Harry Horst with a speed of light, a cloud of dust and a hoffy high of silver! The moon-ra- The Indian companion toggle, the daring and resourceful mask-wider 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. Recurring with us now to those thrilling days of yesteryear. From out of the past come the thundering hoofbeats of the Greenhorst server! The whole ranger rides again! More solar! More solar! More solar! Sam is a boy of tennis. He busts right in the robbers' den. And that's his man because he knows he's got g... Cereal's all right. The nourishing old cereal that's shaped like little levelers. The ready-to-eat cereal with a wonderful toasted old flavor. What's more, every delicious spoon full of curios and milk is real muscle-building food. That's right, each spoonful contains vitamins, minerals and proteins your body needs. And these good things in a Cheerios breakfast do good things for your body. Help you have healthy nerves, good red blood, strong bones and muscles. Yes, Cheerios is made to give you real go-power. So try Cheerios, the famous old cereal that needs no cooking. And soon you'll hear people say, What? He's feeling his cereal. Two men sat at a table in the cafe at Milton. The younger of the two, known as Jim Green, spoke to his companion, Carlos, a pleasant-faced Mexican. We've got to get back to the bar, M. Carlos. Don't forget we ride in the West Range from midnight to seven in the morning. Oh, I have not forgotten, Jim. But it is so early. Come on. A couple of hours rest will do us both good with all your honor. Easy steady, boy. Come on, get under the hip.  And a good friend. Almost two months we have worked at the bar and together, over something you said in the cafe a while ago, I do not understand. What did I say? You said in about two weeks you would be leaving the bar and... Oh, that. We are good friends, Carlos, and maybe it's about time I told you some. First off, my real name isn't Jim Green. It's Jim Greenfield. Greenfield? I have heard the name before. The owner of the big turkey spread some distance out of here. Now Redstone is named Greenfield. That's right. You see, Silas Greenfield is my dad. He is your father? But why are you then, are you working at the bar? Him is your colleague. Since you and I are such good friends, Carlos, I'll tell you about that. A little more than two months ago, I... I got the sort of a fracass at the cafe in Redstone. And breaking up to then, I was sort of... Well, the kind that was always getting into one scrape or another. Yeah, perhaps, but you have changed my... Thanks to you, Carlos. Any way to get back to my story. When I got to the ranch house that night, dad was waiting for me, and he was plenty riled. By Sunday, Jim, it's about time you've gone home. I'm waiting to talk to you. Sit down. All right, dad. I reckon you heard about the little trouble I had in town, huh? I heard about it all right. I told you before, if you had any more trouble and didn't buckle down and work like a man, I'd do something about it. Why? I don't say. You're packing up and leaving here in the morning. What? If you can go someplace, get a ranch job and hold it for at least two months, you can come back here. If you can't do that, so help me. Everything I have will go to your cousin, Jake Allen. He has only a small ranch of me a milking. But by Jiminy he seems to make a good living on it. Jake Allen wants to get his hands on this spread. I never liked him, and I didn't think you did, dad. That has nothing to do with it. I'm giving you one more chance, but not here. You do like I said, go get a job and hold it for at least two months and bring me a letter from some rancher proving you did a good job. That's all I have to say, Jim. You heard my terms. Now it's up to you to do something about it. That's all. Good night, and goodbye.  Yeah. In a couple of weeks, my two months will be up. Then I'll get a letter from the boss and head for whom. And you'll come with me, Carlos. Well, let's get a move on. We're wasting time. See you. Come on, get it. The following morning, Jim's cousin, Jake Allen, was eating breakfast with his right-hand man, Bushy. Well, Jake, things are going right poorly here at the ranch. But it wasn't for certain operations we carry out with the men. That uncle of yours wouldn't think you were doing the work. Oh, no. We'll have to pull another robbery soon. Our cash is getting kind of low. But someday I'll own the Circle G. And maybe sooner than Uncle Cy realizes. He told me that he's changing his will in my favor in a couple of weeks. And then anything can happen.  Well, I was aiming to tell you. I wrote in the milking last night. I saw Jim Greenfield in the cafe. Seems he's working at the bar M spread under the name of Jim Green. And he has only two more weeks to go. Then his old man will take him back. Yeah, and that means I'm out in the cold. Tell me what you found out, Bushy. Your cousin had a partner, a Mexican. They were assigned to ride the West Range over there, midnight to seven. A Mexican's name's Carlos. Jim got into trouble. He'd be out for good. What are you thinking about? Tell me. Did you get a good look at the Mexican? Yeah, he has a stocky build, slick black hair. Totally nice looking, aren't we? Mm-hmm. And Jim is sort of slim, built like you. That's right. I got an idea floating around my mind, Bushy. If I knew a Mexican who could pass for that Carlos. You know, with bandana to cover his face. Well, I don't know a Mexican. But I have a friend named Milton who's something like Carlos. And he's mighty good at faking a Spanish accent. Well, by Galí, that'll do it. I'll tell you the plan. I have mine. That same evening, Toto, Indian companion to the Lone Ranger, went to Milton for supplies. He returned to the camp they shared in the nearby hills. Oh, Scott. Oh, well, I... Easy, Scott. Easy, Scott. You made a good time, Toto. It's not far to town. Moon, plenty bright. Hear anything that might lead to the outlaws that have been operating in this territory? No. But we hear two men talk at hitch-rack. And me think them plan trouble. But me put supplies in saddlebags. And me kneel down to take stones from Scouts Hope. And two men come from cafe to get horses. Them not notice me. Well, well, them talk while I'm getting ready to mount. Me hear them plenty playing. Did he hit leather soon? Yeah. What did your boss want to talk to me about? Did he tell you? He thinks you can help on a job because of the way you can fake a Mexican accent. You know, I built like somebody he wants to put something over on. Yeah, it sounds like risky business. You've taken plenty of risks before. Don't worry. Remember, you'll get plenty of cash for it. So why worry? Let's go. What?  Come on. The lone ranger decided to trail the men and find out what to claim. A masked man and Indian found the tracks left by Bushy and Sid and Oliver. Later at night, they started the entrance to Jake Allen's small ranch. I'm turning here. Yeah, the place is lighted. We'll approach it on foot and try to find out more about those two men who used to live here. These sobering scouts here on the trees. A few minutes later, the masked man and the Indians stopped on the edge of the clearing near the house. I'll approach the women on one side. You go to the one on the other side, Donald. All right, let's go. Two men separated, moving cautiously toward each side of the ranch house. The lone ranger reached the window and carefully looked inside at that moment. Reach, mister. I got a gun at your back. Reach in big quiet. All right. I was coming from the barn. I saw you sneak to this window. I saw you partner, too. I'll take your guns and get the drop on him. A man behind the lone ranger reached out to pull the guns from the masked man's hosters. With a lightning-like move, the lone ranger suddenly kicked back. Then dropped his hand, grabbing the cook's gunarm and twisting it at that place. Oh, my God! Oh, my God! You make too much noise. Oh! What happened to you, my buddy? This man surprised me. Pick up his gun. We'll have to leave quickly. The men come from the barn. Yeah, it's really great. We'll wait. Oh, get watered. All right. Easy, easy. Easy, easy. Come on. The lone ranger and turtle soon outdistance the carboys who had lost time getting their mouths at the corral. Later after covering the trail, a masked man and Indian reached their camp without mishap. Oh, oh, oh. Easy, easy. Easy. Too bad we didn't get a chance to find out more about the men in the ranch out there. Ah. That place will be closely watched from now on. We'll watch tomorrow in case those two were planning trouble. Critten falls on the first act of our lone ranger adventure. Before the next exciting piece, please permit a surprise for just a few moments. When Bill's up at the kids' house, you can't strut the flugger out. He gets so iffy, cause he knows. He says, oh, yes, he got that. The cereal shaped like little letter O's. And those O's stand for oats. The good grain Cheerios is made from. Every delicious spoonful of Cheerios and milk is real muscle building food. Each spoonful contains vitamins, mills, and proteins your body needs. Yes, those good things in a Cheerios breakfast do good things for your body. Help you have healthy nerves, good red blood, storm bones, and mottles. You can see that Cheerios is made to give you real good power. So make sure you have a Cheerios breakfast every day. Then you'll hear people say, What? He's feeling his Cheerios. Now to continue. At Jake Allen's ranch house, Jake was conferring with Bushey and Sid. What's your plan, Jake? Jim Greenfield and his sidekick to Mexican. Ride the range every night. Now you, Sid, and Bushey, wearing bandanas over your faces will pull that job I mentioned about Dawn. Bushey's gym size, you're stocky like the Mexican. In other words, we're supposed to be them, huh? That's right. And to make sure that people think so. Be sure to mention their names as if you got excited and forgot to be careful.  I get it. And be sure to cover your tracks and come back here. I'll ride over the mill so as to be there when things begin to pop. Yeah, and we ought to get plenty of cash out of that job, Jake. Don't worry, the loot will be split three ways. If things go bad, Jim Greenfield will be done for and I'll wind up owning the Circle G Spray. The following morning, Bushey and Sid waited behind some large boulders a few miles from Milton. I hear the stage coming now.  All right. Don't forget to call me Jim and I'll mention the name Carlos. Let's go. I'm ready. Come on and start shooting. Get it. Hey, looks like the guard took a bullet. Yeah, that's too bad. Throw down the case box, mister. Sure. Sure.   Carlos, keep him covered while I keep an eye on the passengers. Of course, Jim. Don't worry. I shall watch your driver close. The enemy coupled inside the coach trying to go in if they're here. They don't carry any valuables. No use wasting any time with them then. Hurry with that case box. Yeah, yeah. Here, Carlos. Good. Now get that stage out of here and be quick about it. Sure. Sure. You get that. Yeah, come on. Kill him. Come on, Sid. We'll bust the lock off that box with force, grab the contents and then beat it for Jake's money. Later, the stage arrived in Milton and caused great excitement. The sheriff noticing the curious crowd at the stage top, hurriedly left his office and pushed his way through the onlookers. Hey, what's the matter here? Let me go. The stage was held up carefully. Two masked out hoots came out of hide and throw. The guard stopped the bullet for you. What was happening? He took the cash box. I'll have a look at the guard. Somebody get the doctor and hurry. Later, the sheriff. He's dead. What happened here? Oh, hurry, Mr. Allen. A couple masked outlaws held up the stage a while ago and killed the guard. I got it. That's murder. You got a good look at the killer's driver? Yeah. How about that driver? Well, one was slim. The other stocky and spoke like a Mexican. They were riding a bronc and a pinot. The hold up happened at Big Boater's Hollow, a few miles from the town. The two old people who were passengers were inside the stage station. They'll agree what I told you about the crooks. I'll question them. Was there anything else that might help you recognize them guys? There was. Come think of it. One of them mentioned the name Jim. The other mentioned Carlos. Jim was a slim fella. Carlos of Mexican. Ah, a slim fella named Jim. A stocky Mexican called Carlos. I don't recall. Wait a minute. What? He had to grab the car, entrance of the bar, and slam green in his partner Carlos's roof, and come to think of it, they ride a bronc and a pinot. Now, take a party and go get them right now! Tatl, who had been in town and had seen and heard everything that happened, pulled to a stop at the camp where the Lone Ranger was waiting. Tatl told what had taken place. Then the two men went to trail the outlaws. Meanwhile, in spite of their declarations of innocence, Jim and Carlos were taken from the bar and ranch and posse and brought to the jail at Milton. At the time, the discussions at the cafe about the killing and robbery became more heated. Jake Allen did his best to keep the subject alive. Well, I'd see to it that those two got what was coming to us. Look, for instance, you could get him out of jail. Give him a chance to run. Then shoot him down for crying to escape. Oh, go on, Mr. Allen. It's got the right idea. What do we put up with this? Let's settle with them two murderin' waddys right now. All right, let's go get him. We'll give him a night like they gave to the cops. The sheriff and the deputy were in his office when the door suddenly opened and 10 silent but sullen-faced men entered with drawn guns. Hey, watch this. You and the deputy are covered, Sheriff. We come to get those two killers and we mean business. If you men are aiming to hang those prisoners... We don't aim to hang them, Sheriff. We figure they ought to have a chance to escape. Right, men? Mr. Allen, I'm surprised to see you with a mob like this. I want you, if you and these men take the law into your own hands, I... Help me over, Sheriff. I'm not carrying a gun nor a rope for that, man. You got the sheriff and deputy covered, men. You, if you get the keys, bring out those two fighters. A few minutes later, Jim and Carlos were brought into the front office on their cells. Cousin Jake, what are you doing here? I happened to be in town and heard what you did. Of course, I didn't know one of the killers was... You, we didn't tell anybody or hold up the steed. The sheriff says they got the goods on you. I didn't say that yet. It's just...  We'll do the talking. The Uncle Silas sure will be sorry to hear about this, Jim. What's all this? That young fellow of your cousin? From the way you've been talking and acting, I'd say... Keep quiet, Sheriff. I didn't know it was Jim at the time. Now I reckon it's too late to do anything. All right, you two old hoots. We'll give you a chance. Your horses have been brought around to the front and you're free to go. No, wait. These local men will be shooting at you through the door on the windows.  Get moving, both of you. Go on, make a run for it. Oh, no, no, wait. I'm making a mistake. We are not the ones who did the shooting. That sure sounds like the Mexican voice I heard when they held up the steed. Go on. Start running out that door. Get going. They're not going anywhere. In the doorway, holding guns. Then you come in through the back way. They got us covered. Well, do something. Thanks, your gun deputy. Thanks to the masked man. We've turned the tables. How do we adopt your guns? Why don't you take a chance when a masked man who likely came to help the killers appears? I think you know as well as I do those two men aren't the killers. The men in the shelf holds are outside. I do their horses. You're glad to hear that. I'll ride to the Circle G and tell your father. They're not riding anyplace, Allen. The two men we captured at your ranch house have involved you as leader of a gang we've been hunting. What? Also, you planned that hole up to get Jim Greenfield into trouble. I don't know who you are or how you find out about this, but we sure think you did. The two men we captured gave us all the facts. They hoped to save their own necks by giving evidence against Allen and the others of the gang. Why, that dirty coyote. He's a whole talent to clarify what the masked man has said. Jim's father gave him two months to make good as a ranch hand or lose his inheritance to his cousin, Jake Allen. Jim is making good and the two months will soon be up. Jake knew this and planned to get Jim into real trouble. So that's what it's all about. Jim, this masked man is a good friend. No, he sure is. No one ever saw him before. Your father will be glad to hear about you, Jim. I'm sure he'll be waiting for you when you finish making good and go back to the Circle G. Thanks, mister. Carlos and I'll be the two hardest working waddys on the spread. What about Allen's men is here with him. We were given a description of him. He's the man whom I was forced to lean, Sheriff. I had nothing to do with the killing. I called him this high, Dad. And for the rest of you men, you better sneak on home and think over the facts that I could run you in for what you tried to do. But I'm sure Jake Allen was behind it all. Three more Allen's men will be at the bunk house and sundown, Sheriff. It'll be a simple matter to go there and pick them up. I'll allow them to meet you later and go with you. Until then, adios. Adios! That masked man is a real hombre, Jim. But for him and the Indian, we will not be here now. Yeah, he's a real friend, sir. Just who is he, Sheriff? Sure, I know. He's an hombre who can't stand pole cats like your cousin, Jake Allen. And does all he can to bring law and order to the West. You see, he's the low ranger. He's the low ranger. Yes, sir. Get on your way. Get on your way. Get on your way with Whitties. Champions are made, not born. There's an adage that's ever so true. For instance, Simon Sammy Snead. A girl for as good as they come. Young Sam learned golf the only way. He practiced ours every day, chipping them, short driving them long. And soon he learned what keeps champs strong. Whitties with milk, you can't go wrong. Today, Sam rates the gallery's cheers. A Whitties eater, 17 years. Right, Sammy Snead is a Whitties eater from way back. Pleasure of nourishment in Whitties. There's a whole kernel of wheat in every Whitties flake. Okay, Sammy, drive that ball. What? He's on his way, on his way. He's on his way, on his way. Get on your way with Whitties. Because champions are made, not born. Yes, sir. Get on your way. Get on your way. Get on your way with Whitties. Breakfast of champions. The Lone Ranger, a copyrighted feature of the Lone Ranger Incorporated, is created by George W. Crandall. Produced by Crandall Campbell Muir Incorporated. Directed by Charles D. Livingston. And edited by Fran Stryker. The part of the Lone Ranger is played by Brace Beamer. Your announcer, Fred Boyd. The Lone Ranger is brought to you by General Mills every Monday, Wednesday, and Friday at this same time. Be sure to listen. This recorded program has come to you from Detroit. This is ABC Radio Network.


It's Wednesday, the day before Thanksgiving. I'm Jay Fidel. This is ThinkDec. This is Global Connections. And we have a very special surprise show for you from Helsinki, Finland. That is on the other side of the planet. It's 12 time zones away. And we have Laura Alto. And Alto means, Laura, what does Alto mean again? It means wave. Wave as in ocean. And we have Alexander Pelainen. Did I get that right, Alexander? That was perfect. OK, all right. And these guys are both associated with CAAs. Now, you may have heard of SAAs, which is software as a service. This is a city as a service, OK? And I guess it's part of the city of Helsinki. And Laura, you're the CEO, am I right? Yes. OK, and Alexander, you're of the city marketing company. Of the city marketing company. But that's either a contractor or part of the city government, yeah? It's part of the city government, yes. And Alexander, you're in the marketing arm also? So I'm behind the agency that was collaborating with in this project. How did you guys get into these careers? Are you trained for this?  This is kind of an interesting job.  I want both of your jobs, actually. Well, I believe I have the best job in the world. I mean, this is a marvelous city to market. And this is making Helsinki visible around the world like in Hawaii. It's the best job that I can imagine. I'm looking around for photographs of Helsinki this morning. And gee whiz, there are so many beautiful photographs of the city, both light and dark, both morning and afternoon and evening. It was really hard to pick one that depicts the beauty of the city. But it goes beyond that.  You want to promote it and you want to brand it as the first city as a service. So Laura, what is that? What is a city as a service? Well, simply put, we're there for people. I mean, we're there for the locals who live here, but also for the talent who wants to move to Helsinki or for the visitors who want to visit Helsinki. And I think it's a mindset and attitude. And it all comes like starts from the city's strategy, how Helsinki sees itself. And as you know, in the Scandinavian countries, in the Nordic countries, the cities and the governments, they pay quite a lot. They are responsible for a lot of services. And we do pay a lot more taxes than in the US. But we also get a lot for that. So we get the free education. We get the free health care. And I think it's important that the cities consider themselves as being there for the people. So we do get a lot in return when we pay the taxes. Now in the US and in the law, a city or a county would be responsible for those basic infrastructure services. And I will name them. Police, fire, water, trash, sewage. I guess that's really about it. And do you go further than that? You provide services other than those basic infrastructure services. Alexander? Yes. So I didn't know if I got it correctly in Helsinki or in Finland in general. We have health care and education. And the education system in Finland was awarded several times to be the best education system in the world. So that's at least like a one big major, major thing in addition to the basic infrastructure. Well, Laura said something about how, yes, you provide a lot of services. But you also have taxes that pay for the cost of those services. We have services. But we have taxes. We pay taxes. But we don't have the services you have. And I'm wondering about the equation. How do you make that work? It sounds to me very efficient that even with the high taxes, you can provide all those services. How do you make sure that a dollar or, well, what is it in Finland? Is it a euro in Finland? Euro. Euro. That a euro is getting what it's supposed to get. How do you keep it efficient? How do you avoid corruption? How do you avoid waste? Well, Finland is many times voted the least corrupted country in the world. And I think not only Helsinki, but the whole country of Finland, it's very much built on trust. There's a social, people trust each other. People trust government. People trust the kindness of others. And since we are a nation that is rather small, so there is 5.5 million people living in Finland and about 650,000 people living in Helsinki. So because we are so few, we need each other. An old notion here on Think Tech, caring for each other. And it sounds like that's what you're touching into. And by the way, Hawaii has a population of 1.2 million. And the population of Honolulu is something over 900,000. So we are one-fifth the size of Finland in general. And our city is just a little bigger, actually, by a third than Helsinki. That's so interesting to make that comparison. So you're also trying to attract people. It's more than just providing, as you said, for the residents, you're trying to attract people from all over the place. And I guess that includes Europe, all through the EU. I suppose it includes the US. It actually just sounds very appealing to me. And after the show, I want to get some application papers from you. In any event, who are you trying to attract? Is it only skilled science technology workers? Is it everybody? How do you choose? What do you want to do? So if I start very shortly and then Alexander can continue, may I ask in the beginning, what was your first mobile or cell phone that you ever had? Was it a Nokia phone? Yes, it was. Now that you say that, and that's from Scandinavia, isn't it? Yeah. That's Finnish, as a matter of fact. I know two things from Finland. One is Nokia, and the other is Frantzilla. OK. Oh, both right. Well, anyways, because of the so-called Nokia legacy, we have a very strong technology background here. There's a lot of knowledge around technology. And that when Nokia did something wrong and wasn't that major company anymore, so there was a lot of knowledge here. And that cost kind of like a startup boom in Finland. So there's a lot of very fast-growing companies that need ICT talent a lot. And that's why we've been working on this talent attraction lately a lot. And maybe Alexander, you can add something on this as well. Yeah, so for and like the first kind of like after Nokia or Nokia's company declined a bit. The problem in Finland was the lack of access to international venture capital, but not anymore. So that was like 10, 8 years ago. But now I think it was a few weeks back when it was announced that Finland actually attracts the most venture capital per GDP. So the Finnish companies are getting venture capital but the bottleneck has changed to global competition on the tech talent. And the biggest bottleneck for those companies is now how do they recruit talent and whether they get the best people to come so that they can grow. And the cities can play a huge role in this to support the recruiting of the companies because kind of like their reputation has a massive impact on the individuals or their family's decision to relocate. And that's kind of like how we first started the discussion on this project, CDS Service, where we're discussing quite randomly actually with one of the companies from Finland which is like very, very fast growing. And they said that this is a big problem for them. So the people have a wrong idea of what Helsinki is and we should do something about it, not alone but together with the city and with other tech companies. And that's kind of like how the discussion started of this new collaboration project. That's admirable and lovely. It's so optimistic and good-natured and everything. Now if somebody comes, if somebody comes from say Europe, I mean continental Europe, you are continental. Somebody comes from the southern part of Europe and they have some skill in technology. Are you gonna be able to provide for them all those benefits you talked about Laura right on arrival? I mean, for example, in Singapore, Singapore needs population, needs talent. They just order a million people from China and the million people are there the next day and they have housing and all the benefits you could possibly have, they can make a life instantly. Is that possible in Finland? Is it possible in Helsinki? Well, we're talking about CDS Service. We certainly can. Well, to be honest with, as Alexander has mentioned, there's a huge need especially for ICT talent and at the moment we're targeting a lot for instance to Eastern European countries where there's a lot, there's a very high quality on education, especially on technology education and Russia is very close by. So it's three hours by train from Helsinki, it's St. Petersburg, so close by. So really we're not looking for whoever to move to Helsinki, but especially with a certain background and with the ICT talent, that can be that the companies in the Helsinki area need that at the moment. And another point here is that actually what Alexander was mentioning earlier that the Helsinki lacks a lot the international awareness. So we consider ourselves a bit like underdog between among the other Nordic capitals. So Stockholm and Copenhagen have been booming a lot more in the recent years and Helsinki has been like a bit overshadowed by its Nordic neighbors. And I think this position of an underdog gives us a huge kind of benefits when putting together the marketing and the kind of like taking which position we're taking in our marketing and branding activities. So we kind of like, we play around a bit, we can take a bit more risks and that's always a wonderful position for a marketer. That's a great way to look at it, yeah.  Are you putting ads out there? You have agents who recruit for you, how do you do that? Alexander? So now the campaign is already over. So we got applicants from over 100 cities from the US, from Europe, from Africa, from Asia, so basically all over the world. And the main channel for this was, well, online as this is something for tech professionals. And I have to say that it was surprisingly good campaign in that sense that we didn't need to do that much of, or like we didn't need to push that hard because the concept itself was, it was rather creative because when you look at the, like how other cities are doing, these kind of campaigns, they're quite similar. So they lack humor, are they very generic? And like Laura mentioned, Helsinki had this like unique angle to it. So it was like something very, very new, it was something refreshing and it had humor in it. So like how we got, how the campaign got so good results was actually by the shares from the global tech community. So people found it from different online forums and they just share it kind of like organically with their own community. So that's how we reached then the best people that we kind of wished to reach as well. So that was like the ideal case for us. So we didn't need to push that hard, but like we trusted that the idea itself is good enough and it will get people talk about it and well, share it. Laura, do you have to market this in Helsinki itself and in Finland? Because, you know, on the one hand, you have an ethic that cares about people, a pride, a pride in the city and all that, but you know, if this was happening in the US, there'd be a certain number of people in Helsinki in Finland who would be behind it, they would see it as positive and there'd be a certain number of people who would say, are you spending all that money? Is there really a return on that? And they would be in opposition, you know, in democratic society, right? Do you have to sell this in Helsinki in Finland? Do you have any resistance over spending the money and taking the risk? Well, of course, there's always some resistance and that is always good to question, but I think we've been more systematically working on the city marketing and city branding for the past four years, so to say. And I would say the kind of approach people have to, the pride they have to their own city has changed during those years. So people kind of like, it's kind of like a very much more stronger pride and commitment to their own community and own city. And also not only asking what the city can do for them, but also kind of like being part of the urban movement and being part of making the city a better place to live in. And we like to think city as a platform for the community to work together. So Helsinki, whether it's towards the local community, whether it's towards the visitors or the talent who comes or whether it's towards the business community, we like to think of Helsinki as a platform for different people to come together and work together. And Helsinki is a rather small city, as I mentioned. So it's a well-functioning city. So there's a very good technology background, as I mentioned. So it's a good opportunity for companies to try out in Helsinki certain things that they can scale up in somewhere else. And this is kind of like, I would call it a can do attitude or the kind of like approach of being an active citizen is something that Helsinki is very strongly promoting, not only for the ones who live here, but also for the ones who want to come to Helsinki. That is so reminiscent of John F. Kennedy at his inauguration back in the 60s, where he said, ask not, what your country can do for you, ask what you can do for your country. Oh, we're doing that.  And Helsinki people are very friendly and I've always enjoyed that you know, it's predictable even. But you know, you have that, you have the notion of caring, the notion of pride, the notion of this branding that is actually taking root over four years. What about, you know, being copied, as they say in the patent business, being knocked off? I mean, you know, Copenhagen, successful, a lot of resources. Why don't they knock you off? And why don't they do the same things you're doing and try to achieve the same branding? Pull the rug out from under you. Are you having that experience? What do you think, Alex? Well, I think during the past few years, Helsinki's kind of pays of coming up with new, very, very interesting things to promote and like to build their brand has to be so fast. So it's, it's hard to catch up. So I'd say to Copenhagen or to Stockholm that bring it on. It's funny, what it means is if you're going to brand yourself as a special place, as a city, you know, as a service, you've got to keep ahead. You've got to, you've got to keep pushing. You always got to come up with new ideas, not only in, you know, the branding, but in the reality and how it goes every day and making life good for the people who arrive and who the people you're recruiting. So one of the things, go ahead. Yeah, exactly. And I think, I think it's a continuous dialogue between the locals and the visitors and the residents and the communities and the city. So for us, I think during the past four or five years we've been, what we've been working a lot on is the dialogue with different stakeholders. So that it's not the closed city hall that doesn't communicate to the outside community, but very much having the understanding that what people are actually expecting and what they are, what they wanting from the government and also really building the trust, as I mentioned before. The trust, lest we forget, very important, trusting and caring. So at the risk of revealing what you have in mind for the future as you evolve down this path in this fabulous initiative you've made, can you tell me, you know, what you have in mind? Where are you going with all this? And you know, and if you feel that you don't want to say anything in front of Copenhagen or Stockholm, you don't have to tell me. Oh well, I think there's room for all kinds of cities. But I think it's definitely, it's a city's, it's the era of cities. So the nation states are, can I say, becoming a bit old fashioned or people identify themselves with cities and like local identities. And it's definitely, I strongly believe so that Helsinki should not be the only city as a service, but there's a huge need for other cities to kind of like have this dialogue type of approach to its stakeholders and communities and to its people. So really bring it on. We have to share what we've learned in our path. Well, you speak of the very interesting concept and that is the concept that the emergence or reemergence of the city is a place to color less, it's a place to be proud of, it's a place to focus on and you know, sort of the, it's a local concept, but it's, we lost it somewhere in the 20th century, I think. And now you're demonstrating that it is important and it can be and should be and is being regained. Am I right? Yes, I believe it, I believe very strongly the way you describe it. And I think that, and it's also, if you look at the way how the visitor's industry, tourism is changing very, very rapidly. And so in the past years it was okay to go around the world and see things and now people want to experience things, they want to do things. So it's not enough only to kind of like, well, I went to Paris and I saw Eiffel Tower, but you really want to be part of the local community. And for Helsinki, one of the key things is that we want to be, I always say, we want to be more Helsinki, not less Helsinki. So we want to be as authentic as we can. And the city as a service campaign is definitely one of the, one of our ways of being, you know, really showing how we are and what's our approach to the local community and also to the ones who come here. What a lovely thing. So I just wonder, Alexander, you know, you mentioned, you know, these points of success and I wonder if there has been a notable, measurable success in the so-called, call it the gross city product of Helsinki. As you said, four years is going on now. Have you been able to identify a trend in the way the economy works and can you link that with cities, city as a service? Sorry, could you repeat the question again? Yeah, I mean, what effect has this had on your economy? After all, it is intended, at least in part, to bolster, improve, you know, vitalize your economy. So I think one, maybe like a very, very interesting data point to give from the past decade, like Laura mentioned, like we have a lot of tech talent. And if we go back 10 years from now, becoming an entrepreneur was not a carrier path for too many. And actually 1% of youth considered themselves or considered entrepreneurship as a carrier option. And now that number is 50%. So I think there has happened like a very, very tremendous jump for, like in the mindsets of young people and also the older generation towards more positive attitude towards entrepreneurship and technology. And I think that has led this like very, very big boost in the Finnish economy that there has been more and more very interesting companies born in Helsinki and also in other cities of Finland. And like nowadays, like the Finnish startup ecosystem represents one of the kind of like global leading startup ecosystem actually. So I think that has been quite dramatic change. Is it part of this, the bell curve, you know, the demographic bell curve of youth and age. And there was a piece on television here in Honolulu a day or two ago about Italy and about how no babies were born, virtually no babies were born in large parts of Italy. And so, you know, the demographic was going upside down which has a big effect on your economy. Is part of this initiative that you guys are working on an idea to bring young people to Finland because you need them? I'd say probably that can be like a one of the root causes why something like this has happened or like what the positive attitude towards entrepreneurship has happened already or started to grow already 10 years ago. That was one thing. But also the fact that new companies bring quite a lot of the new jobs. And I think it was, I would still have to check like what was the precise percentage of new jobs created back then. But that was like one of the main reasons why Finland wanted to bring more startup companies that are growing from Finnish economy. Laura, would you add anything to that? And by the way, is Vardsilla in Helsinki, is this part of your economy? Because I had some experience with our Vardsilla is world known as one of the top shipyard builders shipping ship builders in the world. So is that part of what you're doing? Yeah, we actually cooperate with them.  So we, I used to say that everybody's within the reach of one or two phone calls. So I do have friends working there and I know people working for the wonderful company. Yeah. So you think Nokia is coming back? Oh yeah, big time. Yeah, they're very strong in networks at the moment. And... Good, good. Well, I have one last question for you guys. And it's, you know, I mentioned before the show that if you walked around in Honolulu and you said you see a city as a service, as a concept, you see this, you know, trust initiative, this caring for each other initiative, this pride in the city, you see that here. And I would say most people would say, no, we don't. No, we don't. We have too many problems and there's no community will, if you will, to improve it, to be proud of it and so forth. And I would guess that a lot of cities in the United States are just like that. They're blinded or, you know, they're just lack of energy, so to speak. And so the question is, can you actually deliver, propagate what you do to other cities? You think other cities will pick it up like in the US and you think this is the, you know, the trend and that maybe they'll say, oh gee, Helsinki, what a great city. We ought to do the same thing. Can you travel around and talk about that, you guys? Yeah, yeah. Oh, definitely. We want to kind of start a global movement of, you know, but honestly, for the governments, city governments, I think it's really important to think about people because cities exist for people. They don't exist for the government or they don't exist for the administration itself, but they exist for people. So the one and only thing that they actually should care about is how people see them and how they can serve people. So I believe each and every city should be a city of service. So what are your closing thoughts, your advice, to us in a city which may not have the same view, the same advantages that you have in this program? What would you tell us? Speak to the people of Honolulu now. I'll explain to you first. Okay, I'd say that this is a false statement that you don't have the same advantages. I mean, just look outside here. I'd say that our starting point was a bit tougher than to get people to Honolulu or to Hawaii. This is the sweetest weather in the world right now.  Laura, what do you think? Well, I agree with Alex. I think each and every city should be more like themselves. They should be more authentic and really to kind of like understand what's the core values of that particular city. And people are excited about authenticity.  And this is what makes people curious. What a lovely thought. Well, I hope you guys will find a way to get over here and talk to us. And I can guarantee you that if you can make it, I will set up groups that would like to hear everything you have to say. Wonderful. Laura, Alexander, you guys are great. How do you say farewell in Finnish? Oh, Finnish is a tough language. But you say Nakameen. Okay, Nakamee. Nakamee. Yeah. Aloha, we say. Thanks so much, you guys. Bye bye. Great to talk to you. Bye bye. Bye bye.


nd art sector so asking organisation at how much money you would like in an ideal world and then you get a massive total of demand of course that illustrates the point for an organisation like Creative Scotland that they would like the maximum possible funding settlement I understand that, that's what they want and I also understand that whether it's Creative Scotland or it is individual organisations or venues or whatever who do receive support directly from the government or through agencies that people do need to illustrate the situation and the extremity of the situation as a way of securing support it is a very challenging situation so the first thing I would like to say is I do understand why Creative Scotland and its board members are very keen to make sure that they have the funding that they require to go through this massive change programme for multi-year funding which is why I've been very empathetic in my opening statement and in the initial questions given to the committee around what they're doing at the present time so I work very well with Ian Monroe and colleagues at Creative Scotland I work very well with Isabel Davis and colleagues at Screen Scotland I could say the same for Historic Environment Scotland and our national collections and our national performing companies I don't have a problem with any of that Does one want to call it a creative tension? Because the very nature of the Scottish Government dispenses funds, organisations receive them, they want as much as possible I understand that and given the constraints people have been wanting to gain as much of a public understanding but also an understanding in government of how money is required but where I will definitely agree is with I still think there is a profound lack of understanding about the extent of financial constraint that there is in devolved administrations in the United Kingdom it is unprecedented what I have not heard a single person contribute a suggestion from whether it is members of the Scottish Parliament or whether it is agencies or whether it is journalists or anybody else is if one wants additional means to be found in this year where is it coming from and nobody, bar nobody has come up with a suggestion on that front, not one so what we have been able to do this year is make the case internally it is the down payment going forward and no doubt everybody that is in receipt and funding will want to make sure that they have a part of that and as I have talked about at some length and no doubt you will have me back convener to talk about how does this new approach how is this new approach going to work from the perspective of the Government and our agencies and beyond we are going to have to be in a new place and the people that I am working with in Crate of Scotland, yes and other agencies is good enough and is on the basis of trust of a trust good enough to be able to deliver all of that I can say that from my point of view I understand what the cabinet secretary is saying but that idea of trust, consistency and honesty on the part of Crate of Scotland I think is the area of an issue the second point that I was going to raise was and it goes to the cabinet secretary's point about new sources of finance I raised the issue of innovation which I think I had said I hadn't seen much evidence of except for the V&A in Dundee and I was assured that they would get back in touch with ideas and some of those have come back in to be fair if you get to read those but rather ask a question about that because I know time is very short can I just be very cheekily asked the question I asked earlier on of the BBC does the Scottish Government support the allocation of the status of crown jewels to the carrying of live Scottish national football matches in Scotland speaking for myself I have to say I find it very hard to understand why we do not have national sporting matches and in this case specifically football on on our public broadcasters I cannot understand why that is not the case why is it that people need to subscribe to channels that you have never heard of and pay money to watch your national team perform particularly when it is doing as well as it is doing is beyond me the difference in approach that the BBC has to the coverage of England in particular in this respect is there for everybody to see why is that I do not understand that and I say that as Cabinet Secretary for Culture and Sport is an important part of our national culture and frankly it behoves our public sector broadcasters to look at the coverage of our national sports and ask ourselves why would one treat one nation differently in this respect in the UK to others and that is not an excuse for ignoring the coverage of Scotland football matches A final Mr Bibby is this a really small question please and I really succinct very small question the cabinet secretary said that he had any suggestions from opposition MSPs about how money could be better spent to reallocate money into the culture portfolio he will be aware that concerns of opposition MSPs in relation to the amount of money are spending on independence white papers which are not even convincing the SNP of the case for independence and I will just remind them of that alternative proposal for money that has been made to the cabinet secretary A that is not a sensible suggestion given that a majority has been elected to the Scottish Parliament with a mandate to pursue Scotland's independence Secondly in the grand scheme of the budgets that we are talking about it is minute and is absolutely no serious contribution whatsoever to the scale of the funding challenge that we have to develop Scotland and if that is the limit of ambition to being able to reallocate money and deliver public services in Scotland we are in real trouble I think we need to bring proceedings to a close Thank you very much for attending today Can I ask you please to vacate the room quickly as we do have another agenda item and I will be moving as quickly as we can to that in a closed session


Thank you, Tom, and thank you. Is this volume okay? Thanks to everybody here at the Barnes, to Suvi, to William Palombo, to Eva Lan, for the publication, this occasion. I really want to say that this is, it's a real privilege to be here. The papers have been so interesting, so absorbing, and anybody's that all like me, you've all learned a lot, because I certainly have all have learned a great deal. The paper I'm going to give is a very interesting and unintended compliment to Jody Hauptmann's and Karl Buckberg's paper from earlier today. They didn't intend it, I might have intended a little bit more, but it presents two sides of some of the same material. Their emphasis was on process, and that was very much a theme this morning, and my emphasis is on process too, but really quite a different kind of process. To open, my reference points are two exhibitions of Matisse's paper cutouts, the first held in Washington, D.C., Detroit, and St. Louis in 1977-78, the second in London and New York in 2014-15. Many of you will recognize that my title refers to John Neff's essay, Matisse, His Cutouts, and the Ultimate Method, in the catalog of the earlier exhibition. At first, this wide-ranging text appears to suggest that in developing the procedure of cutting shapes from colored paper and arranging them on a uniformed surface, the artist had fulfilled a long-standing quest to reconcile the separate media from which he made his art. Matisse himself expressed this goal in his interview with Pierre Crouton in 1941 as Finding an Ultimate Method. In this light, the cutouts could be understood, and here I quote Neff, as a synthesis not only of painting, drawing, and sculpture, but of Matisse's career as a whole. Neff went on to write that the evident continuities in Matisse's work over an entire career meant that the artist always had the impulse toward the cutout within him, from paintings of the Fove period right through to his final efforts. This idea of the cutouts as the culmination of decades-long concerns is a well-established way of thinking about these extraordinary works on paper. But at the end of his essay, Neff makes a sharp turn, emphasizing the role of many of Matisse's largest cutouts as maquettes for ceramic tile murals or stained glass windows. Neff suggests that the importance of such cutouts was as a means to something else, more than as ends in themselves. The ends Matisse sought included large-scale environmental decorations whose ambient effects would be beneficial to the viewer. Matisse himself believed such decorative considerations to be, as he put it, an essential quality of art. Neff then concluded with a flourish asserting that the cutouts were not an ultimate method, not a combination, but a beginning of something grander, something more immersive and life-enhancing than the cutouts alone promised. And this is where I begin today. Some of you here participated in the extremely stimulating Scholars Day at the Museum of Modern Art in Fall 2014, convened by Karl Buckberg and Jodi Hauptmann and held in the galleries of the exhibition organized by Tate and MoMA. There I offered a friendly challenge to a key premise of the exhibition. This thrilling show and its scrupulously researched catalog presented a coherent and forceful thesis about Matisse's cutouts, emphasizing his materials and processes. The avowed purpose was, to quote from the catalog now, to show Matisse's distinctive approach, the process by which the works were physically constructed in the studio and the groundbreaking implications of his methods of cutting, pinning, and composing on the wall. You heard much about that earlier today. A specific feature of the show's thesis, echoed in the catalog essays, was to stress the provisional character of the cutouts. The organizers emphasized the idea that the cutouts in Matisse's studio were being continually pinned and repinned, maintaining, as they put it, a state of perpetual deferral that implied infinite creative possibility. One of the curators contrasted Matisse's highly personal contingent approach to the typical goal of artists, which is to aim for finality and finish. But I would claim that for Matisse, the point was precisely, ultimately, to fix the largest of his decorative compositions, to render them permanent, even if this intention usually ended up giving way to more powerful forces, as we will see later in this talk. When we consider the late decorative projects, for which Matisse used paper cutouts as a design medium, there is no question that he strove for finality and finish, but in other, more durable, usually architectural materials. Often architectural materials. As a corollary, I strive to recover something of the original status of some of Matisse's admired late paper cutouts as maquettes, or concepts, or designs. So I would like to turn our attention to Matisse's thinking with respect to a high percentage of the largest and most impressive of the paper cutouts as proposals to be realized in architectural materials, notably stained glass and ceramic tile, but also such fabrics as wool tapestry, linen, and silk. In the letter to Alfred Barr of MoMA in 1954, Matisse himself used the phrase ultimate materials to designate the goal of the design process. In this letter, and I swear, Matisse established this idea of the cutout as a maquette made in the service of an ultimate realization in other materials. Writing 18 months earlier, also to Barr, Matisse had been more expansive. You will agree with me that a maquette for a stained glass window and the window itself are like a musical score and its performance by an orchestra. Taking the score performance analogy a little further, Matisse advocated against exhibiting a cutout design and its ultimate realization together. He argued this in the following terms. The maquette is only an indication, and it is quite obvious that the idea of the ultimate material doesn't leave the artist's mind when he makes the maquette, just as the musician understands his instruments when he writes his score on the paper. And to continue with my musical example, this is still Matisse. I would say that the maquette remains as the written score, whereas the final work becomes this very score performed by an orchestra. And he continues, if some informed visitors get this, others may be misled and may look on the difference between the two panels as a mistake in execution. And keep that concept in mind. As Matisse emphasized, the necessary conceptual link between a cutout design and its execution in the ultimate materials is important, but so are the separate visual qualities of each part of the design process. Yet the cutout in this analogy is the necessary step toward the more important goal of the final performance. As we will see, the score performance analogy has intriguing implications for a consideration of a cutout as a design or a potential design for the creation of an artwork by Matisse that the artist never touched and in some cases never even saw. To be clear here at the outset, I'm not arguing, as so many others have done, for the inferiority of such decorations in permanent materials to the cutouts through which they were conceived. I'm hopeful that I may, however, complicate the status of the cutouts in productive ways so that we may find that to consider them first and foremost as original artworks makes the cutouts less interesting than they really are. Therefore I want to argue for the fixed over the provisional, for the destination of decoration over the generative context of the artist's studio, for the hybrid nature of many of the grandest and most important of Matisse's paper cutouts, and finally for an ontology of the cutouts in which they are at once art and design, except when they cannot be both of these things at once. The cutout on the left is generally said to be the last artwork Matisse made. It's a design for a stained glass window destined for the Rockefeller family chapel in Westchester County, New York. And by the way, I was married under that window. Long time ago. The artist died before the window was fabricated. The Rockefeller rules window may have been Matisse's final design, but it was not the last one to be fabricated in the ultimate materials. Although it was subject to the usual delays, the completion of the Rockefeller commission was unproblematic. The intention of the work was clear. Matisse had finished his design and specified the qualities and colors of the glass, and everything had the approval of the patron. What remained was to carry out the well-defined wishes of both parties, and this was done successfully. Happy end. Several other Matisse cutout designs were fulfilled posthumously, others were fulfilled posthumously, but for reasons and settings different from what was originally intended. Design moves on, but these cases are required or invited other parties to stand in for the artist and interpret his desires. Any interpretation of these desires, however faithful to a perceived intention, unavoidably requires that decisions be made by others on the artist's behalf, and even judgments about whether or not a given paper cutout was intended as a design for a specific purpose. It's helpful to understand first an example of a judgment against a particular attempted use of one of Matisse's designs in the artist's absence, which pointedly focused the status of a design. Then I will offer a few examples of successful fulfillments of design in permanent materials. First let's go back to 1949, and Matisse is commissioned from a carpet manufacturer in Yonkers, New York for a design to be set in repeat for a carpet intended as floor covering as opposed to an area rug or accent rug. After some initial misunderstandings, the Alexander Smith Company ultimately fabricated not a carpet, but a limited edition accent rug based on Matisse's design. This is what you see on the right. So to make a long story short, after some tribulations, happy end, except this was not the end. Less than six weeks after Matisse's death in early November 1954, William Brown of Alexander Smith, Inc., wrote to the artist's son, the New York art dealer Pierre Matisse, who had been the go-between for the artist and the Smith Company. Brown reminded Pierre Matisse that the original project, over five years earlier, had been for a carpet with a design in repeat. He went on to inform Pierre Matisse that the firm now planned to go ahead with that original intent. In addition, the company wanted to produce a series of what they called limited edition broad loom carpets in each of the original colors of mimosa, the colors you see here, though pointedly not employing the design. The latter carpet plan was based, Brown alleged, on an oral understanding between Brown and the artist during their original discussions. These Matisse colors, this is what Brown called them, Matisse colors carpets would be marketed as progeny of Matisse's design with an example of the earlier accent rug mimosa as the link to the artist's actual work. The archive does not contain a reply to these commercial aggressions, but since the Alexander Smith Company did not bring any new Matisse carpet project to production, whether in a single color or with the original design in repeat, it may be supposed that Pierre Matisse, understandably, did not give his approval. Here the artist, Dr. Morale, has moral right in the design and its adherence in Matisse's descendant and agent triumphed over the force of business. This outcome marked a faithfulness on the part of the artist's representatives to Matisse's original intent that has, when tested, which is apparently frequently, that has extended more recently to a rejection by the artist's state to the placement of his designs on everything from cell phone cases to beach towels. This exemplary vigilance with respect to the design and marketing potential of Matisse's often visually seductive motifs is compelled by an unintended side effect of his fecundity and the popularity of his paper cutouts. The fitness of the cutouts for reproduction in a range of materials and for mass consumption is an unavoidable implication of the way in which he approached design at the end of his career. After his death, Matisse's descendants oversaw the fabrication of selected designs directly in advance of major exhibitions of his work, with the clear intention to highlight these less known but important aspects of his late activity. These decorations were made for something other than their original purpose. A canthus, which you see at left, was executed in ceramic by Charles Cox for the posthumous Matisse retrospective at the Mzénazina d'Archmodène in Paris in 1956 where it was the unique representative of this aspect of the artist's work. For the same exhibition, Marguerite Dutui, Matisse's daughter, arranged for the master glass maker Paule Bounie to fabricate ivy and flower, which you see at the right, the window originally intended for the mausoleum of Albert and Mary Lasker of New York. For the even more important retrospective in 1970 at the Grand Palais in Paris, Wild Papis, also executed by Paule Bounie, represented achievements in stained glass, and the ceramic canthus was also shown on that occasion. In these three cases, the artist's family relied on the experience and expertise of Matisse's trusted artisans to achieve a result as close to the artist wishes as possible. These outcomes, especially ivy and flower and a canthus, are compelling and beautiful aspects, examples rather, of Matisse's ability to design for these materials over large surfaces, as well as testaments to the craft skills and judgment of his habitual fabricators. For the sometimes uncertain territory of these posthumous realizations, there was a guide. In 1958, the publisher Terriade devoted a special double issue of his journal Verve to Matisse's late work, highlighting cutouts he made in the last five years of his life. For understandable practical reasons, most exhibitions that included Matisse's late work featured many small paper cutouts and a handful of larger examples. The Verve issue, by contrast, is conspicuously devoted to Matisse's large-scale cutouts. Of the 31 cutouts, all illustrated in color plates, 22 measured over six feet on at least one side, at least six feet on one side, and a further four were over five feet in one dimension. Compiled with the cooperation of Matisse's children, this issue of Verve functions, moreover, as a de facto authority for which cutouts were designed for decorations. There are 12 of these. All the completed projects are represented by their associate cutout designs in the issue of Verve and in its list. These nine works are labeled either, sorry, either design for stained glass window or design for wall ceramic. Two designs for ceramic that have never been fabricated are Matisse's first two enormous cutouts for the Brody patio commission, here called decoration masks and decoration fruits. That makes 11 maquettes. I'll discuss the 12th case in a few minutes. First, some assessment of the artistic status of Matisse's works in cut paper is necessary when considering their authority as designs. What are Matisse's paper cutouts? A question that was asked earlier. The simple answer, of course, is that they are artworks. When Matisse made them, this was not universally accepted. For instance, the art critic and publisher Christian Zervos, we heard about him a little bit earlier, who was usually sympathetic to the artist, mocked them as an agreeable distraction which would ease his long hours of insomnia. The writer and filmmaker Jean Cocteur was initially condescending. Matisse cuts up paper and colors images like a good child in bed with scarlet fever. Now, of course, there is consensus that the cutouts are artworks of a special and innovative kind. It is true that Matisse began using the method of coloring paper and cutting out shapes as an expedient for making artworks in other media, as we've seen with dance, for instance. But in the period of his most concentrated use of the scissors technique, 1946 to 1954, he also began to regard its direct products as finished works of art, worthy of exhibition on the same terms as his work in other media. Two exhibitions he supervised closely will serve as examples. In the catalog of his show of recent works, or 1947-48, at the, again, the Musée Nationale d'Art Moderne in Paris, held in 1949, the Papiers des Coupées, as they were called, appeared first and were more numerous than drawings and paintings, drawings or paintings. Significantly, the latter, paintings, were qualified as peintures à l'huile or paintings. This exhibition also included two of his cartoons for tapestries. Soon after, within the mini retrospective of Matisse's work held at the Maison de la Pensee Française, poster on the right, in 1950, in Paris, three cutouts, each well over a meter in the shorter dimension, were included in the peinture section, the painting section, and were distinguished from other paintings in the catalog only by the single word gouache. There were also the three most recent paintings of peinture in the exhibition, which seemed intended to show that the cutouts were continuous with Matisse's earlier production in oils. At the same time, as we've seen, Matisse certainly also regarded some of them as design tools, even in analogy to painting practice, calling a cutout esquisse. And he said this in reference to Christmas Eve, the stained glass window you see here, along with its cutout, both in the collection of MoMA. The cutouts were indispensable for designing on the large scale to which his ambition led him late in his career, and at one point he asked rhetorically, and one might imagine with mock exasperation, why didn't I think of this sooner? A distinction between the conceptual and the physical in Matisse's art, between meaning and expression, is often made. The cutout could be called a concept. The final product in the ultimate materials is the expression of the concept. Fitting with the square performance analogy, Matisse repeated several times in this period. But this still bugs the question, what did he create with paper and scissors? Under French law, when Matisse made these cutout designs, there was no concept of an original idea in the visual arts. Legally speaking, all creative works, whether literary, visual, or musical, had three components. Idea, composition, and expression. Works of literature, according to the same law, were founded on ideas of the writer's invention. By contrast, a work of visual art was based on a donne visuelle, a visual fact, which the artist extracted from the world or from memory. Under the law, these visual facts were available to everyone. So there could be no doig d'auteur, no author's rights with respect to the genesis, the idea of an artwork. Under the second and third components, the composition and the ultimate expression of the idea had the protection of the doig d'auteur. And the composition was in a tenuous position with respect to these rights. It could only be considered an artwork in oeuvre. Once the commonly available visual fact had been given what the law called a concrete representation. And here I'm quoting, and I'll continue to quote an expert on French intellectual property law, a man named Henri de Bois. That is to say, the composition is not intrinsically an artwork and becomes one only once it is given expression. And this affects the protection of the composition. For an artwork, the originality of the composition can't be protected before it's fulfillment in the ultimate materials by the artist. We can speak of an original artwork only once the process has reached the stage of the fullest realization of the artist's intention. The stage of, quoting de Bois again, expression, that is, execution. And more clearly from de Bois, the idea isn't taken into account. The composition as such can no more be taken into consideration. It is only the intellectual performance, the représentation intellectuelle, the subjective prefiguration of the future work. Finally, still de Bois, the composition will qualify as an artwork only after its realization, of which it then becomes an integral part. These categories accord with the distinction made earlier in this paper between the conceptual and physical components of an artwork. In this legal framework, a musical score is the composition, the performance, the expression. And the score cannot attain the status of a work of music until and unless it is performed. As we've seen, Matisse used the score orchestral performance analogy several times to describe the relationship between design and its fulfillment. On this model, Matisse's cut-out designs are compositions, but they achieve their fulfillment as artworks only through their expression, which is to say their translation into the intended, the ultimate materials. But reasonable observers would not deny that, say, large decoration with masks, which we see here, an unfulfilled, so to speak, cut-out design. Reasonable observers would not deny that it is an artwork. Intellectual property law may be behind the curve on the artistic status of such a creation. Just as U.S. customs regulations in 1928 were incapable of granting entry into the United States of a polished bronze version of Brancusi's bird in space as an artwork because it might have been mistaken for some finely machined industrial object. But how can the abstract nature of the law govern whether something is or is not an artwork in a tumultuous period in which established artistic categories were routinely under attack? It is part of the purpose of the law to define, it is part of the purpose of modern art, to challenge definition. Therefore, a more complete answer to the question of the cut-out status and one truer to Matisse's intentions is that potentially they can be both art and design. A cut-out may be simultaneously a maquette or design for an artwork and an artwork in itself independent of the ultimate resolution or destination of the design. Such a duality in some of Matisse's largest and most significant paper cut-outs seems unproblematic. But what if some circumstance forced a choice? Under what conditions would it be imperative to identify a cut-out as either an artwork or a design for an artwork? Such a circumstance may be found in the mundane but essential arena in modern art collecting and exhibition practice that was Brancusi's Waterloo, and that arena is international shipping and customs clearance. For Matisse's American clients, as well as for Pierre Matisse, who represented his father, so ably, the costs and stresses of international art transport loomed large at two principal stages in the evolution of a decorative commission. First, at the point when a client in the US needed to see and approve a design sent from France. And second, when the completed decoration, whose components were fabricated in France but assembled and installed at its destination, was ready to be delivered to the client. How Matisse and his agents identified cut-out designs when they left France to pass through US customs on entry into the US had an impact on the amount of duty assessed and might also result in costly and frustrating delays if there were any inconsistency. It was standard and natural business practice to try to minimize the cost and streamline the entry of goods, artistic and otherwise, into the US. How this was done with respect to Matisse's cut-out designs and their expression in the ultimate materials, first them into the realm of legal definition. Depending on the context and the particular moment in the artistic process, Matisse and his son designated the components of the design process as different orders of objects, from maquette to original art to reproduction. How these collaborators construed the ontology of the cut-outs depended on whether they were being presented to a public as in an exhibition to customs officials at a moment of international transfer requiring an unambiguous label of identity or to clients who might commission the proposed final decoration in ceramic or glass. It's helpful to understand how Pierre Matisse and Henri Matisse thought about the cut-outs for the Brody patio and the Lasker mausoleum in light of these distinctions between various categories. Pierre Matisse instructed his father not to label the maquette for the Lasker window, Ivy and Flower, which you see on the right, not to label it as a maquette or as anything connected to a design process. Rather, Matisse was to identify the cut-out as an original work in Oroflou, which it also was in their eyes and would soon be in the eyes of the wall. Furthermore, the artist needed to give it a title, any title. Giving the cut-out a title is what allowed it to be declared as an artwork, which would be admitted to the U.S. at a lower rate of duty than if it were declared as a design, which would have had commercial implications. As in the case of Brancusi v. United States, the process of design had unwanted industrial associations that carried over into the legal area of customs declaration, greatly complicating international art trade. Moreover, Pierre Matisse insisted that if asked, his father should deny that he was designing decorations. This was intended to avoid problems with the clients, but Pierre also meant to keep the artist straight about how his work for decoration should be presented in a public setting. When he had visitors to his studio, Matisse didn't understand why we have to hide the panels referring to the cut-outs that were intended for decorations. He was eager to have an audience for his designs for decorations, and he sought to exhibit both the Brody and Lasker maquettes in Paris before the commissions were secured by contracts. In other words, Matisse wished these compositions to be seen as examples of his recent work in and of themselves, but without excluding their function as maquettes for decorations. The implication that one of his compositions could simultaneously be designed at an artwork did not disturb the artist, but such complications did make Pierre Matisse, who had to deal with them on the ground, as it were, anxious. Similarly, Pierre called the Brody cut-out, the sheaf, which you see on the left, the original work, but advised his father that he could give exceptional authorization to have this original artwork reproduced in Pierre Matisse's word for no more than the fabrication cost of the ceramic. In other words, the status of the ceramic, which was the value-added goal of the enterprise, was strategically reduced for the client's benefit. The Brody's would buy the finished ceramic as a decorative work at a reduced value because, in Pierre Matisse's words, finally it is only a reproduction. By contrast, for customs purposes, Pierre later instructed his father's agents in France to declare the finished product as an original ceramic to lower the duty. These variants, this naming and renaming, this designing and reproducing, had the unintended effect of disturbing a conception of originality that was largely sustained within the critical discourse and market practices of the time. Matisse's creation of these cut-out designs and their subsequent legal and ontological fluidity resisted unilateral definition. Rather than fixing their meaning, insisting only on their originality and their singular status as artworks, we should consider the potential contribution Matisse's cut-out designs for decorations, as well as the final decorations themselves, the contribution these make to the destabilizing enterprise of modernism. The veriflist may not be an infallible guide. In another context, Matisse did refer explicitly to his large cut-out, the parakeet and the mermaid, as a cartoon for a mural decoration. This, one of Matisse's most beguiling large-scale compositions, would have made a stunning ceramic wall, but there was no other indication that he envisioned that outcome, nor is the cut-out identified in the veriflist as a maquette. There is one item in the veriflist, labeled like others as a design for wall ceramic, that Matisse may not have intended as a maquette at the moment of its origin in his dining room in the Hotel Regina. In 1952, he made the cut-out the swimming pool, which you've now seen several times, his largest artwork with the exception of the bar and stance. Right here. He told several observers, as you know, that he made it for himself and for a specific purpose. Like other visitors, Jean Cocteur reported a version of the artist's explanation. Went to see Matisse. I find him in bed in the north room. The room is surrounded by paper cut-out frescoes representing blue women diving. Matisse says, I can't go to the seashore anymore, so I manage here as best I can. This enveloping cut-out was compensatory, an alternative to an experience and an aid to pleasurable memory. In an obvious sense, it was the most environmental single artwork of his career, wrapping around an entire room in his apartment, substituting for the bathing he loved, but could no longer enjoy himself. It is one of the best examples of the immersive potential of Matisse's decorative compositions, and it was satisfying to see it as restored by Karl Buckberg and his team at MoMA to something like its original freshness. However, although everyone associated with this exceptional artwork asserted at the time that Matisse made it for himself, without a thought of an ultimate translation into another material, the swimming pool does appear on the verve list of the authorised design for a ceramic composition. Subsequently, Matisse's descendants commissioned the fabrication of not one, but two ceramic tile murals based on this cut-out. This kind of multiple execution of a design had precedence, and Matisse's contracts, as with the Brody's and the Laskers, sometimes made this possibility explicit. Although the prospect of such fabrication of a ceramic mural swimming pool was perhaps always a theoretical possibility, the act of it complicated the status of MoMA's paper cut-out. It was no longer a potential design in addition to being an original artwork. If it was a design at all, it was a design whose function had been fulfilled. Now to conclude, nearly all of Matisse's late decorations have by now been removed from their original locations, extracting them from the ambience that prompted their genesis. Even the largest and most architecturally integrated of these artworks, the barn's dance, was subject to powerful cultural and economic forces that relocated it from its suburban art school setting to this downtown Philadelphia museum. Almost the only places where Matisse's late decorations may now be found in their intended settings are in chapels, advance, assi, and pocanteco hills. Otherwise, most of them are in art museums, as are the paper cut-outs that the artist made as their designs. Others are destined to follow. The museum rules as the lowest common denominator. Ultimately, only churches may resist the entropic pull of the museum as the ultimate resting place for these decorations. When the poet and novelist Louis Alagon, with good nature but pointed meaning, vowed to convert the Vence Chapel into a dance hall when his Communist Party came into power in France, Matisse responded that he had anticipated this possibility. At his direction, the chapel would be protected by conversion to a Montemouisturique. It would become its own museum. That day seems unlikely now, but while decoration and the purposes and pleasures of life that it may express are essential, they may not last forever.


So I wanted to come on here and obviously talk about like PA school stuff and getting into PA school to just kind of help you guys on your way. But to be honest, I just really wasn't feeling it. It's been a really rough week at work. So I just kind of wanted to talk to you guys about like some of the things I hate about my job essentially to just kind of give you guys a little bit of insight on what it's like to be more of a like more specifically a trauma PA and then just kind of give you guys an overview so you can really make the best informed decisions on the career that you want to get into and the specialty that you want to get into. So let's get into the video right now.  It's Adana. Welcome back to my channel. So as the title says, you know, I don't like my job and it should really be like dot dot dot all the time because there is there's so much involved in being a PA specifically a trauma PA. And so I wanted to kind of just address those things because I know I put out the video last week where I do like my job. Okay, I like it. I like my hours. I like all of that. But I just got a little bit more perspective and I wanted to give you guys some perspective, especially after the week that I had on some of the things that I really don't like about my job. Like I really hate these aspects of my job, the things that I have to deal with. And so, you know, that's what I'm going to be talking about. So like one of the first things that I don't like about my job is that it's really difficult at times and difficult in that we have a heavy patient load because there's so many cars on the road. So we get to see a lot of motor vehicle accidents and then we are short staff. And so with that being said, it makes things that shouldn't be difficult more difficult and obviously I'm pretty sure that this is across the nation that most hospitals are short staffed, you know, not enough nurses, not enough providers, but when it comes to being on a trauma service where your patients are extremely sick, where, you know, they need lots of nursing care and they need to be able to be seen by a provider in a timely fashion. It's difficult. It makes things a lot more difficult. We're relied on as PAs a lot more in our hospital. The trauma service is like really like big. And so at the end of the day, we get called for a lot of things and on top of just taking care of our like 60 patient census, you know, it's like, man, this is this is a lot. So I don't like that. I wish that we can get back to times where it wasn't short staffed and we weren't asked to do more things than we signed up for.  But it is an aspect of my job that I don't like another aspect of my job that I don't like it, which I've talked about a lot before and I've been talking about a lot more lately is just the the trauma of it. Right. Like I feel like my job is super emotionally taxing and it can also be physically taxing, but more so emotionally taxing. So I love my 24 hour shifts. I really do. And depending on the night, I can have a really good night or I can have like a bad night. And this past week, I've had really bad nights, either really bad patients in terms of being extremely sick or just lots of like funnelling and fielding of nursing calls and kind of being an operator in terms of like, oh, do you know the number to this? And I'm like, yo, it's three o'clock in the morning. Why are you calling me? Call the operator. So like things like that kind of annoy me when I'm trying to like get a little bit of rest before this next trauma comes in because you never know when a trauma is going to come in. But also it's just emotionally taxing when you are seeing young people on a consistent basis come in and either lose their life or, you know, end up with a disability that they didn't wake up that morning thinking would happen. It's very, very, very hard to do that. So I guess the theme of this is like all the hard things that I hate about my job, okay? When I'm seeing young and even old but more so young people come in from like gunshot wounds that are dying or stabbings that are dying or motor vehicle accidents that are dying, it's difficult because they have so much life to live. You know, it's so sad. And you're coming into this on a consistent basis. Remember, there was a point in time where every time I came into work, someone was dying. There'd be somebody that came in either like dead on arrival or they came in and we just couldn't save them. And that is so difficult. It's so emotionally taxing because it's like, man, like we're doing all these various different things that we can do, especially when they're young and we couldn't save it. So that is really hard. And in conjunction with that, like the last thing that I don't like about my job is telling the family members that their loved ones have passed or that their loved ones are, you know, paralyzed or the life of their loved ones will no longer be the same and they now have to go to like a long-term care facility or whatever the case may be. It's hard. It's not easy. And it's definitely something that I've realized, like I don't want to do for a long period of time. I've been in trauma for over two years now and it doesn't get any easier. You know, we get to, like we're going through the motions of things. You know, we go out and we talk to the family members. We try to explain things to them in a manner in which, you know, that will help them understand like the prognosis. But then at the same time, like you see these people crying. You see them in such distress because their family members are hurt. And, you know, you can't help but, like, feel that emotion and that pain. And so I just wanted to touch on these things because I come on here and I'm like, I love my job. It's the best job ever. I love the PA career. It's great. You guys should get into it. I love being a trauma PA. You know, it's wonderful with these 24-hour shifts. But then I have weeks like I had last week or days like I've had, you know, on my last shift of work where someone comes in extremely hurt and it's extremely emotionally, mentally and physically taxing. And I just want to give you guys all of the things that you really should be looking at when you are considering a career and a specialty. And a career meaning like being a trauma nurse or a trauma PA or a trauma surgeon or a surgeon in general or any type of provider, a physical therapist, occupational, whatever the case may be. There are lots of careers in the healthcare world but you really need to be able to look at them individually and see what works best with your temperament and with the lifestyle that you want to live because honestly, things get rough. It's not easy all the time and especially when you are possibly, like losing patience or have the high probability to lose a patient's life, it's really, really good if you guys can take some time and make the best informed decision because if that's going to be so physically and mentally and emotionally taxing to you to where it spills over into your everyday life, like it's best that you just go ahead and not get into that career. So just wanted to give you guys that information because yeah, it's not the easiest thing and at the end of the day, although I do like my job on most days, there are days when I actually hate my job. So just wanted to tell you guys that. Sorry for the doom and gloom if that's what you guys felt. I just wanted to make sure you guys were well informed. Anyways, I hope you guys have a great Memorial Day weekend. Stay safe, please buckle up, drive safely and make the best informed decisions with the actions that you're going to take this weekend. Also, if you haven't already and so like this video, subscribe to my channel, follow me on Instagram at it on the PA and on Instagram at Get That See University. Thank you guys so much for watching. I will talk to you guys next time. Bye.


What's up ladies and gentlemen, this is Dan Whitmer from ZenDude Fitness and today we want to talk to you about our jump rope transformation story. This video was made because Brandon and I get asked all the time, why are you guys so attached to the jump rope, why is the main focus of what you guys do at ZenDude Fitness and also what was the story of you when you first lost a bunch of weight. As some of you know, for those of you who are new to the channel, I used to be 260 pounds, I had a much different life than I do now, I was working a corporate job and the issue that I always had was how do I work 60 hours a week and continue to lose weight and get the body that I want.  I wanted something new, I wanted something fun and I also wanted something portable. I'm the kind of person who wanted to be able to travel around the world, continue to grow my career. So guys, the reason why Brandon and I fell so much in love with the jump rope is because initially it afforded us a few different things. First of all, flexibility, freedom, having shorter more efficient workouts and also having a tool that does a lot of different things and produces a lot of different results in one. I'm also someone who does not want to go to the gym, not because I'm against the gym or bodybuilding or anything like that, it's just it's not something I wanted to take two hours out of my day to do every day. I'm always someone who wants to be out moving, you know doing something fun and active. Initially it happened because I went to Boston visiting a friend who was jumping rope and he had lost a ton of weight, he was shredded and so I said what are you doing?  So literally because of that I went back to New York, picked up a jump rope and started jumping rope, I would go out to parks, turn on some hip-hop music and just get after it. Not that we believe that the jump rope is the only tool for getting fit, but for me it was something that I would do consistently every day because most importantly I was having fun while I was doing it so my exercise was fun, I looked forward to it, I didn't feel like it was something I had to do and secondly it was one of the most efficient tools for me so I could go out get super intense jump rope for 30 to 40 minutes and be done with my workout and still feel, you know, produce the results I want in terms of losing weight, but also just feeling good, getting into a zone, you know letting myself clear my head from that day's stressful work or whatever it may be. So ladies and gentlemen as this was happening I was still working my corporate job, I was still jumping rope, but I ended up losing a very significant amount of weight, as Brandon and I've talked about I lost my initial 30 pounds just through lifting weights and kind of cleaning up what I was eating, but then the last 40 pounds came off strictly because I was jumping rope pretty much every day while honing in my calories and macronutrients.  As I was going through this process I also felt to myself you know what I don't really like my job and I want to I want to stop doing that so I decided to try and start like a side business that was essentially jump rope workouts to hip-hop music and luckily the company I worked for was cool enough to let me come in and start doing these jump rope workouts for free for the employees, even as I incorporated and everything like that. So I got to test this on people and what I found was more so than the actual weight being lost or people sweating and all that stuff the actual workout it was that people were having fun and they were coming back and doing it again. People that wouldn't typically work out on a regular basis were coming back and that was a lot of fun so that's the first time I realized like you know what I think this jump rope thing could actually be pretty big. So my story around jump ropes quite a bit different from Dan's but it really did transform my life in a huge way. Back in the day, back in the day about I guess it was about almost two and a half years now Dan and I lived in the same apartment building and we had no idea who each other were it was just complete serendipity that like we just like met each other one day in our building we started hitting it off we started kicking it and Dan was always like yo man you got a jump rope it's what I use for fitness and it's like the most fun thing. I already went through like a 45-50 pound transformation myself because I also used to be a big dude I was 250 pounds myself and so I just like did all the stuff that's not fun to lose weight. I was the guy who was going to the gym six times a week spending up to two hours in the gym at a time I was batch cooking my food I was doing I was eating foods that I didn't like because I thought I couldn't eat the foods that I like because they weren't healthy I was doing all the things that made fitness not fun and not sustainable so I was just grinding it out because just because I had grit and I really wanted to create this transformation of my body but the coolest thing about when I met Dan is he introduced me into this new world of like yo man fitness can be fun and so I picked up a jump rope one day I started whipping it around I was like okay I started to get it I was like man this is actually really fun and I started challenging myself and being like all right can I jump for over 30 seconds can I do the jump rope regular bounce can I learn how to do a double under a crisscross and so for me I started building momentum to where I started doing less and less the weightlifting less and less the time in the gym and more of just like living my life and just grabbing 20 to 30 minute high intensity jump rope sessions three to four times a week when I started doing this I realized that like this whole fitness thing becomes way more sustainable because it's fun my body began to transform as well and so I was able to get down another 30 pounds or so to where I am today sitting around 180 185 pounds and so in total I went through a 70 pound transformation but about 30 35 of those pounds came after I started jumping rope and the biggest thing about it is now it's not hard to sustain I found a way to make fitness work to where it's not something that I think about having to do and instead like at the end of my day or as a break halfway through my day something I get to do I get to go jump rope I get to get in my zone let go of all the stress from my day and just enjoy getting my exercise in so thank you YouTube community for asking the questions that is the reason why Zendu fitness even exists it's because Brandon I found a tool that yes is very efficient so total body workout for losing fat but most importantly guys it's something fun that we consistently wanted to repeat we want to thank you guys for continuing to grow this amazing community for continuing to provide the support to not only you know encouraging Brandon I to continue making videos but to each other the amount of activity that's going on the amount of energy that we've been seeing the groups is much appreciated and much noticed so thank you guys continue to do the thing every single day continue to have fun jumping rope and let's live an epic life started off a thousand pounds jump rope for a month got down to 190 you know got involved in UFC won a championship whatever


T F N N headline news update Welcome to the 2 p.m. Update. I'm your host Steve Rhodes right now. We've got the flat market out here The Dow is up three points the S&P's up to Nasdaq 111 Russell is off seven So flat market out here and no volume to speak of we're gonna have one of the volume experts He's coming up here next David White as he kicks off his show But if we do take a look at the spies they've been trading for four and a half hours four and a half of the six and a half hour trading day You're a 24 million shares today extraordinarily light volume But it's an inside bar out here inside bars typically tell you that the trend that it came from is going to continue You know, is this a trend to the downside or is it a trend to the upside? Good question out there bottom line. There's no conviction inside the markets I suppose if there's no conviction inside the market You're not gonna get any conviction out of my voice either But let's go see what's going on inside the Dow diamonds out here the Dow diamonds right now trading on a 271 28 talk about a lack of conviction in Geez Louise is this actually correct? When I say geez Louise, I'm really referring to Louise here. Holy schnike ease Four and a half hours volume ends. I don't think I've ever seen this had to have seen it Volume inside the Dow diamonds in four and a half hours is 936,000 shares Yesterday in six hours six and a half hours. It was four million shares Now the Dow has been pushing lower whereas we had an inside bar in the spies We don't have an inside bar in the spies inside the Dow diamonds We have a push lower on lighter volume out there wouser wouser We take a look at the QQQ series ETF out here Sideways inside ish type of a bar 11 million shares Wow In just four and a half hours talk about everybody. Let's go see the IWM is the one that's been struggling right the Russell 2000 has moved lower on what kind of volume 12 million shares this thing made a high a few days ago with 31 to million shares talk about a light volume push to the Downside well folks that's what you have inside the marketplace right now You've got the gold contract trading out at 1511 no damage there yet But the key number to be watching inside of the gold contract today tomorrow Probably for a few days is going to be the bottom of that bullish structured profile out there and that level is going to be 1499 50 hey folks have a terrific Tuesday stay tuned David whites up next time will Brian to take you home from three o'clock on take care