dear. Jamie, were you expecting callers? No, not in the usual sense of the word, only two old friends. One of them just landed at England. And Deborah, I'll go let them in. They're here, George. There's no more.  Through all these years, through all the uncertainties and separations, the words you spoke so long ago have never lost their truth. We don't need to talk or reach out our hands to each other because we're one. Our minds and hearts and souls will always be one, darling. Always. James Hilton will return in a moment. Sunday is Mother's Day, so there's still time to select the Hallmark card that will help you say what you want to say, just the way you want to say it to your mother. There's also time, but not much, to select and send an expression of your thoughtfulness to all these other people you want to remember on Mother's Day. The ones who've been especially kind to you during the year. You'll find Hallmark Mother's Day cards designed especially for grandmother, and all the others you'd like to greet on this lovely day in May. And of course you'll know when you make your selection from those cards having Hallmark on the back.  Here again is James Hilton. Thanks for the beautiful performance tonight, Jane. We are very grateful to you. Well, thank you, Jimmy. It's always a pleasure to be on the Hallmark Playhouse.  The story was quite an appropriate choice with Mother's Day on Sunday. That was rather how we felt when we chose it. Well, you have a reputation for choosing appropriate stories for the Hallmark Playhouse, but I guess that's as it should be, because I've noticed there's always an appropriate Hallmark card for every occasion. So the kind words, Jane, and thanks again for being with us. What story do you have scheduled for next week? Well, I'm going to show you the story of the Hallmark collection, the Marquis de Lafayette. We shall base our dramatization on PC-Headlit biography, and to play the role of Lafayette, we shall have as our guest Jean-Pierre O'Mont. Our Hallmark Playhouse is every Thursday. Our producer-director is Bill Gay. Our music is composed and conducted by David Rose, and our script tonight was adapted by Leonard Sinclair. Until next Thursday then, this is James Hilton saying, I'll be selected to give you expert and friendly service. Remember a Hallmark card when you carry enough to send the very best. Jane Wyman will soon be seen starring in the Warner Brothers production of the story of Will Rogers. The role of George Whistler tonight was played by Whitfield Conner. Lamont Johnson played the part of James Whistler with Barbara Jean Wong portraying him as a boy. General Mel McCormick was Ted DeCorsia and William was Eddie Firestone. We'll bring you the story of interesting people on the Hallmark Hall of Fame. Tomorrow, Fort Leavenworth, Kansas celebrates its 125th anniversary and beginning Sunday, May 11th, the nation will pay tribute to all branches of our Armed Forces during Armed Forces Week. The makers of Hallmark cards and the fine stores that feature them join with all other Americans in saluting these great guardians of our freedom. This is Frank Goss saying goodnight to you all until next week at this same time. When Hallmark Playhouse returns to present Jean-Pierre Lamont in PC head lays the Marquis de Lafayette and the week following Virginia Tapno Peacock's Marsha Burns starring Barbara Stanwick and the week after that Donald Coras pts forward the nation on the Hallmark Playhouse. This is KMBC, Kansas City, Missouri.


Hey everybody, Dr. O here. Let's talk about thermal regulation. So first, as you can see, this is an example of a negative feedback because our body has a set point that it wants to maintain. It says here 36.5 to 37.5 degrees Celsius. That'd be in the neighborhood of 97.7 to 99.5 degrees Fahrenheit. So if there's a change, our body wants to restore homeostasis to bring us back to normal and that's why it's an example of negative feedback. And a note before we jump in is that remember that 60% of the energy produced by your metabolism is heat. So we have a lot of heat that we have to deal with. But at the same time, we as a species can maintain a core body temperature, whether we're at 20 degrees below zero or 110 degrees above zero. So we have these thermal regulation processes that allow that. Let's go ahead and look at the two examples here. What happens when our body temperature goes down or up? So on the top, it shows snowflakes, it's cold, your body temperature goes down. The thermostat and your hypothalamus that maintains homeostasis doesn't like that. So it's going to kick in the mechanisms that are going to bring your body temperature up. So the first one it shows here is your blood vessels. Superficial arteries of the skin are going to be constricted.  It's 100.4 degrees. We don't want your warm blood going to the surface to lose heat through radiation. So you're going to decrease the blood flow to the skin. You're also going to decrease the blood flow to the digestive system because there's a huge surface area in there as well. So you don't want to be losing heat into your gut or out into the environment. So that's why you're going to see the constriction of these superficial blood vessels.  Then you see shivering. So shivering is going to be muscle contraction, which is going to require energy. So shivering is going to increase the amount of your metabolism that's going to generate heat as a byproduct. And then the last one there, you see the thyroid gland is going to release more thyroid hormones to increase metabolic heat production. All those things should bring your body temperature back up and you should be fine. Now, if you can't get out of the, obviously getting out of the cold is the best thing to do. If you can't do that, then certainly this system can fail at some point and you can develop hypothermia. On the flip side, point number five there, if it's hot out and your body temperature gets high, the hypothalamus will not like that either. And it's going to do it again to bring your temperature down. It's going to dilate superficial arteries.   And on top of that, the second point there, sweating is going to be initiated. So now, not only are you going to be radiating heat or maybe if you find a nice breeze or use a fan, you'll be getting rid of heat from convection. But you also will be getting rid of heat now from sweat of aberration. And remember that sweat of aberration is dependent on humidity. If it's very humid out, sweat of aberration is not going to work very much. It doesn't mean you won't sweat. You're going to sweat a ton, but it won't be very effective or productive sweat. And third, the thyroid's going to do the opposite. The thyroid's going to turn itself down to try to decrease metabolic heat production. And in the end, that's to bring your temperature back to normal. If you're in a situation where you can't get out of the heat and you stay real hot, that can certainly lead to heat-based illness.  And remember, humidity is a key player there. So dress warmly if you're going to go outside when it's cold. Stay hydrated if you're going to go outside when it's hot. And keep yourself safe. One last thing to note here is there is something called cold thermogenesis. I think you can guess that as you get cold. You see two reasons why your metabolism goes up between the shivering and the metabolic changes. This is why some people do like cold plunges or they sit in ice baths. They're actually trying to stimulate their metabolism by making themselves cold. It's usually called non-shivering thermogenesis because they're not trying to get so cold they shiver because that can lead to dangerous hypothermia. But there are people that do that. Now, if that works, and I think it probably does, but I don't know if it's worth the time and effort. But if it does, it would probably lead to an increase in brown fat being used. So remember, you have two types of fat. Your white adipose tissue is stored energy. You can store somewhere in the ballpark of 3,500 calories and a pound of it. Brown fat's different. It has these uncoupling proteins in it, which means it's basically just burned for heat. The analogy I use with brown fat is lights. 99% of the energy released by a light is in the form of heat. Only 1% of it is doing the job we needed to, which is to light up the room.  It can kind of waste energy and it will also increase your heat.  So it's kind of interesting there. All right, I hope this helps. Have a wonderful day. Be blessed.


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Hey everybody, Mr. Gibson here with your next lesson in cryptography and today we're going to be talking about how we can represent text or text characters as numerical values. So we're going to build on what we've done previously in the course where we've just dealt with the 26 capital letters in the English alphabet and number them 0 through 25 and try and find a way to bring that into the modern text space. When we deal with digital mediums like typing on a computer, there's a lot more than 26 characters that we might wish to encrypt. There's punctuation, lowercase characters, and characters from other languages. So we're going to want to talk about how to represent those as numbers. And the good thing about this is that this is actually already a solved problem. There's a lot of international standards on how to do this and we're going to look at a few of those that have developed over time. So the very first standard that came out had to do with teletype printers. So this is a old photograph here from I believe the Second World War of somebody operating one of these types of printers. So this was a mechanical device that operated with an electric signal sent down the telephone line that would receive instructions on how to operate the printer. So those instructions might be to move the printer head to a different location, type of certain character. So it was a mix of print commands for certain characters and also just controlling the movements of the printhead. So kind of for formatting like tabs and spaces and things like that. The standard that became known here is ITA2 or the International Telegraph Alphabet number two, which is a five bit encoding process. So you can see from the picture here, this would actually be done on a piece of skinny long paper. They would punch holes every five spots would be five bits. So either be a punched hole or a non punched hole and five bits be read into the machine at a time and based off of the hole punchings that would decide in the machine what to do on the printer.  That would either print the character Q or the number one depending on how the machine had been set up. You can see over here there's these kind of switch commands. 11011 would switch it over to the figure printer, which would be things like symbols or numbers. And then the one next to that 11111 would switch it back to the letter configuration. So you can imagine this would this would be kind of a loud process and a long process because it'd be a room full of hole punchers printing out these commands that would be sent over the telegraph, which would then be punched on the receiving end and fed into the machine to control printer. So this was a really really kind of great process at the time. It was a way to utilize the telegraph system that was in place, but it quickly grew out of popularity as computing came around and we stopped using telegraphs and we started using internet connections. So when that became more popular, so when computers came up around in the 60s, this has become the kind of the standard for electronic communication. This is known as the American Standard Code for Information Exchange, ASCI, often pronounced ASCII. And this was a seven bit character encoding. So you can see it's got a lot more options here. There's still some legacy holdovers here from the old printers because when first computers came around they were trying to mimic what a printer would do on the screen.  They're things like tabs and feed the printer forward or move the head forward, lots of things that we can actually see. But for some examples of how this worked with characters we can see, we can look at the character F, that's a recognizable one, lowercase F, that's in row six. And the 0, 1, 1, 0 are going to correspond to bits 1, 2, 3, and 4 going from right to left. So those are the first four bits that would start to recognize this character. It's also in column six. So we look up the column and we can see there's three more bits that we need. 1, 1, 0, that's bit 7, 6, 5. So we can put those together to make the number 1, 1, 0. So that was from the column. And then 0, 1, 1, 0 from the row. That's the 7-bit identifier for the lowercase character F. You'll see that there's numbers in the ASCII table. So the number 2, that character could be represented using the row 2, which is 0, 0, 1, 0. Column 3, which is 0, 1, 1. And we can combine those together to get the 7-bit identifier 0, 1, 1, 0, 0, 1, 0. This SP, that stands for a space which might be helpful up until now we've had to remove all of the spaces from our plain text before encrypting because we didn't have a numerical value for it. Now we can leave it in. And it's represented by the first four bits of row 0, so 0, 0, 0, 0. Column 2, which is 0, 1, 0. And we can get the space character now represented in binary 0, 1, 0, 0, 0, 0, 0. So a lot of different possibilities here. We're not going to have to worry about cleaning up our text anymore. If we can see it, it can show up as a binary representation. Now in practice, these 7-bit numbers are actually represented using 8 bits. We'll do that by leading the 7-bit with a 0 in front that's called padding. So we're going to pad all these numbers out to 8 bits. And that's just for predictability. We want to make sure that every number is represented using the same number of bits. So on the receiving end, you can kind of parse that out 8 bits at a time and convert that back to the corresponding character. If some were 3 bits or 5 bits or 8 bits and they all get mushed together, the receiving end, you won't know how to break them back up into the appropriate spacing. So to just make that easy and predictable, we're always going to use 8 bits for ASCII. So here's an example. Let's say we wanted to take the message go unis with the space between them. We can convert that to binary one character at a time. So we can use the table to convert each one of those characters. I've used sp here for the space. And you just concatenate them one after the other left to right, just like you would write it out on paper. What's interesting about this binary representation is that when we take these 7 bytes, a byte is 8 bits, and we put them all together, we could convert that to decimal if we wanted to. So this long decimal number here is the same thing. That one number represents the message go unis. We could also do that to hexadecimal. So we have a lot of different ways that we could represent that string of go unis in different numerical systems. And it just depends on the algorithm that we might want to use to encrypt it. Some algorithms that we're going to learn work at the binary level. Others are going to work on the decimal level, and even more will work on the hexadecimal level. So being able to convert back and forth to these different bases gives us access to a bunch of different ciphers that we might want to use. The problem with ASCII as the only representation of letters as to numbers is those control characters I mentioned earlier. It's possible that when we encrypt an ASCII message at the binary level that the cipher text, those 8 bits for each character, are going to get mapped to one of these control things, which we can't actually see. These are, again, these are holdovers from the old physical printer days where it's telling it to tab over or scroll down the page. That's going to be hard for us to transmit because we can't see these characters. So we're going to have to pair ASCII with a different representation system that's called Base64. Base64 is a six-bit system, and it's really just designed to store binary formats into readable text. It's the whole reason that it's there. This got really popular with the internet because there's a lot of non-binary messages that we like to send like pictures or anything else that is binary, but we don't have the communication system to send that. Like email, for example, does not transmit binary information, but you get pictures in your email all the time. So how do they do that? They convert the binary image into Base64 so it can be sent through the text communication channel, and your computer knows to convert it back to binary on the receiving end. So here's how this might work, combining ASCII and Base64. Say we've got the message by, capital B, lowercase y, lowercase e. We convert that to ASCII using the table we just saw, and then we'll encrypt that somehow. We don't know any of these algorithms yet, but let's just assume that this has become the encrypted bits from that message. We'll learn a few of those algorithms in the next section. The problem with those encrypted bits is that none of those 8-bit characters actually go back to an ASCII character in the table. They don't even go back to one of the control characters. There's just no 8-bit representation in our ASCII table. So the way we can fix that is to regroup those characters into 6-bit chunks, and the Base64 guarantees that any 6-bit combination has a character that we can see. So if we use that Base64 table on the previous slide, we could send the message as lowercase m, lowercase t, uppercase k, lowercase t, and then we know that the person receiving that message are going to get those 24 bits of information exactly as intended. They could hopefully then decode it, put it back into 8-bit groups, and get the original message BYE. There's a lot of other systems that are in place. The most popular one is Unicode. The first iteration of Unicode just built off of ASCII, so it's very compatible with ASCII. In fact, the first 128 characters in Unicode are the 128 characters in ASCII, but then they've built on it. So they've found a system where you could actually use 32-bits to represent certain characters, and all of those possibilities allow us to send more complicated characters than just ones that have been used historically, but things like emojis as well. So for example, the emoji on the screen is represented with those 32-bits. A Unicode character is often displayed as capital U plus, and then the unique hexadecimal that specifies which character you're talking about. But we're not going to use Unicode in this course. We're going to be using a combination of ASCII in base 64. So that's it. That's how we're going to represent our text as numbers. We've seen how we can convert any character that we can type and see into an 8-bit ASCII number, and then we've seen how we can take any combination of bits and turn those into base 64. We'll see some more details on how that conversion process works in a future lesson, but that's it for today. Thanks for watching, and we'll catch you in the next one.


So we're just coming out of the first session of the patient advocacy track of this year's ESMO in Madrid and the topic was caregivers in cancer, something that we often don't talk about or that doesn't make the agenda at cancer conferences. It was actually quite insightful because one of the speakers presented that actually 20% of our populations can be considered informal caregivers. And informal caregivers are caregivers who provide care, as the name said, but without a professional context. And most of that work actually happens without being paid for. And this means that they contribute an enormous part to our care provision in our healthcare system. So that obviously has direct monetary impact. So they are an important part of our care system. So why there is a high prevalence and they're so important. However, the awareness about these caregivers is quite limited. And that applies to everyone, even the caregivers themselves. What was pointed out was that you don't prepare to be a caregiver. Usually it happens overnight. The diagnosis and you all of a sudden find yourself in a role you were not prepared for. And that then comes to certain challenges. So one of them is a knowledge side. So understanding how can I give better care? How can I help managing side effects and also quite physical activities? How do I lift the patient? How do I help the patient with everyday needs? Organizational challenges. So it's a quite broad package for which you're not prepared and for which it is done quite hard to get information and help. And at the same time, we should not forget that caregivers themselves are subjected to distress. And we now often start measuring distress in cancer patients themselves, but then forget the caregiver. And one of the speakers actually showed that the stress in the distress was higher in the caregivers than the patients themselves. So there's a high admit need and we just don't look at it. And if one then thinks about what this means is that caregivers being such an important part of our care system, but we are not preparing them for them, we're not supporting them, it becomes problematic because so much relies on them. And then another talk, another session focused on the caregiver and how we support them better and that caregiving itself can become a part of your identity. And if then the patient dies, you lose also a part of your identity and how we can better support caregivers through that repose it. Let us speak the highlight of that in order to reach caregivers, we have to start before the patient dies. Because this is when we have regular interactions and contact and that is the ideal time point to already start preparing people for the death, but also what comes afterwards. And she introduced the term that I would like very much is called complicated grief. I had never heard about the concept, but it is basically why grief is a part of the normal human experience. Complicated grief is then a grief that impedes or hinders you in conducting every day's lives activity. I thought that the definition was quite optimistic because it said that we consider complicated grief at last longer than a year, anyone who has ever been in this situation. So I lost my husband to my unknown mind. I can tell you one year is nothing when it comes to grief. So you get one year of grief, one year of grief, but most caregivers will tell you that the year two after losing someone is the worst. So it turns out that this is like a quite an area where we pay too little attention, where there is high admit need in itself. And it's an important part of our care system. And that we all have to think about how we can better support carers, if they can better support patients, and that we kind of make the overall end result better.


A fiery horse with the speed of light at cloud of dust and hearty high old silver, the lone ranger. With his faithful Indian companion tunnel, the daring and resourceful mast rider of the planes led the fight for law and order in the early western United States. Nowhere in the pages of history can one find a greater champion of justice. Return with us now to those thrilling days of yesteryear. From out of the past come the thundering hoofeets of a great horse, Silver. The lone ranger rides again. Come silver, let's go people. I am silver! Abner Watvers sat on the porch of his small ranch house, looking wistfully at a heavy stagecoach that stood beneath a nearby tree.  Oh, all of us grow old, old and stovent. Are you speaking to me, Abner? Oh no, no, Martha. I was just thinking that's all. Things around here haven't been the same since the boys left. Nonsense, nothing's changed. Yes it has, Martha. The building herb was here, we had them to take care of. Now they got a ranch all their own. They don't need us no more. No one needs us. No one but my old horses. Now, Abner, don't take on so. Well, even the horses don't need us much longer. Bill and Herb have asked us to come and live with them. If you want to go... No, I don't. This is my home and I want to stay here. I wish we could raise cash enough. Abner Watvers, cash enough for what? Well, I... Oh, never mind, Martha. You've been talking to the men who took over the stage line, haven't you now? Well, I... I knew it. That's the way you've been moping ever since you got back from town. You've been trying to get back in harness. Oh, it's just sitting around. Nothing to do. It gets under my skin. Oh, honey, you've done your work. You've earned enough to buy a little ranch and keep us for the rest of our days. Nothing to do but sit and wait. Just the same as the horses over there doing... waiting to die. Don't go to Martha if I had cash enough to buy an interest in that new stage line. Oh, if that's not just like a man. A year ago you were sky-hootin' because you'd sold out to the new stage line and you wouldn't have to work anymore. I know. Now you want to buy an interest so you can go back to work. Well, I, for one, am mighty glad we used the cash to pay off what we owed on this piece of land and help the boys get started on their own ranch. Nothing left but six old stogan horses and that stagecoach. Look at her over there, Martha. Sturdy as she ever was. Shiny. Oh, it should be. You spend half your time puttering around it. Can't help thinking when I look at her how proud I was when those horses were young and spry and rare in the go. I'd sit there calm and straight, make a big thing of pullin' on my gloves while all the townfolk gathered around admiring an Indian name. I remember. I used to watch. Then I'd take the reins in one hand, take the whip in the other, just like this I'd hold it. Then I'd crack the whip and I'd shout, get up there! Get along there, Blackie! Come on, Dusty, get along! Make a line there. Look at your horses over there. Well, they remember, Martha.  They heard me. Look at old Blackie standin' eye on me. As them was the days. Dog gone, I wish I could raise the cash. I'd buy into this new outfit and show these young whipperslappers how to run a stage line. Well, you may as well forget it, Edna. You haven't got the cash, and if you did have, I wouldn't hear you if you're trying to drive a stage again. Martha, I hear horsemen coming this way. They must be on the other side of the house, sir. Oh, there they come. Snakes are alive, Martha. Look at that white horse. Look at that stride. Did you ever see such a critter? That pain's a good horse, too. Edna, that man on that white horse is masked. What? Masked? Sure enough. Maybe he's an outlaw. Maybe they've come into robbers. Oh, dear, I wonder. I don't know though they've come to make trouble. Hi there. What does that mask mean, stranger? What do you want here? Nothing but water. We like to water our horses until our kin teams. I think... Oh, what is it, mister? Why are you looking at me that way? Aren't you having their watches? Yeah, what if I am?  I remember when you used to drive the San Pedro trail. You do? I certainly do. The record you made over that trail has never been matched. You hear that? You hear what he said? Yes, I heard it. If water is all you want, mister, the trough is right over yonder. You're more than welcome. Thanks, thanks a lot. Hello, take care of it, will you? This way, sir. Perhaps you can help me. If it's cash, mister... No, not cash. The express office has been robbed. You mean the express office in Woodstock? Yes. That's my old office. Yes, I know. What is stolen? Did the crooks get away with much? Well, quite a bit of gold was in the office. They got away with all of it. Oh, God, you hear that, Martha? Such things never happened when I was running the stage line. There were eight men. Eight of them, eh? Yes, Lefty Jordan's gang. Lefty Jordan? Martha, you hear that? I'm not dead. That critter's been dodging the law for as long as I can remember. That's why there's such a big reward for his capture and additional rewards for every member of his gang. Uh, do you know the one side? He's gone right at you. Well, he may come this way. Oh, my thanks. Abner becomes fast here while he might make no end to trouble for us. Hold on, mister. If he was coming this way, he'd have been here by now, wouldn't he? Not necessarily. He'd be ahead of you. He might find some place near Woodstock and hide until he sees a good chance to escape. Did he start out this way? No, Abner. Left town with a north trail. All the lawmen went in that direction to look for him. If he's smart, he'll lie low for a while and circle back this way and escape over the south trail when no one is looking for him. He'd have to cross the San Pedro Bridge to get anywhere. It'd be miles to go around the canyon. That's right. Doggone, I'd better get my rifle loaded. If eight gunslingers are heading this way with stolen gold, I'm gonna do my doggone as to stop them. The north is all ready now. All right, thanks, tonneau. See here, mister. If you're looking for the Jordan Gang, you must be on the side of the law. I am. Then why do you wear a mask? Uh, this may explain it, Abner. What's that? Some bullets. I hope we'll meet again. Adios. Ready, big fella? Ready, fella? You ready? Hey! This bullet's made of silver. All silver! Come on! Martha. Martha, take a good look at that man that's riding away. Take a good look at him. He's the Lone Ranger. The Lone Ranger and tonneau crisscross the area between the town of Woodstock and the San Pedro Canyon while lawmen hunted north of town for the Jordan Gang. The masked man had reasoned accurately. The outlaws had the circle to the south, but had exercised extreme caution to keep to hard ground and the tracks of their horses wouldn't show. At one point, they rode for several miles in a shallow stream. Good day, boy. Finally, Jordan signaled a halt. Oh! Oh! Oh, boy. Hold it. Should have done a good job of hiding our tracks, lefty. Yeah, we had to. I bet we left every lawnman hunting for us on the other side of town. Probably did, but we sure wore our horses out doing it. We need fresh horses. I know where we can get them, lefty. Over there. If my eyes are wrong, it's the right smart-looking critters in that corral. Yeah, I see them. Don't look like there's anyone around. Who owns that outfit, any of you know? I know who lives there. I remember hearing about that outfit. Yeah, who is it, Jake? There's two brothers there. They fought the place about a year ago to raise horses. They're the sons of old man Watris. Watris. Watris. Yeah, have no Watris. We used to run the stage line before he sold out. Oh, yeah. Bill and Herb. That's the name of the boys. Bill and Herb Watris. Well, they're breeding horses. They got what we want. Well, then, what are we waiting for? I see something I want. I got a habit of getting it. We help ourselves the horses and cross the San Pedro Bridge. We be in the clear. What about the critters we got now? Are we going to take them along with us? You take horses along with us, but not these. We take fresh horses, extra ones, and we can keep going as long as we want. Yeah. We can always sell a few extra horses of their good ones. What do we do? Charge up there and help ourselves? Oh, hold on, Jake. That's the way to invite lead poisoning. Well, I... You ride up to the house without flashing any hardware or showing any signs of making trouble. Is there only one thing wrong, Lempty? The way your pick has been spread around on hand, Bill, the chances are two to one that you'll be recognized. Maybe so. That'll be time enough to start getting rough. Come on. Get up there. Come on. Get up on that. Come on, Herb. Food's spread out on the table. Sit down and start eating. Just a minute, Bill. Look out this window. Huh? What are you looking at? Some men coming this way. Eight of them. Sure enough. Maybe they're coming to buy horses. Yeah, they could use them. Horses there riding are just about stove in. I reckon we can postpone eating for a while if we can sell eight or nine horses, huh? Hey, Bill, take a look at that one man, the big credit. There's something familiar about him. Have you seen him before? I don't know where I've seen him, but as you say, he looks familiar. I can't remember. He's coming up to the door. We'll ask him where we've seen him. Here. I'll open the door. If it's horses you want, Mr. Weigill. I remember. We want horses, all right. Bill, it's Lefty George. Jordan. Great scratcher, right, Herb? Don't get tough, you two. Put those guns down. You can't. We're getting a house here, son. We've got to talk business. Come on. Get in there. Why?  If you think you can get away with it... Oh! Now watch yourself. Herb. Herb. It's just my heart. That shot will hurt more. You boys get rough with me. My friends are awful fast on the trigger. Rope these two, and we help ourselves to the horses and get away from here. Why don't we drill the two of them and let it go with that, Lefty? I said, rope them. Got no hankering to have a noose around my neck. I'm ever caught. And that's what'll happen if we leave dead men lying around behind us. Don't get away with this, Jordan. We'll see about that. Come on, hurry up, Pete.    All right. Now, give me your hands. If I make these ropes too tight, don't let out a squeak.  Now, you take care of that one, Jake. Come on. Have any trouble with them. Slap them on the head with your gun barrel. The curtain falls on the first act of our Lone Ranger story. Before the next exciting scenes, please permit us to pause for just a few moments. To our story, the Jordan gang wasted no time on the horse ranch. They selected the best horses from the corral and hurried away, leaving Herb and Bill tightly bound on the floor of the house. Meanwhile, the Lone Ranger and Tonto continued their search for some sign of a thieves. It seemed like a hopeless case. Then the masked man suddenly held up one hand. Hello, right up. Oh, there are hoof marks. Yes, a lot of them. They came out of that stream over there. That's right. At least half a dozen horses passed this way. The rake men in Jordan gang, the tracks go over there toward that ranch. Let me see them. Come on, Tonto.  Put a few minutes for the masked man and his Indian companion to reach the corral. There they saw the tired horses they had followed. The tracks go away from here. Very big for the easy. Heading south. That's right. Hey! I've come from house. Come on, Tonto. Talk about this. Take care of that one, Tonto. I'll... You, Bill, watch this. How do you know? You must be Herb. That's right. You'll have those robes cut away in just a second. Who are you? How do you know us? I know your father. Who tied you? Lefty Jordan's gang. There you are. Thanks. They stole our horses. They're heading for the San Pedro Bridge. That's what we wanted to know. There's eight of them in Iran. You've been wounded. Oh, never mind that. It's just a scratch. Get after those crooks. That's the ticket. If you're on an outlaw, go and get them. We'll go with you. Oh, what are you going to ride? Ride? Well, horses. I... I hadn't thought of that. Herb, they took our horses. The ones they left to war on. You can travel on them, but not very fast. Those crooks are riding our horse flesh. We'd never catch them. I don't suppose you and your Indian friend ever chance, even if you did catch them. Two against eight? Yeah. That's too long. Yeah. I guess there's nothing for us to do, Herb, but take the loss and like it. There might be a way to even the odds. What do you mean? I have an idea. Tutto, you stay with Bill and Herb. Ride with them. Follow the trail that Jordan gang, even though you do have to go slowly. Gang got good start. They have a good start. I think you'll finally continue on a roundabout route to avoid being seen by anyone. What are you going to do? No time to explain now. You three get on the trail and follow it. Oh, I'm going back to Abner's ranch. I think I know how we can block those crooks. Does he mean dance, please? That's right. What for? Oh, dad can't help none. Hold still there. Abner Watress was still seated on the porch of his small ranch house, his recently loaded rifle resting across his knees. The old man stood up when he heard the distant thunder of hoops. Well, hang the vanilla horseman coming again. Well, I just hope it's Lifty Jordan. I'd like to get a shot at that horny jump in Juniper. It's the mask man coming back. Martha! Martha, look there! It doesn't die back. Now, what's the matter? Look it there, Martha. It's the mask man coming back here. Why? You're right. He is coming back. Riding like the wind. I don't see anyone chasing him. Do you? If there was, he wouldn't be running away from him. No mistake about it. He's got something on his mind. Hold still there. Hold on. He's just going to be caught. What's up, mister? Abner, answer my questions and be quick. What's the trouble? How long does it take to get from here the San Pedro Bridge? No, the horse. No, with a stagecoach. Oh, about half an hour. If there are four or six good horses, take six if they're pulling a load. How long from your son's ranch to the bridge? Well, that's a lot longer. How long? Well, three times as long. Maybe four. Then there is a chance. A chance of what? What intarnation are you so mysterious about? Can that old stage of yours be moved? It's sure been moved. Good. Bring out your horses and hitch them up. Them old horses? Dog gone, mister. Them critters is old. War out. Warlum is blind. Bring them out. They've got to help pull the stage. But for what? Where to? Now, look here, mister. I don't know what you're planning to do, but those old horses haven't pulled a stage in two years. They couldn't do it now. Horses are a lot like people, Mrs. Watris. They'll do what's expected of them if they're made to understand how important it is. I don't know, mister. Them horses couldn't be beaten their day. Abner, you're too old to drive. Yes, I know. What? Who is? Aren't you? Like fun I am, and any blameful it says I am. You're too old to drive. I can handle rain as good as any man. Darn sight better than these young ripper snappers.  They might like to be back in harness just as much as you would. If you just stop asking questions long enough to tell me what for. To smash the lefty Jordan gang. What? Yes, that's right. I just come from your son's ranch. The Jordan gang stop there, and they... The boy is out here. Bill and Herbert are all right, Mrs. Watris. Are you sure? Oh, mister, if they hurt their boys... Lefty Jordan and his men tied them up, then stole their horses. Why are there no good Theven criggers? Those crooks are on their way now to the San Pedro Bridge. The triple twisted horse Theven sidewinders. Leave our boys tied up will they? Make all for the best horse flesh in this part of the country, eh? Get extra ammunition for that rifle, and get those horses hitched. We're going to trap those outlaws. Great land of milk and honey. Why didn't you tell me all this in the first place? I wouldn't be wasting time standing here, John, if I'd have known. Get the extra ammunition, and save your arguments. I'll get the horses hitched just as fast as I can. You wait right there, mister. Are you sure the boys are all right? Yes, the greatest concern is to get their horses back, Mr. Watris. You won't let anything happen to Evan the Willier. I won't. I'll fix that ammunition right away. Another half hour and we'll be at the bridge, Lefty. All right, Jake, then we won't have a thing to worry about. The law don't have guards at the bridge. Ah, that bridge is clear. The law won't figure we're anywhere but in the north side of town. By the time you get wise, it'll be too late for him to do anything about it. It's a mighty slick scheme, Lefty. Well, we do meet the law, boss, and we shoot it out. There's nothing going to stop us once we reach that bridge. Get up there. Come on. Get up there. Get them horses. They're sure steppin' spry, lookin' lively. My thunder Blackie has fired as I just like he used to have. Steady there, Blackie. You said to go on the jibby. Here, I'll give you a hand. I'm going with you. Martha! I know you're soggin', Ebner. But see here, it's not safe. The extra ammunition's up on the seat, Ebner. All right, inside.  What a woman to try to reason with. Martha, you're... Baby, breath the dragon, Ebner Watris. Well, get in then. Get in. Can't take time to argue. I know, Ebner. You and I will travel alongside your lead horses to set the pace, Ebner. All right, ahead and set the pace. These horses seem to have lost all their old age. We'll stick with you. Good. Be ready in just a second. I've got to pull my gloves on. Never mind your gloves. Now I'm ready. Look at them old horses, Martha. Clatterin' and pawin' the ground. Anxious to get started and on the run. Ready, Ebner? All set. Good. Come on, fill it in. Get up there. Zero. Dusty. That tube is just like it used to be. Look at them travel. Ain't no no more. They're young. They're back in harness again. Yes, sir.  Get along there. Come on, fill it in. Ebner Watris felt the thrill of another day return to him as he sat once again on the hide-chancing seat of the aged stagecoach. His eyes flashed with excitement. Get along there. Ebner's horses strained to maintain a position alongside the lone ranger and his powerful white stallion. Come on, fill it in. Mile after mile, rolled beneath the rumbling wheels and thundering hoops. And then the San Pedro Bridge was in sight. It was a narrow bridge. It's barely wide enough to carry the stagecoach. Off to the left, the lone ranger saw eight horsemen. Ebner, look. Horsemen. I see them. It's a Jordan gang. We're ahead of them. Run your stage on the bridge and join me. Who's over here? Back out. While Ebner ran the stage on the bridge, the lone ranger rained up his great white stallion behind a huge pile of rocks near the entrance to the bridge. Come over here behind these rocks. Bring your wife with you. The bullers made a fortress that no bullet could penetrate. In a moment, Ebner and Martha had left the stage and joined the mask man. Who's he traveling? Keep behind these rocks and you'll be safe enough.   They can't cross without moving the stage. Before they can move the stage, they've got to get past us. I see. There they come. Don't you want any more of yourself than you have to? I shall be. Hey, get that stage out of the way. Now I'm on your tin time. You're covered, Jordan. Hello, aren't you? Hello. You want gunplay? Remember that you're the ones that are out in the open. You surrender or get shot down. You better make up your minds. Lefty, we're cut off. Those rocks should make a barricade for the creditors behind you. Or is it we better backtrack? Turn your horses. You better surrender if you don't want to be dropped in your tracks.  Hey, Lefty. He's right. Look over there. More riders coming. Or is it just one chance? Rush them from both sides and open fire. Don't try it, Lefty. Let him come. We have cut him down. I'll arm. Lefty, we can't go no closer. They can cut us down like flies.  I got it up. I surrender. Me too.  I'm quitting. All right. We give up. While the Lone Ranger and Abner covered the gang, Abner's sons, Bill and Herb, accompanied by Tonto, rode up and dismounted. Hold it. Hold it. Hold it. Hold it. Hold it. I'd be glad you got here, boys. You're just in time to see a parcel of cutthroat horse thieves hog-tired for the long. Just. And it's your old stagecoach. Yeah, sure is. And your old horses. Yeah.  Well, you're just in time to help with the rope. Well, there, your prisoner's, Abner. When you turn this gang over to the law, you'll have reward enough to do almost anything you want. Not on your life. You're the one that gets the reward money. Thanks alive, yes. You let Abner get his hand on any cash you'll be buying at the stage line. Well, that's not a bad idea. Huh? Well, you hear that, Martha? Hear that? He said that's not a bad idea. We'll see you again, Abner. And we'll look for the watchers' stages. You watch for a mister? You sure as thunder see him? Good. Let me come up.  I'll do that. You have just heard as a copyrighted feature of the Lone Ranger Incorporated.


If you're doing a job now that you hate, then you have to be as kissing a frog. Just kiss a few frogs towards meeting the prince. But don't ever mistake a frog for a prince.


Long distance relationships are difficult. Let's be real here. 40% of long distance relationships end in breakup. And most long distance relationships don't even last for five months. So how can you create one that's amazing one where your man misses you and wants to be with you and wants to talk to you again? Today I'm gonna be talking about that. I'm gonna give you the biggest reason why men don't end up feeling like they miss you in a long distance relationship and what you should be doing to make sure that he does. My name is Matthew Coast and welcome to Commitment Connection. If you're really interested in getting into a great long distance relationship and making sure that he misses you and he wants to talk to you all the time, then go and get my long distance program that I just got out that I just came out with just launched brand new. There should be a link above or below this video depending on where you're watching it from. Okay, so what's the number one reason why a guy doesn't miss a woman in a long distance relationship? The number one reason is because when you're around him or when you spend time around him you're not all that interesting to him, right? You don't leave a great impression. And that's usually what the problem is. I get women all the time, they're like, oh, well, out of sight, out of mind, right? Like if I'm not there, then he's not gonna be thinking of me. Well, that's only true if you're really boring and when he's around you or he thinks of you it's not exciting, it's not fun, it's not something where he looks forward to talking to you again and that's what you want. And so how do you do that? How do you create this? Now, I know that might have sounded a little harsh but that's the reality of it, right? If you see somebody and you're excited about them and you have a great time and they are gone, all of a sudden you think, oh, I'd love to hang out with that person again. I'd love to spend more time with that person again. But if they're not, you're not thinking that is because when they were around, it wasn't that great. So what can you do? There's something that I call connection cycling and it's a really powerful method to connect with a guy and you can do this whether you're in a long distance relationship or not but if you are in one, it's a really powerful way if you want him to miss you to connect with them. And so it's got four steps. The first one is connection. The second one is shared positive emotional experiences. The third one is distancing and then the fourth one is just repeating it over and over again which is why it's connection cycling because you're cycling this positive emotional connection that you have with them. And so what are some of the mistakes that women make in long distance relationships? One of the big ones is that they try to stay connected with a guy all the time. They think if I'm always in front of him and I'm always talking to him and I'm always connecting with him, then he will really like me and really care about me and feel amazing about me. But that's usually not the case and it's really difficult to stay engaging and to stay interesting if you're trying to connect with them all the time. Oh, by the way, if you're here watching us right now say hello in the chat and let us know where in the world you're watching it from. It's really cool to see women from all over the world watching these live streams. So don't try to stay connected with them all the time. It's not that important to do. And in fact, it's better to give him some space. If you want him to miss you, there's gotta be some space. He can't miss you if you're there all the time, if you're constantly reaching out to him, if you're constantly trying to talk to him, finding out what's going on. Is he okay? Is he thinking about you? Having the same conversation, born conversation over and over and over again because you don't know what else to talk about other than just sending him and saying, hey, what's going on? What are you doing today? Here's what I did. Oh, I did my laundry. That's really cool. And it's like, I want to work. It's boring. So another mistake that women kind of tend to make is they'll go to the other extreme, the other opposite side of the extreme, which is leaning too far back. And what will end up happening then is that a guy will think that you're not interested in him or he might think that you're playing games with him or something like that. And you don't want him to feel that way. Another mistake that a lot of women make is they'll build negative emotional experiences with a guy because they want some type of emotional response from him. And I totally get that and I totally understand that, but you don't want negative responses with him because then he'll start associating you in a negative light and you don't want him to do that. And things that create negative emotional responses are things like calling him and baiting him for certain responses constantly, trying to get him to say that he likes you or that he loves you and asking him if he still likes you and stuff like that or for instance, calling him and trying to seek reassurance from him, right? Like asking him if things are wrong, if he's seeing other people, all that kind of stuff. And another one is calling and texting with him and arguing all the time because you know that's gonna keep him on the connection longer. I get women that talk about doing these things all the time in our community where they'll say things like they're like, well, you know, this is what I did and we argued, but you know, I really wanted to connect with them and it's just, it's the wrong way to do it. And I'll talk about what you should be doing instead here in just a second. So let's talk about the connection part first. And so a lot of women are like, okay, how often should I be connecting with him? How many times should I connect with him? How many days should I connect with him? And should I do it every single day? Should I do it every other day? And really the answer is that it kind of is up to you. You don't need to connect with them every single day. And sometimes it might be better to not connect with them every single day. Some couples want to because they want to stay connected that much but it's actually giving him some room to breathe. It's like when you're away from something for a while, when you come back to it, all of a sudden it's more exciting, right? If you're around something, there's something out there, I can't remember the exact name of it. It's something like the law of, it's about being around somebody all the time. Familiarity, that's what it's called. It's called the law of familiarity. And what the law of familiarity states is that the more that you're around something, the more you start taking it for granted. And so you want to create some kind of distancing. There's something that I talk about in the forever woman program if you have that of mine where you create scarcity, right?  So how do you create a connection with a guy? And there's really two big types of ways that you create a connection. The first one is creating a connection to yourself. And this is really important because the more you create a connection to yourself in the right way, the more that you'll connect with him in the right way naturally, doing it without trying a bunch of things. You don't have to try to do a whole bunch of stuff and play some games and read all my books about how to text a guy because you naturally will come from a place of feeling good, feeling happy, feeling strong, feeling worthy. And so you can use those text messages and the words and phrases and stuff that I teach and you can come from a spot that's really, really empowering which will make you naturally do a lot of those things. And so how do you connect with yourself? What does that even mean? So basically what it looks like is one is changing your belief systems and getting to a place where you really value and you love yourself and you believe that you really deserve a great man and a great relationship.     Another way to connect to yourself is connecting to who you are in the moment, connecting to your emotions, connecting to your body, getting inside of kind of your feminine energy and connecting to yourself in that way. And then when you connect with a guy from being in your body, being in your emotions, being in the moment, then what ends up happening is you connect with him through those things. And most guys are in their head and they're thinking about things and they're very logical or semi-logical, at least they tend to be a little bit more logical. They tend to have more of a difficulty in connecting with their emotions.  And so the next part is connecting with him and actually your communication standpoint of connecting with him.  And the way that I talk about this is if you've ever seen a good movie versus a bad movie, right? If you go and see a good movie, overall the movie gives you a positive emotional experience of watching it. That's what makes a good movie a good movie. If you think about good movies that you've seen in the past, whether they're comedies or dramas or whatever, right? Like think of like the classics, like The Godfather, right? If you watch The Godfather, you'll see that there's all these emotions that you experience. You laugh, you cry, you're in anticipation, you're going through all these different things.  You want to be like a good movie for him. And the easiest way to do that is to do what we were talking about before, which is connecting with yourself. Another way to do that is to connect with him and his emotions through communication. And the fastest way to do that is through using questions. Cause what you focus on is what you feel. So remember that what you focus on is what you feel. And if you want him to feel emotions, the fastest way to get him to focus on those things that make him feel something is to ask him questions. So for instance, if I asked you what's something that you're excited about? Like what's something that you're excited about in your life right now? Like what are you anticipating? What are you excited for? What's something that's coming up that you're really excited to experience or do or be a part of? And if I ask you that question and you sit and think about it, you'll start coming up with things that you're excited about and then you'll start feeling that emotional experience of excitement because you're thinking about things that you're excited about. And you can do that for all kinds of different things, right? You can ask him, you know, what's something that you're scared of? What's something that or you can ask him, have you ever gone skydiving? You know, just ask him different questions about different things and it'll elicit emotional responses from him. And the more emotional responses that you elicit from him and he starts to feel the more that he'll associate those feelings with you and then you'll become like that good movie that you watched and he'll want to see you over and over and over again. If you get what I'm talking about here, say I get it in the chat. If you don't get what I'm talking about, ask a question and I will get to it in the end. And if you have any questions about anything, just go ahead and ask them in the chat and I will get to those questions here in a little bit. So the next part that we're gonna be talking about is distancing. So there's a thing that I talk about in the forever woman program and it's this thing called mirroring. And basically what you wanna do is you wanna mirror a guy's interest level in you. And so if a guy's hot, you can be hot. And if a guy's cold, then you wanna be cold. And the biggest mistake that women make around this is when a guy gets cold, they tend to chase after him. They start kinda grasping and they're like, oh, he's pulling away. I need to start doing a bunch of things in order to get him back, right? And that's usually the exact opposite of what you wanna do.  There's seasons in life. There's times when you are focused on different things. Maybe you're focused on movies and then another time you're focused on working out or you're focused on underwater basket weaving or whatever your hobbies are, right? Whatever it is that you do, there's different seasons that we get into where we focus on different things. And so it's one of those things where he might have his focus on you for a period of time and then take it off of you and put it on something else. Well, that time where he takes it off of you and puts it on something else, you want to pull back. You want to give him space because what it does is it creates a vacuum and it makes him feel like, oh man, like there's this thing that I was really connected to and all of a sudden there's a vacuum and now I can come into that space. And so you want to give him that space and that's what ends up making him miss you. Because he thinks, man, there's this wonderful woman. I felt so good when I was around her and she's so beautiful and classy and high value and I just wanna show her off to all my friends and I've told these people about her and she's different than all the other women that I've met and all the things that come up for a guy when he meets a woman who's different and is using my program, the forever woman. These are the things that he'll say.   And so what are you doing when you pull back? That's a very important thing because what women tend to do when they come to me is they're like, okay, this guy pulled back and I'm so mad and we had such a great connection and now it's over and it's like whoa, whoa, whoa, whoa. Like how about you focus on other things, right?  You feel whatever you focus on.   So instead what you wanna do is start focusing on the other things in your life. And number one you wanna focus on is creating an abundance of connection. And I talk about this in my forever woman program as well as well as the Long Distance Allure program. There should be a link above and below this video if you're interested in taking a look at it. And the abundance of connection is really about connecting with different things in the world because we have a need, we all have a need of wanting to get connection. And if this guy is your only real source of connection then you're going to constantly kind of go after connection with him. Instead you wanna have a variety of connection in your life so that you don't need to get connection with him. Instead you can get connection with yourself. You can get connection with animals. You can get connection with friends. You can get connection with family. If you're not in a committed relationship yet and you're doing Long Distance and he hasn't tried to get exclusive with you or any of that kind of thing you should be connecting with other men as well and going on dates with other men and creating an abundance of options that you can have in your life. But you definitely want to have an abundance of connection and this can also be things like a connection to the universe or connection to God or connection to whatever you believe in spirituality. And so that's a really, really important powerful thing that you can do in the place where you're distancing yourself.  But other things that you want to do and this is just my suggestion but what you should really do is put yourself into empowering positive emotional states that you want to experience on a continual basis. And let me explain why. So if you've ever been in a garden if you've ever actually grown some plants and stuff in a garden before one thing that you know is that you have to tend to the garden. You have to constantly go in and clean up and make sure everything's good in the garden. And if you don't, weeds will naturally just grow in the garden. That's just what happens. And if you let the weeds grow for long enough without pulling them out they end up becoming giant weeds and they'll take over the flowers or the plants or whatever you planted in the garden because weeds are really good at growing.  Well, it's the same thing with your mind. Your mind, we evolved in a world where we had to constantly worry about danger and what was going on. And so we had to focus on all those things but now we live in a world where we're bombarded with information and there's always bad things going on in the world. There's just never ending bad things. And you learn about them in your phone and you can get and learn about these things a minute after it happens and there's a million different sites talking about all the million different bad things that are going on in the world. And so your mind will naturally go to those things. If you want to experience positive emotional states if you wanna feel love, if you wanna feel excitement, if you wanna feel gratitude and you wanna really appreciate your life and feel happy all the time, you have to pursue those emotional experiences. They don't grow on their own, you have to plant them. And so my suggestion is that you continually and do this on a daily basis when you're not around your guy, just become your own source of happiness. And the easiest and fastest way to do that is through gratitude. So think about what you're grateful for on a daily basis. And if you're not grateful for anything, because sometimes I get women that are like, all right, man, I'm not grateful for anything. What could you be grateful for if you really wanted to be grateful? What could you be grateful for? What's going right in your life? What are things that are happening in your life that are great, that are awesome, right? And some of those things might be just the fact that you can feel things, the fact that you can think, the fact that you're alive, that you're healthy, that the sun's out or maybe the sun isn't out, but that you live in a cool place or a great country or maybe that there's beauty all around you or that you're able to live in a good place or that you have a good job or whatever, right? You live during a great time period. You have the ability to connect with people on the internet that you have the ability to get all of this information at your fingertips without needing to do necessarily almost anything. And so what are you grateful for? That's, I'm friends with people from all walks of life, from people that are super rich to super poor, from people that live all over the globe. I'm friends with people all over the place. And one of the things that I found is that it doesn't matter how rich you are, it doesn't matter how successful you are, it doesn't matter any of those things.  And I've met people that barely can make enough money to pay their rent every month.  And so it's not about how successful you are, but it's about how grateful you are and how much you can focus on the things that you appreciate and that you love in your life. And the reason that this is really valuable is because when you go back to the guy that you're connected with, then, and you're in a happy mood, it's easy for him, one, to make you happy. And two, it's easy for him to win with you.  And his presence makes her more happy. And if you're already happy, that's what's gonna happen is having a guy in your life is only gonna enhance your life.   And that's incredibly important. And if you want a really high quality guy, you need to become your own source of happiness. And so that's what I suggest, is that you focus on your own happiness and two, focus on being your own source of value. So reinforce the beliefs that you're enough, that you're worth it, that you're worth more than crappy behavior from men and that you're worth being in a great relationship with because that, like I said, with the law of belief transference, you'll transfer those beliefs to the guy.  So get busy thinking about and focusing on and creating the things, more of the things that you want in your life. One of those things is emotions. Another one is a great relationship. And other things might be, you know, having lots of fun or being successful or whatever being happy and successful and what you want looks like, that's what you should be focusing on. So that's it for today. If anybody has any questions, I would love to jump in the chat here and see what kind of questions people are asking. I may have actually ended up not going to the questions first. So if you have any questions about anything, let me know if you're interested in my program about how to make a guy miss you in a long distance relationship, you can check that out as well. So let's see here. Questions, questions, questions, questions, questions. Oh, there is something. All right, we're having some technical difficulties here. So thank you so much for being here today. I would take questions, but it looks like we're having technical difficulties. So I will just plan on ending this right now. And I will just say thank you so much for being here with us today. I'd love to answer your questions. And unfortunately there's something wrong with my technical equipment and I'm not getting any of the questions. Let me try to see if I can go to the places where everybody is and see if there's anybody asking any questions there. So Dejuven sure says, how can you manage long distance relationships? Well, I have an entire program on that that you can get. There should be a link above and below this. And it depends on what you mean by manage long distance relationships. You should do all the things that I was just talking about in this live stream. That's the first thing that you should do. It's all the things that we were just talking about. And all right, well, it looks like we're having a hard time getting people on here. So I thank you everybody for being here. I guess I will speak with you again soon.


First of all, definition of the group. A group is basically a number of separate legal entities. They are subject to common control. So again, the word is common control. Maybe there are three companies, parent, subsidiary and subsidiary, but control is at one place, common control or the parent is controlling all those others. And therefore can be said to be a single economic entity for the financial reporting purposes. If there are three or four or five, but one single unit, we consider it as a one single unit. Control is defined the power to govern the financial and operating policies. That is the crux of the matter. That if you are in a position to control the financial and operating policies, it means you got a full control. Dominating control rather of an entity so as to obtain benefits from its activity. Because if you have the control, then the policy will claim that will be beneficial to you. The most common way of to control one entity to another is by obtaining more than 50% of voting shares. So generally that's a formula that you get more than 50% of voting shares. So it means we assume that you got the control. The acquiring company, again this word acquiring means the one, the parent company, is known parent and the acquired is called subsidiary. The parent company is required to prepare consolidated financial statement unless it is specifically exempted by any other IES. So the parent company is basically responsible to prepare the group accounts. It doesn't mean that they don't prepare their separate accounts. No, they have to prepare their separate account as well. But the parent company in the group company has to additionally make consolidated accounts. Investor control and investing if only if it has all the following. There are conditions for control. Number one, power over the investing has existing right that gives its current ability to direct and relevant activities significantly affect the investors return. The investment company has significant influence on its policies so that you can direct it. Exposure or right to variable returns from its investment of the investing. Normally when we invest, we earn a certain percent profit. In this case, it's not like that. It's a variable. Variable in the sense that the more you make a subsidiary profit, the more you get your share. The ability to use its power over the investing to affect the amount of investor returns having decision making rights. The parent company has decision making rights. Normally it happens that the group takes a certain loan from the bank and distributes it among the other companies. It has control. The reason is that in the group accounts, we combine the three or four companies and make consolidated accounts. And we go to the bank based on that. Look at our group and we need so many funds in it. They give you funds. Then it is your choice where you put it. That is, the parent keeps it with him or divides it with other subsidiaries. Loss of control. De-recognize the assets and liabilities of the former subsidiary from the consolidation. If your control ends for some reason, how will it end? For example, you have 60% shares of a company B. So if you send 20% from that company, then 40% remains. Then you do not have control. So the meaning of control is that you have more than 50% shares. Remember, the decision of consolidation should be made by ability to control and not the percentage held. That is a conflict basically what I said earlier, but it is not a conflict. He says clearly that control is important. But in certain cases, if you have 46% share, then you can show that we are in a position to take dominant influence on the company's affairs. So in that case, you are eligible to prepare the consolidated accounts. So necessarily one thing is clear that control is from holding shares. But in case you show 46% or 49% that we are the controller, and the other shareholders do not come to the competition, so in that case you can consolidate the accounts. A wholly owned parent is not to consolidate the accounts of its subsidiaries. This is an interesting thing. A is parent company, B is subsidiary company. But if there are other companies like K parent and A is subsidiary, then in that case A will not have to make consolidated accounts. Because consolidated accounts are only made by parent companies. If you are already subsidiary, then you will not make consolidated accounts. Subsidaries can be excluded from consolidation if the control is intended to be temporary. Because normally when we invest more than 50% shares, it does not mean that we have to sell it tomorrow. In fact, we have to continue it over a longer period of time. But if your intention is to sell it out after a while, then you still do not need to consolidate it as such. They are expected to sell within the next 12 months. Clearly, if you sell it in the coming 12 months, then you do not need to consolidate it. One thing is that when you acquire it, then how to buy shares? Normally it does not happen that you go to a company, but you have to buy shares from the market. And when you go to buy shares from the market, then you do not buy such a big chunk, but gradually you increase it. And when you have more than 50% shares, then you become the parent company. Normally in Pakistan, the insurance company, Jubilee, their shares are bought slowly, and then become the parent company. So this is also necessary. And where management is actively seeking a buyer? If you want to sell it, and you are also trying to find a buyer and we will sell it, then even then you do not need to consolidate it. Subsidies in the positions are traded as held for trading as IS32. If you do not have control, then your investment is held for trading. If it becomes less than 20%, then it is held for trading. But if your share remains between 20% to 50%, then it becomes an associated company. And being an associated company, you have to consolidate it again. You do not consolidate it fully. In fact, I will go ahead and tell you that there is a simple calculation in the associated company. I will show you now. Thank you very much.