Lux presents Hollywood, Lever Brothers Company, the makers of Lux Toilet soap, bring you the Lux Radio Theatre, starring Jack Carson, Dorothy Lamour and Robert Alda in April Showers. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. More than a few years ago, a young man wrote a tune called April Showers, which became one of America's all-time favorites. His name was Lou Silver, and for a long time now, Lou has been the musical director of the Lux Radio Theatre. So we're especially pleased tonight that April Showers is the title and the theme of the romantic musical play which we present here. Warner Brothers made the picture, and starring this evening are Jack Carson in his original screen role, Dorothy Lamour as his partner on stage and off, and Robert Alda, also from the film cast. Look around these days and you can see that April Showers have put the smile of springtime on the countryside. But you don't have to look very far to see that in any month. Lux Showers put a smile of contentment on anyone who tries the new bath size Lux Toilet soap. And here's the full order of smiles and songs now as the curtain rises on April Showers, starring Jack Carson as Joe Time, Dorothy Lamour as his wife, June, and Robert Alda as Billy Shea, with Bobby Ellis as Buster. Where were we sailing along? On Moonlight Bay. Yes, we were sailing along. In the so-called good old days. For one thing, they were the days of voodoo. Remember voodoo? Well, most of the acts were pretty good. Some were even wonderful. But some were very, very tired. Like Joe Time and June's song, dances, and witty sings. It sure has its ups and downs. Hey, Joe, who's that girl I saw you with last night? Well, I met her in a revolving door, honey. We've been going around together ever since. Let's give them an encore. Joe, please, haven't they suffered enough? Come on into the dressing room while our health is still good. Well, gee honey, you can't get laughs from empty seats. That's a trouble with a matinee. They never have enough. Oh, Joe, who are we fooling? They just don't like us. Well, that makes us even. I don't like them either. Just wait a little night, baby. We'll roll them in the eye. I've been thinking, Joe, you suppose if we cut out the jokes or if we got a few new jokes, maybe they just... Oh, how are you, Mr. Gordon? Mind if I come in? It's your theater, Mr. Gordon. Morning. Well, Joe, I, uh, just caught the act. Huh? Well, you did, huh? Joe, there's one thing I hate to do is to hurt people's feelings. You think I'm bossing around here? Oh, no. They're the boys, that audience out there. They tell me what to do. After the way you act... Now, hold on, Gordon. We don't like to hurt people's feelings either. Well, I know that, Joe. You see, you might as well prefer yourself for a shock. We're turning in our notices of right now. Is that right, Joe? Oh, now, wait a minute, Joe. You want to be ashamed of yourself, Gordon? Putting a comedy act like ours in the number two spot? No one in the audience didn't applaud. They didn't have time to take off their gloves. Well, if that's the way you feel about it, Joe, here's your money for the matinee. Ah, sorry, June. All right, Mr. Gordon. Clothes. First time we wear our clothes. We weren't fired. We quit. Maybe you quit, darling. But I was fired. Oh, gee, June. How do you think we'll ever make Broadway if you talk like that? Look, Joe, we've just been canceled out of a three-day booking in a second-rate theater. We haven't paid the hotel bill. We've got exactly $12 left, not a booking in Sighton. And you're talking about Broadway. Well, why shouldn't I? Why, when word gets around to the booking offices that we're available, why they'll... Well, they'll what? Oh, Joe, what am I going to do with you? Oh, don't worry, baby. We'll get by. Well, I just hope we can get by that hotel desk. Poor Curly. We owe him $62 room rent. Well, let's get our things together. We ought to be getting a letter today, honey, from Buster. Oh, Joe, what if we hadn't paid his tuition for the whole term? Just think what had happened now. Buster wouldn't be able to stay in school. That kid of ours doesn't need school. Joe. Buster's going to be a great little trooper one of these days. Joe, please, not again. I don't want my son to be in Vorderville and definitely not at the age of 12. Oh, now, June. It's a grand institution.  We make managers cry, Joe, not people. Besides, Buster doesn't like that school. Remember his last letter? The principal didn't even know what an act in one was. For a time step. And a guy like that running a school. Where would I be now if I'd stayed in school? About the fourth grade, honey. Now hand me that suitcase. What's the time? Well, is this some surprise? Hello, Mr. Curly. How's the hotel business? Ooh, don't ask. School is out so early this year, Buster. No, I just walked out into Mr. Curly. They wanted to hold me over for another year in the same spot. But I said, gentlemen, as the old three said, when spring comes, I'm leaving. Get it? I get it.  Say, Mr. Curly, are they up in their room? Big time and mama? Your mama and papa, they got a mountain aid today, Buster. But I just came from the theater. The manager said they quit and walked out. Quit? I suppose that means they were fired. Yah, yah, yah. Big time fired? That's a laugh. A $62 laugh. I'm hysterical. Hey, who's the kid? Now, don't tell me, Curly. Buster Time. That's right, sir. Well, what do you know? I used to carry you when you were a baby. And I've been carrying his papa ever since. Well, I'm glad to meet you, Mr.... Swift, Buster. Harry Swift. He is the agent for Actors Buster. An important man. An agent, huh? Hey, could you get me a tryout, Mr. Swift?  Buster Time. Neat songs and nifty dances. Own such cedar when we'll travel. Now, let's get over there to the piano. Hello, fellas. Hello, fellas. Hey, boys, I want you to meet a client of mine. This is Joe Time's kid. And Buster says he's got an act. Chip off the old block, eh? What would you like, sport? Nothing wrong with that tune you were just singing. It's just the way you did it. Give us another chorus on the piano. Let's listen to the genius. Over at the elevator. Hey, June. June, look. No. No, it can't be. Doing small times. Oh, fine, pop. All right, Buster. Why aren't you in school? I, uh... I, uh... I stopped by your theater, mom. How can you quit? Uh, I'm glad you asked that, small thug. You know that manager? Well, it seems that he was... Uh, uh, uh, uh, uh... Huh? Hello, Joe. Love people from the state. I love performers. So I have this hotel, especially catering to actors. One week, you won't pay me. That's all right. Two weeks, I don't mind. But five weeks, Joe, and now no job. Don't worry, Curly. We're bound to land something soon. But, but you haven't changed your act in five years. You know, hold on to your horses. You're just running a hotel. We can leave here any time we want to. Stop hamming it up, dear. Well, what is he, a critic? We'll pay our bill. I don't believe you. All right, then we won't pay our bill. Now I believe you. You might need something first. A new spark or something, and you've got your new spark right here. Buster. Buster in the act? Nothing doing. Buster's going back to school. Aw, mom, gee. Congratulations to the talking son, Joe. Joe, you've got eyes and ears. Do I have to sell him to you? Why, with Buster in your act, I guarantee I can get you booked for the whole summer. Absolutely no. But, mom, it's practically vacation time. Lots of kids take jobs during the summer. Not on the stage they don't. I could teach you the routines in no time, honey. Teach me the routines? What do you think I've been doing all these months in school? Oh, I give up.  Yeah, sure. Well, it'll make a swell double for you and me. I'll show you what I mean, mom. Hey, professor, could you give us Mr. Lovejoy? I sure can. Come on, big time. Let's show mom. Let's show her. What's the weather, Mr. Lovejoy? Oh, quiet and foamy, Mr. Gay. I see by the financial bane you made history yesterday. Oh, yes, I made a killing. I've ordered cotton, oats, and wool. I've always been a bear in the market, but yesterday I turned full. Oh, no, Mr. Lovejoy. Don't you believe what I say? Barely, Mr. Lovejoy. Oh, that's bully, Mr. Gay. But tell me, Mr. Lovejoy. What's the question, Mr. Gay? You know the market. Inside out. What should I buy today? Well, pick up such your nuts. Then whether the market goes up or down.  Yes, well, the... Some dust got on the sail. So I gave the things to a chap I know. I travel now by rent. Shall we dance? Oh, well. There's a certain theater manager who could use an act like this. Let's go and see him now. Yeah. We'll go over to the majestic, Harry. We'll show that guy Gordon. He's just the one we're gonna show. But Gordon just fired us. He's gonna get a chance to hire you back. Hello, Mr. Gordon. How do we do, Mr. Gordon? Well, I sure didn't make any mistake taking you back. The act's really great now, Joe. The audience loves you. Naturally. Naturally. And I've decided to hold you over for another week. Not a chance. Come on, baby. We're not turning down work already, dear. We'll take it. I just wanted to make him squirm a little. Aw, gee whiz, Mom. School was never like this. Neither was the act, darling. Joe, wait. Over. Sorry, Gordon. We got a booking in Oakland. Oakland? Well, we weren't sure about staying over here. You're actually signed? No, not actually signed, but since the bank is more money... Are they paying you double? Double? Is that an offer? Two weeks, Joe. I double the salary. Well... Then I feel free to tell you, sir, that there really wasn't any booking in Oakland. Thanks for doubling our salary, though. That's all right, Joe. After the way your act's been going over, I was really prepared to triple it. He sure fooled him, didn't we, Pop? Huh? Oh, wait. Incidentally, June, your old boss is going to be on the bill in a couple of weeks? Billy Shay. Billy Shay and his American beauties. What do you know about that, honey? Him and the Saint Bill with us. Isn't it the other way around, darling? Well, maybe they'll have to print Billy's name and bigger letters, but the audience will decide who the real headliners are. You said a maful, big time. Billy Shay. Maybe that's why I'm in love with you. Be your sister, brother, dad, and mother, too. Billy's act still got a lot of class. Yeah, but there's not a laugh in it, big time. That's all. I'll be back here by 8 o'clock. June, darling, just as beautiful as ever. How's my favorite girl? Still dodging, Billy. Hiya, Buster. Hello, Mr. Shay. Say, did you catch my rehearsal just now? Part of it. And if you'd like my opinion... Oh, we thought it was wonderful, Billy. Simply wonderful. Yeah, lots of class, Billy. A really classy act. Well, that's why June used to work for me, huh, honey? And I sure wish I had you in the act right now. You don't know how tough it is working with six feather-brained chorus girls. They didn't look so tough from here. Well, I gotta run.  Maybe give you a few ideas. Yeah. How do you like that guy? Give us a few ideas. He sounds like a big ham. And you sound like a little one, darling. I got your music, Mrs. Time. Anytime you want to start rehearsing. Okay, Charlie, April showers. Haven't you forgotten something? Time for Busta's lesson. What'll it be, Mom? Tap, soft shoe or ballet. Geography. Take him over to the hotel, Joe, and make him study. But just a waste of time. We could still be over at the theater rehearsing.   Well, we gotta give your mom half, you know. Come on, let's see. What's the capital of Iowa? I don't know. He never played there. Well, anyway, it's got a capital. It says it right here in the book. Des Moines. That's French. Oh. How do you spell Mississippi? Capital M-I-S-S, period. Come on, come on. Well, that's the way Variety spells it. And if it's good enough for Variety, it's good enough for me. Hey, speaking of Variety, it says piano acts are going very strong back east. Piano acts, huh? Say, why don't we put some piano in our act? I bet we could work up something real nifty. Yeah, maybe we could have that. And now the Curly's put a piano in our room. You owe him 62 bucks, Pop. That Curly's a great guy, kid. Richard Broke, I wouldn't think of living anywhere else but in this hotel. Pop, you know that song you wrote about Mom once? Yeah. I'd sure like to hear it again. Anything's better than geography, huh? You said it big time. Sing it, big time. Sing it. Just the neighborhood pass when I met her Just a freckled-faced kid with a curve But he ought to see she turned out to be The world's most beautiful girl She would hang round the gang on the corner But we never would give her a word Oh, gee, were we dumb, cause now she's become The world's most beautiful girl Oh, we chased her, we teased her, laughed at her tears We made fun of her calico gown But, lo and behold, in a couple of years The toast of the town Though the freckled-faced kid that we laughed at Could have married a Baron or her Believe it or not, it's me that has got the most beautiful Say, your mom is really beautiful, isn't she, small-time? She sure is, Pop. Of course with you, looks don't matter so much, do they? No, no. Really, you see my family? What's the matter with you? They're right where they're supposed to be in the dressing room. Oh, sure, the dressing room. Hey, June, June Buster! Joe, Joe, what is it, darling? Take it easy, big time. There's a performance going on. This telegram just came. I followed the stage story. Sit down, Pop. I'll read it. Probably another touch, huh? Oh, it couldn't be that. Your pop's too excited. Well? Mr. Joe Time, Princess Theatre San Francisco. Can arrange? Can arrange? What's the matter with you? What are you always so excited about? Give me that telegram. A can arrange? Yes! What in the world's going on here? That's what I'd like to know, Billy. Joe just got this telegram and it says... Oh, no. No, I don't believe it. It's just too good. Billy, here, you read it. Let me see. Can arrange 12 weeks in New York for you on Keith's circuit. Opening date, September 18th. Are you available? William Barnes. New York? Wow! Give me a pencil, somebody. Give me a pencil and paper. I gotta answer this right away. Joe, no, that's my best eyebrow pencil. I'll get you a gold one. Because you don't give Barnes my regards. June, June, you write it, honey. I'm too nervous here. But, but, but, what'll I say? Well, just, just tell him a week's except, the provider we get top billing, have separate dressing rooms, transportation back and forth from here to New York, and a guarantee that we play Broadway before November 1st. There, that ought to do it. Got all that? Yep, every word. Let me see it. Let's see. William Barnes, St. James' Building, New York City. Okay, Joe Time. That's the most beautiful telegram I ever wrote. Send it. This is the second act of April showers. Here's Libby Collins, our Hollywood reporter. What's new, Libby? Well, there's lots of talk over at Paramount about their latest pictures, Streets of Laredo. Oh, yes. The story of the Old West. Darling William Holden, McDonald-Carrie, Mona Freeman, and Bill Bendix. And tonight they're holding a special premiere of the picture in the real town of Laredo, Texas, as part of the city's anniversary fiesta. Well, the people of Laredo will be in for some real excitement when they see Mona and a host of Hollywood stars in person. Mona is thrilled over Streets of Laredo. She has her first grown-up role after playing so many teenagers. You know, I think she's strikingly pretty in Technicolor. Don't you live in? Not a bit prettier than in real life. I'm sure John Kennedy would say her fresh, lovely complexion is one of her greatest charms. I certainly would, Libby. And as you know, it's one of those famous luxe complexions. I should say so. In fact, Mona tells me she'll be a luxe fan for life. She's so delighted with the gentle care Luxe toilet soap gives her skin. And I'm sure she likes that big new bath side. Naturally. There's lots more of the creamy lather. Mona says is so fragrant, so luxurious. Well, the generous new bath cake makes the most delightful beauty bath fastidious women could ask for. Screen stars love it. It leaves such a lovely fragrance on the skin. A fragrance like the bouquet of many different flowers. No wonder nine out of ten Hollywood stars use this big satin smooth cake for tip-to-toe loveliness. Be sure to get the big new bath size luxe toilet soap. It's another fine product of Lever Brothers Company. Here's Mr. William Keely, our producer. Act two of April showers, starring Dorothy Lamour as June, Jack Carson as Joe, and Robert Alder as Billy Shay, with Bobby Ellis as Buster. It's just about the biggest moment in the lives of the three times. An offer to come to New York. Joe, June, and Buster are now in the office of Mr. Barnes, the booking agent. But the broad smile of welcome on Mr. Barnes' face undergoes a drastic change as he takes a second look at Buster. That's Buster. That's your son? Well, yes. What's the matter, Mr. Barnes? What have I got? Yellow fever or something? Believe me, it's worse. Much worse. What are you talking about? Well, they told me he was a youngster, but I had no idea it was such a baby. But that's what makes the act so great. The fact that Buster is just a kid. There's a law here that no child under 16 can sing or dance on the stage. Are you 16? Well, I'll be 16. Oh, this is terrible. Mr. Barnes, we've spent every nickel we had to come here. You can't keep us from working now. You've never heard of that society that watches every act to see that the age law is enforced? I'm awfully sorry. I really am. You're sorry? What about us taking everything we had this time? You just can't... Sorry to interrupt, Mr. Barnes, but Colonel Nemo's here. He's in a great hurry. Oh, show him right in. Wow! How are you, Barnes? The old kid, old kid here. Have a cigar. Hey, a midget. And who are you? I sit down, Colonel. How is Baltimore? You didn't hear? Say, I franched him. They're still applauding. Hey, June, Buster, Mr. Barnes, look!  Don't you get it? He's not even as big as Buster. We passed Buster off as a midget. Big time. Yeah, it's a great idea. My son, a midget? I won't have it, Joey. It's ridiculous. And what's so ridiculous about a midget, madam? Oh, I'm sorry, Colonel. I only meant the... I happen to have a son myself. He's five feet eleven. How do you think I feel? What do you say, Mr. Barnes? I'd never believe it. Oh, sure they would, Mr. Barnes. We've never seen Buster work. He can imitate anything. Go on, kids, show him. Well, well, well.  Here, have a seagull. Say, did I fracture him in Baltimore? They're still applauding. Well, I must say. Say, kid, you're okay. Okay's great. Can't miss. I'll take a gamble. Mr. Time, you open at practice with 5-0 on Monday. And if they use more time... Yes, sir? You've got to give the performance of your life. Remember, on stage or yourself.  Leave it to me, Barnes, the old kid. Well, I'll see you all there on Monday. And if that society comes calling, just remember, the kid fooled me, too. Never shall... Oh, Mr. Barnes. Be with you in a minute, Mr. Barnes. Joe, don't go out there. No more bottles. What's the matter? Why not? No, the act's fine. It's great. But the society's spotted Buster. He'll be coming backstage any minute. With a cop. Okay, Buster, into my dressing room. Quick. Just remember what to do, doc. No, the act's fine. It's great. But the society's spotted Buster. He'll be coming backstage any minute. With a cop. Okay, Buster, into my dressing room. Quick. Just remember what to do, darling. Don't worry, Mom. Just call him for a couple of minutes. And we'll... Use the Colonel's appearance. He was just about to shave. Oh, they won't mind the latter, June. Folks, this is Colonel Rudolf Vandervoelten. Glad to know you, ladies. Hey, Officer, what's up? The joint fished or something? Well, Colonel, it seems these ladies are from the society. Not another benefit. Oh, Joe, you know how tired I am. Well, it seems there's a law, Colonel. Children can't sing or dance on the stage. Now, don't get upset, Colonel, but they thought you were a child. That shows how good you are, Colonel. You ought to take a bow. Don't feel bad, ladies. It's a natural mistake, and I don't hold it against you. Here you are, Sergeant. Have one of my sea-guards. Well, thank you, Colonel. Here, you have one of mine. Yes, yes, of course. Nothing like a good clear-of-an, I always say. You do?  Here's a match, Colonel. Oh. Well, ladies, are you satisfied now? Yes, yes, I believe we are. Oh, don't hesitate to call any time. I feel as a ghost. I knew this cigar would get him. Oh, I'm afraid it got me too. Oh, what a piece, I think. Kids, you were great. Pop, I'm dying. Don't worry about a thing. And that shaving routine. Or did we fool him? Did we? It seems I forgot my gloves. Yeah, that's not all. I forgot to give you this summons, Mr. Time. Sorry about the cigar, Colonel. It's too much trouble to sell me a drink so much. He's walked out, eh? Yeah, Buster couldn't go on, because of some nutty law they got out there. Is that so? Of course they wanted you and me to go on alone, but I said nothing to them.  Well, you know what I'd do then if I were you? I'd sue Variety. Just listen to this big shot. Westernak flops in Gotham as welfare society gang's kid. The removal of Buster Time from the Three Times Act removed all the snap and ginger. Joe and June Time with our junior failed to click and were closed. Sure we flopped. You want to be flopped by ourselves? Anything else you want to read to me? Ah, don't get sore, pal. Maybe you need a drink. You bet I need a drink. Hey, Bert, give me that bottle. You heard me, the bottle. The dressing room. Gosh, Pop, if the manager sees you... Joe. Hi, honey. How's the world's most beautiful thou? Joe, we're on neck. Can you make it? Read all about it, baby. Oh, Joe, why? Why did you do this?  The whole town knows that we laid an egg in New York. The whole world knows about it. Read it. Get your makeup on. We just didn't lay an egg, Buster. We laid a cake. Hey, what's the idea of Buster in my dressing room? Who are you? Joe, that's Mr. Barkley. The manager, Joe. Well, New York is a hecked town. I'm sorry, Mrs. Time. He's in no shape to give a performance. Please give us 15 minutes. We could switch places with a juggling act.  I won't insult my customers. Joe's not a drinker. He never missed a show in his life. He's missed this one. Well, how about tomorrow? Not tomorrow or any other day in this theater. I'm sorry for you, Mrs. Time and the boy. Mom. Mom, maybe if I got some black coffee. No, just let him alone, Buster. Maybe it's better if he doesn't sober up any sooner than he needs to. I tossed out of New York, and I pulled a price down of all. It gets sourced right before our performance. Mr. Shay? Shake hands with the number one flop in show business. Yeah, I heard about the tough break she got. Everybody's heard about it. How'd you do in Seattle? Oh, terrible.  You? What happened to the American beauty? Oh, don't remind me. I'm no good doing a single. What I've been looking for are the right partners. Well, how's June and Small Town? Oh, they're great. I gotta tell them you're into... Yeah, we have a couple of dopes. Dopes? You're looking for partners? What's the matter with them? June and Small Town. You kidding? Look, I'm blacklisted. Nobody's gonna book them as long as I go with the act. But you, if I were only sure you're on 11, I'll prove it to you. We'll find that agent Harry Swift and then break the news to June and Buster. Well, next Monday in Oakland and here, a week's advance from Harry Swift. Billy, I just don't understand. What happened, Joe? Well, yeah, I get hold of Harry, see?  He says, of course it is, Joe. So I say, well, why do we ever get any more bookings? He says, because of you, Joe, the theaters won't take a chance on you. I say, well, suppose I step out of the act. Pop, no. Yeah, I'm not finished. I say, suppose somebody else takes my place. He says, well, who did you have in mind, Joe? So I say, Billy, sure. He says, nah, you got something, and I say you can say that again. Billy's a great performer. He can sing. He can hope and he's got class. And look at him, June. He's even the right size, almost. With little taken in here and there, he can even wear my wardrobe. Now, isn't that a great idea, or isn't it? Joe, wait. What's your name?  It's a wonderful idea. It's a terrible idea. Mom, I can't go on without you. Buster's right, Joe. I'm sorry, Billy. What? I was under the impression I was helping you folks out. I don't blame you for being a solid, Billy. Here he is giving up a great girl act just to do his favorite new tour complaining. And what would you do, Joe? Well, I'll stick around. Harry says, if I behave myself in six months, the bookers will give me a clean bill of health. I'm not going to let you do it. You know, this is pretty funny. I'll see you around. Ah, now you don't. You made a deal, Billy, and you're going to stick to it. But you don't want it like this, Joe. You know you don't. Oh, don't I. I'd try to be nice about this, but... I'll OK if you want the truth.    Now, you can do what you want about the book. I'm walking out right now. There's a sensation in Oakland. Song and dance combo hit top for entertainment. Billy Shea revised routine. Three times new box office man. Maybe when I need her in the mall. He's producing a new musical comedy and he wants us, June. Oh, I always told you we'd make it, didn't I? Musical comedy. Oh, it's too good to be true. No living out of a trunk. No hopping from town to town. This is only the beginning. There's no telling how far we can go. Together. Yes, and then if we're hit, maybe Buster, Joe and I could... June. June, will you forget about Joe? I can't forget him, Billy. You've taken his place in the act, but don't you forget I'm still married to him. Well, you shouldn't be. That's what I'm trying to tell you. Are you trying to say that I should divorce Joe? That's the only thing you can do in fairness to yourself. But would it be fair to him? Oh, June, it's time you stopped worrying about everybody else and thought about yourself for a change. You know you're having a chance of happiness with Joe anymore? Maybe you would with me. June, I've always been crazy about you. Will you think it over? Yes, I'll think it over, Billy. Sure, I'll think it over. I'll see you. I'm glad to see you, too, Pop. What are you doing with Frisco?  Laying off?  Oh, Pop. What's the matter? Oh, I mean this rumor. Yeah, it's kind of messy. The maid didn't show up today. You're kidding, Pop. Oh, gosh, why would you take the money? Mom and me are doing great. The money belongs to you. No, no, look, your mom and me went over that weeks ago. Besides, who needs any money? Do I look like I need money? Gee, Pop, you sure do. Ah, how'd you know I was here? I ain't an awful time finding you. Curly said you moved out of the hotel two months ago. Gee, big time, I thought I really lost you. Oh, not cheer up. Cheer up, kid. You've got to come back, big time. It isn't right for us to be split up like this. I'm scared. Scared? Scared of what? Things like, well, like Billy. What about Billy? He wants Mom to divorce you and marry him. Well, Billy's always kidding your mom like that. Don't mean a thing. You've heard him do it right in front of me. They'll leave in Oakland tomorrow. They're going to Portland. Portland? I thought you said you were laying off. I didn't say the act was laying off. Just me. Hey, you know more about show business than to pull a stunt like that. Look what happened to me just because I missed one matinee. Gee, big time. I thought you thought they could be better for both of us. I mean, if I stayed here with you, we could team up and do a swell double. No, no, no. I could, I could plan some lay-own now. You'd only be in a way. I wouldn't bother you. I promise. I'm breaking in a new partnership. Kids make her nervous. What's more, you're making me nervous too. Maybe you don't feel so good. I feel great now. Get out of here.  But we're coming back here in a couple of weeks. Right back here to Frisco. So what? There's a new musical comedy opening. They book the act pop. Musical comedy? Well, that's, that's fine. That's great. So why can't I stay with you? At least till I come back from Portland. Now quit your blubbering, will you? Everything going great and look what you do.  And I don't like that cattle tailing either when there's nothing to it. Hey, get smart and clear out of here. All right, big time. Okay. Don't come back either. I won't be here. I'm moving. I've got a swell suite in the hotel. When? When do you open pop? When? I don't know. Soon I, in a week maybe. Good luck pop. So long. That's better. So long, kid. This is CBS, the Columbia Broadcasting System. April showers. Our guest tonight is Miss Joan Winfield, who has appeared in many Warner Brothers pictures. They tell me you have a special reason for being attached to your first name, Joan. Oh, that's true, Mr. Keely. It happens to be the first name of my very favorite actress, Joan Crawford. Well, I can understand why you feel that way. She's a great star. I think so more than ever. Now that I've seen her latest picture, Flamingo Road. A tense melodrama, Carnival Dancer rises to social success, arouses the enmity of a crooked political boss. You mean Sidney Greenstreet? My oh my, what a prize villain he makes in Flamingo Road. In a word, he's sinister. As for Joan Crawford, the word for her is glamorous. Right, Joan? Absolutely. What do you think, Mr. Kennedy? The head of our studio makeup department said he wished he had a dollar for every time he's been asked how Miss Crawford keeps her complexion so lovely. Well, that's easy to answer. Joan Crawford is one of our most famous lux girls. Yes, I visited her dressing room and know that she depends on lux toilet soap for beauty care. She keeps the new bath size cake on hand too. It makes such a grand refreshing beauty bath. Yes, Joan. That big generous cake has really scored a hit in Hollywood. There's something so luxurious about having your favorite complexion soap in bath size. I'd hate to be without it. Well, don't you worry, Joan. That big new bath cake is available everywhere now. Thank you, Miss Joan Winfield, for coming tonight. Now, here's a suggestion for the ladies in our audience. Let the whole family enjoy the new bath size lux toilet soap. Women love its flower-like perfume, and men go for that rich, abundant lather. Try the big new bath size lux toilet soap tomorrow. Now, our producer, Mr. William Keely. The curtain rises on the third act of April showers, starring Jack Carson as Joe Time, Dorothy Lamour as June, and Robert Alder as Billy Shane, with Bobby Ellis as Buster. It's a couple of weeks later, and the three times are back again in San Francisco to start rehearsals for Al Wilson's big new musical comedy. In Curly's Hotel, a guest is trying to register. Well, well, can you accommodate me here, or must I go to the St. Francis? Please, lady, if you can't wait for just a minute. Yah, yah, yah! June! June, you are back! Hello, Curly. Can I accommodate you? She's got a question. Well, where's the rest of that? Well, Buster and Billy went straight to the theater. Curly, have... have you seen Joe lately? Not for months, June. He used to drop in for a smell, but now, no more. He's in town. Do you know where he is? I don't like to say this, darling. Yah is in town something called Mike's Place on the barbaric coast. Mike's Place. Thanks, Curly. I'll be back, lady. This is Mike's Place, all right, lady, only I think you made a mistake. I'm looking for a performer named Joe Time. A performer, lady? Oh, that's him over there, cleaning up the cables. Thank you. Joe. Huh? I... I hope you don't mind my coming here. Mind? I should say not a... Slucky I came today, though. I... I just been helping Mike out here. I got a swell job line up starting tomorrow. But that's fine, Joe. Well, sit down, Joe. Sit down. He looked great. How's the kid? How's Buster? He's fine, Joe. I read somewhere you're going to be in Wilson's new musical. Opening New Year's Eve, eh? That's right. I'll be there with bells on, right down in front with the ball heads. Buster and I want you backstage, Joe. With us. What about Billy? How come Wilson wants me? Oh, I didn't mean in the act I... Oh. Billy'll still work with Buster and me, but that doesn't mean we couldn't have a home again. We wouldn't be at the theater all the time. Same old story, Jun. I sit around picking daisies while you and Buster bring home the bacon. Joe, I didn't mean that. You know I... I'm pretty cheap, honey, but not that cheap. Not yet. Hey, Joe and Joe, the health don't sit around in this joint. Yeah, yeah, okay. You're looking at it all wrong, Joe. Maybe I got a one-track mind, but there's no other way to look at it. Well, why don't you get smart, you? Get yourself a divorce. A divorce? Why not? You and me are... Well, it just hasn't worked out. Get a lawyer else. Sign anything you want. Joe... It won't be hard for him to find me, either. I'll still be right here at Mike's place. Uh, say hello to the kid for me. Ready to rehearse the merry number, Mr. Wilson? Okay. You girls in the background, keep it alive. All right, Billy, Buster. Okay, let's go. Getting something, Wilson. We have a contract. Play or pay, remember?  It's just the number. I think I know what you mean, Mr. Wilson. Oh, hello, Jun. You want a number with more punchin'.  Quiet, Buster. That old Hulkam went out ten years ago. I'm not so sure. Maybe he hit it right on the head. In the middle of a class musical like this, if we could bring out that old routine, we'd have him in the aisles. Only, I haven't got Joe time. Oh, no, but you've got Billy Shay. You know that old baggy pants stuff? Know it. Why, I taught it to Joe. Oh, great. Great. Let's see it. Well, I'd be pretty rusty without a rehearsal, but if you want to wait till tomorrow morning, I'll have it down pat. Okay, go to it. Ten minutes, everybody, then we'll run through the finale. Where are you going, Mom? I'll be back, dear. I just want to see Mr. Wilson. Now, we'll run ahead, June. See you at the hotel. Hotel? Yeah, that was quite a suggestion you made, Buster, but it means we've got a tough night ahead of us. I don't get it. Are you going to have to teach me Joe's routine? I thought you said you taught it to him. Ah, that's so Wilson wouldn't worry. You didn't have to say you taught it to him. All you had to say was you knew it. Now, listen, kid, you're getting a little too big for your britches. Now, let's go. We'll work on the rehearsal room at the hotel. Something on your mind? Well, it's about Billy, Mr. Wilson. He never taught Joe that old routine. No, I didn't think so. But he can learn it. If you really want that number, why not let Joe do it? Joe? I can reach him in five minutes. I've heard about Joe. I just couldn't take the chance. Oh, but he's fine now. I saw him only today. Now, let's let well enough alone. Sure, Mr. Wilson. Whatever you say. You, Billy, you just don't understand a dance routine like pop. I did it the way you did it, didn't I? Now, turn on that phonograph, and we'll do it again. Okay, but it's no use. Nothing like him. That's enough of that smart talk. Keep going. A lot of good it'll do. Now, listen, kid, I've taken about enough, see? Where would you be without me, huh? Down on a barbary coach with your old man.   They asked me, will you? Now, let's get this straight busto once and for all.  Now, you're going to show me right? I'm going to have to slap it on you. Okay. Okay, I'll try it again. Christmas. Hello, Curly. I just want to leave this package. It's for Buster. I guess they're all theater. Junior, but Buster know he and Billy are upstairs in the rehearsal room. Joe, don't leave. Go up and see the boy. Just him and Billy, huh? Go on.  Yeah, well, maybe I will. Just for a minute. Well, what are you stopping for? And don't tell me you're tired. I'm not tired. I'm not going to show you big-time's routine.  You'll show it to me in right now. Stop it. Stop it, will you? Joe. Hello, Joe. What's he been doing till you're small time? You heard? No, Pop. I'm all right. Turn off the music, kid. Sure, Pop. Sure. Oh, gosh, you're my glad to see you. Lock that door over there. Joe. Now, wait a minute, Joe. You see, we were just rehearsing. Yeah, I know. Now, you and I are going to do a little rehearsing.  Give it a say. Pop! Sorry, Mr. Wilson. When we finally broke in the rehearsal room, they were both unconscious. Oh, gosh, Mr. Wilson, you should have seen Pop. Yeah? What about Billy Shay? I'm here, ain't I? Where's Billy? In the hospital. Yeah. You may think it's funny, but I don't. Joe, time, right up to his old tricks. I'm sorry, Mr. Wilson, but... When I found him feeding up on small time, I... I guess I lost my head. What head?  You had to throw... Find a way to throw June and the Kid here out of work, too. Oh, what would you do, Mr. Wilson? I know what I was supposed to do. I was supposed to open a show in just one week. Thanks to Joe here, one of my most important performers is indefinitely indisposed. It was all my fault. Oh, sure. Your father was protecting you, but who's going to protect me? Gee, I... I just don't know what to say. I know you don't. If you did, you'd at least have the courtesy to help me out. Huh? Sure. You'd say, Al, I'll be happy to take my old place in the act so you won't be without an extra closing spot in the show. That's what you'd say. Next to closing? Mr. Wilson, you... you really mean this? Yeah, you heard me. I think you can be in shape to go on. Be in shape? I'll be there if they have to carry me on in a stretcher. Big time. We'll murder them.  By the way, Jack, why only 36 states? What happened to the other 12? We went to Texas instead. Bill, what's the play next Monday? It's the mystery thriller to the ends of the earth. And we'll have the original stars of the screen town, Dick Powell and Signe Hassel. This is a drama of United States Treasury agents on the trail of international criminals. A hit on the screen and an exciting story for this stage next Monday night. We'll love that one, Bill. Good night. Good night. Good night and come again. Leave our brothers company, the makers of Lux's toilet soap. Join me in inviting you to be with us again next Monday evening. From the Lux Radio Theater, present Dick Powell and Signe Hassel in to the end of the earth. This is William Keely saying good night to you from Hollywood. Jack Carson appeared by arrangement with Warner Brothers, producers of Colorado Territory. Dorothy Lamour appeared through the courtesy of Seal Test, and is currently starring in the Pine Thomas production for Paramount Man Handle. Herd in tonight's cast, where Alan Reed is curly, and Bill Johnstone, Herbert Butterfield, Willard Waterman, Bob Griffin, Norman Field, Joe Forte, Anthony Boris, Cliff Clark, Eddie Marr, Kruda Marson, and Howard McNair. Our play was adapted by S.H. Barnett, and our music was directed by Louis Silvers. Our Lux Radio Theater production of April Showers has come to you with the good wishes of the makers of Lux's toilet soap, Hollywood's own beauty soap. This is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear for the Ends of the Earth, starring Dick Powell and Signa Hasso.


Governor Amino Tambowal of Sokoto State has urged Nigerians to continue to pray for peace in the country. Tambowal made the call on Sunday in his 8-elf-a-tree-salam message to the people in Sokoto. According to him, the substantial relaxation of COVID-19 containment measures across the globe has restored freedom to Nigerians to pursue their socioeconomic activities within and beyond their shores. Also critical is the easing of regulations that now enable Muslim faithfuls to perform religious obligation outside the country. He appealed that we explore the opportunity to pray for peace in Nigeria and for peaceful, free and fair elections that will usher us into everlasting unity, stability and prosperity of our country.


I am very, very excited to introduce our next speaker, very talented closureista and good personal friend, Paula Geeran. Paula is an avid closure developer and a valued leader in the closure community. She has fearlessly led numerous commercial and open source projects to glory through various perilous technical pursuits. She has also given an impressive number of talks at different conferences around the world. Most of her experience focuses on data storage in processing. So without further ado, let's hear from Paula. Hi, everybody. It's morning for me, afternoon in London. My name's Paula. I work at Cisco Systems. Today I wanted to talk about data log databases. This term first came out when Datomic came on the scene about 10 years ago. Data log had been around for a while though and I wanted to compare and contrast what traditional data log is with where Datomic has brought us. So Datomic was first released in 2012. We heard a lot about it during the release from Rich Hickey, Stu Holloway, a number of the cognitive people. It has a number of operations associated with it. When we're writing to it, we do this through transactions which can be based on statements or entities. When reading, there's a few different APIs. We have the Datalog API, which I'm focusing on today. There's also the entity API and later on they introduce the pool API which integrates in with Datalog. Since then there have been a number of other databases come along. We have Datascript, XTDB, which was previously Cracks, Dat 11, Eva, Asami is a project that I work on. And all of these have been referred to as using Datalog as their query language. So what does this entail? For those of you who aren't familiar with these sorts of databases, what if we look at a standard relational database which is based on tables? So here's a very simple table with some people entered into it. This has proven to be very useful. People have been using it now for something like 40 to 50 years. And many websites and commercial systems are based on data that's structured this way. However, what happens when we discover that we need new information? We need another field? Well, this takes migration where we'll introduce those new fields but they may not necessarily have data associated with it. It's possible to introduce new tables but sometimes it doesn't make sense and it also has performance implications. As new columns come in, we'll find that some of the data continues to be blank. We'll end up with a whole lot of space being unused in the table and there are major issues associated with trying to migrate a database from one version to another. We'll also notice here that each record in the database takes up a full line. Some of these lines have empty spaces in them now. It's not particularly efficient although once you go to a particular line in the database, you've got all of that data immediately available to you. So a graph database takes the same data and represents it as a series of nodes which are connected with arcs. You'll see that each of the columns in the tables have now become labels for these arcs. I've left a couple of the labels off in the bottom corner because it's getting a little difficult to see but you can see all of the data is still there and we're just viewing it somewhat differently. However, a database doesn't necessarily store it this way. To do that, we're going to take those entities and their label, the arc label and the node that they're pointing to and we'll move these into a table of their own which we refer to as triples. Now, most databases will also have extra columns left out on the side indicating the time that that triple came in which transaction it occurred with, that kind of thing. But in general, the data that we're interested are going to be these statements where you have an entity ID, a label to connect it then to the value. In Datomic, these were referred to the entity, the attribute and the value. So what's the difference between these two structures? Well, graphs are much more flexible. As we have new fields, data fields that we want to bring in, we can just add a new arc out to connect that data onto a particular entity. And we need only do that for the entities that we're interested in. We can index everything because we only have three columns that we're working with. We can index on each of those three columns but we can then sub-index within them as well so that if you're indexing by that first column and then the second column or you can index by the third column followed by the first column. There's only a few different possibilities here and it lets us find all the data really rapidly. We can provide metadata on each individual assertion. As I mentioned earlier, that's often done with most databases. That can include the transaction ID, the time, the provenance where the data came from and there's all sorts of other things which can come in as well. In Assamming, I have an individual ID for every statement and then I can make arbitrary statements about statements. It does use more storage space. This isn't as tight and compact in general as tables are particularly when there aren't any blank fields in tables for relational databases. And we can also find that this approach has the potential to split entities up. Typically they're not. We generally aim for data locality but particularly when we've got indexes that aren't being indexed by an entity ID then we can see data for an entity split up across different servers or different parts of the local hard drive. We're also doing statement at a time selection. That's not entity at a time selection. And consequently, just to see an individual entity, we're gonna have to perform a join operation to connect these statements up. On the other hand, we had our relational tables. They're very rigid in their structure. They're not flexible at all. If we want indexes, we're gonna have to select the columns that we want to index or the combination of columns that we want to index. That can be extraordinarily expensive. We can have metadata on rows but that's on the row only. That means that if you've updated an individual field within a row, you don't have an easy way to provide metadata around that update like the time and date it occurred. In general, if it's well-packed, if it's the internal form, we can use a lot less storage space than a graph may use. This can vary according to specific implementations but in general, graphs are gonna spread your data out a bit more. We have greater entity locality because entities are being represented per line. When we're selecting lines or rows, we've got to select the entire thing and that has performance costs when we're processing a lot of data. Column databases are an attempt to get around some of that but they introduce their own performance issues as well. So looking back at the relational form, how do we do a simple query like finding the first and last name of the person with the Twitter handle of Bingley? Well, that where clause generally implies that we have a filter. We're gonna go through each row of the table and pick up on those rows which match the filter that we're looking at. We can index so that we can find that immediately. When an index exists, the query planner will identify that and it will change the filter to an index lookup automatically for you. However, building indexes takes a lot of time, takes a lot of space and in an instance like this where not everybody has a value in that particular column, an index may not make sense or work very well for you at all. Let's try the same thing now. We've done a lot. We're still looking for the first and last name but now we need to a series of graph patterns where we want to find the person who has that Twitter label and then we ask for their first and last name. Our data is already indexed and here's an appropriate index to look for it. These are the slice out of the statements. We're looking at the entity ID, the attributes and the names. Because our data's index, we'll be able to find the Twitter handle of Bingley quite easily, probably through a different index but then using that ID of three, we can look up the person's first name and their last name and that's done by a join where we can simply look that up by the entity ID. So this is what data log looks like but is it really data log? Let's look at a different graph language. In this case, Sparkle. Sparkle is a graph query language developed for the RDF system. The structure of this query is basically identical. We're still selecting by the first and last name. Our where clause still has the same variables, the same attribute identifiers. We're still referring to Bingley and the variable first name, last name is still there. Nothing has changed at all. It's a slight syntactic variation and nothing else. Now for those who are familiar with Sparkle, the colon prefixes for Twitter and first name and last name would generally require a default prefix to find but that's just a syntactic convenience for us. The structure of the query is absolutely identical to what datomics queries look like. So what does data log really look like? Well, it's defined as horn clauses. These are implication statements. The first one here indicates that a statement is always true. This is used for representing data that we want to assert as true and that maps on to where we do assertions of statements into our system. There's also rules. That's where a series of predicates to get taken together will result in a statement being true. This isn't the syntax used when data log appears in a database. Instead, we'll describe it this way where data is a predicate with attribute values associated with it. And predicates need not only have two arguments, they can be longer, but in general, they'll only have two. And two or one. And then we'll have rules and you'll note that the thing being implied appears first and then there's a colon dash and then a comma separated list of predicates. So how does this work in practice? Well, we can define statements, data using particular predicates. The predicates themselves here are parent and then the values that appear in there is something called atoms. We see that the atom's overseas has parent Darius and the atom Darius has a parent has Thespas. Data appears similarly. In this case, we have predicates of ancestor being defined in two different ways. So if there's a parent relationship between X and Y, there'll be an ancestor relationship between X and Y. But also if there's a parent from X to Y and an ancestor from Y to Z, then there'll be an ancestor from X to Z. Now, this is a recursive rule because that second ancestor statement refers to itself. That's a very important attribute in Datalog in general, having this recursion. And there may be many different rules, many different predicates being created based on other statements and there can be loops and all sorts of things in there. So that's how we assert data and that's how we define rules on the data. What about querying it? Well, in this case, we have the question mark dash and we ask for a predicate with variables to be filled in. In the case of parent X, Y, it'll find all statements that match that. For ancestor, we can then say from Xerses to X and that'll find that list of ancestors and it's missing from Xerses to Darius, I'm sorry. So what are the operational features of Datalog? Well, there's order-free evaluation. It doesn't matter which order those rules came in or if statements were interspersed between them. It should not matter how that works. You should get the same result. Depending on the way that evaluation is determined, there are a couple of cases where evaluation under one algorithm can give you slightly different data than evaluation under another, but in general, it's going to be the same. Well, in pure Datalog, it will always be the same. Then we have recursion, which we saw. There's a guarantee of termination and also Datalog itself should not have any negation associated with it. Now, these requirements and the implications of them were heavily researched through the 80s and compared extensively to relational algebra or SQL. Since then, relational databases have adopted recursion. I've rarely ever seen it used in practice. So when this was being researched, we see back in 89, it was compared to relational databases. As I said, most relational systems will now include recursion in some way. Standard SQL can make that very difficult to access. Now, I've mentioned there's no negation here. Datomic does have it. It's actually an extremely common extension and it was referred to numerous times from the 80s going forwards. It's this negation which can lead to different sorts of data coming out depending on the mechanism for processing. But what is that mechanism for processing? Well, most common one is top-down. In this case, you start at your query goal and you're gonna merge that against the rules. If you've got no more possibilities for merging, then you need to exit. Then you'll find those statements where the items do fulfill the expressions, you collect them and you keep going back to the beginning again. You merge against rules once more. If there's no more possibilities, you exit. And this loops over and over again until you found all of the data. Like Prologue, this is doing depth first search. It's usually done with the depth first search. You can also do breadth first. Now, another approach is to use the bottom-up evaluation strategy. Oh, sorry, there's numerous different techniques which are used for doing this.  You'll note that the output of rules was always a predicate. This looked like the input of statements. And so we can assert these directly in storage. We keep repeating this until we reach a fixed point. Now, this takes advantage of database operations which are very fast. We only need to evaluate this a single time for multiple queries. If there's an update to the database, we note the delta and we don't need to evaluate all rules. We can just work on those deltas. It can use a lot of storage depending on how much you're trying to infer. And it may evaluate data that isn't needed. However, that can be faster anyway. Recently, I had a case of something with some pathological data that was taking 90 seconds to evaluate with a top-down evaluation. I changed it around to using bottom-up and it reduced this time to just over 100 milliseconds. Okay, so the sorts of terms that we see in Datalog are the rules and the data that we were referring to earlier. But there's actually two types of data. We've got the data that which came in that we defined ourselves. And then we have the ancestor data that comes out through the evaluation of rules. The data that was put into the databases referred to as extrinsic data. Well, data being inferred is intrinsic data. In bottom-up evaluation systems, the intrinsic data gets mixed in with the extrinsic and it becomes extrinsic. It's the top-down systems which have a very clear delineation between two. So Datalog is often compared to predicate logic because it looks like it. However, it isn't predicate logic. However, if we look at it this way, as if it is predicate logic, we can consider each edge in the graph, the node, the predicate to another node as if it's a two-argument predicate. Now, in something like Datomic, we're more familiar with labels like this of attribute on an entity and value. So we can map Datomic's approach onto what we're looking at here in Datalog. So let's put in some extrinsic data. We'll declare our atoms of Xercese, Darius and Isthaspus to start with. First of all, I want to declare them as entities and give them an ident. That's gonna make it a little bit easier for me to talk about them. So when I want to put in these statements of parent connections, I can do that by adding Xercese, Darius and I can refer to them directly now through those ident labels. But what about the rules? We've got those two ancestor rules. We can define this in Datomic using rules. You'll see that we have the two clauses of the rules below. First line is the name and then the remaining lines is a definition of the rule. And these look like queries, although you'll see that they can refer to the other rules by name as well. We can start querying the database now. If you want that simple query where we're asking for the parent connection from X to Y, that just becomes a pattern looker in a find query in Datomic. Unfortunately, the labels will get internal identifiers and so we'll want to add in ident statements so that we can get the labels out. But what about using those rules? That becomes much more complex. Well, here we can take our rules as a vector and we add them in as a parameter at the bottom of the query. And you'll note that the in clause is now expanded to include that percentage that can pick up on the rules. The where clause now isn't referring to graph patterns like we did, it's now referring to the rule that we're looking for. Graph patterns can also appear in there as well. But now you'll see that the request for a rule is looking a little bit different to the graph patterns whereas in Datalog we use the same predicate form for everything. Again, we're going to get internal identifiers out if we get X so we can just update that to ask for the ident. Well, based on this structure, is Datomic Datalog doesn't match the syntax but it does have an intrinsic database, extrinsic database via the rules, it does have recursion and it does guarantee termination. It does also have extensions which Datalog generally allows like negation. So, semantically, definitely we meet the criteria of Datalog but syntactically we don't. So is Datomic Datalog? I believe that it's quite justified in calling itself Datalog because it provides all of that functionality defined in Datalog and much more. We have aggregates, we've got negation, there's a whole lot of functionality that extends on Datalog but we meet all of the semantic requirements that Datalog has in it. So when Rich came out and called his Datalog, his database a Datalog system, he was absolutely correct. It meets all of that criteria. However, the query language for Datomic is a graph query language. It is not the Datalog language, that syntax of predicates and horn clauses simply does not exist in Datalog at all and it is part of what defines what Datalog is. So when we're talking about a query language, Datomic's query language isn't something that I would refer to as Datalog and I often, I'll often make this statement to anyone who wants to listen to me on it. If you want to argue with me about that, then you can find me on the Kludgerian Slack in the Assamming channel. I go by the handle qual and that's on Twitter as well.


I'm Marcia Joyner and we are navigating the journey and today we are going back to the future. How's that? We are going to visit with my dear, dear friend and everybody knows I only talk to dear friends. Today is with Peter Oppo and Peter's latest venture is going back to the future. He has decided to redo his life in music. So hi Peter. All right. How are you, dear? Oh, just fine. Back to the future. Hey, that's the thing right, mobilized for the future. Something like that. Yeah. So Peter, we were trying to decide. I met Peter when he was at, I was working for the city and he was too, but he was at culture and arts. So the paycheck was bigger. There's no money in arts. We're talking like a true musician. You know the joke about the musician that won the lottery, right? Won $3 million. Well, now that you want all this money, what are you going to do? I'm going to just keep working until the money runs out. Oh, and how long was that? It's going to just keep playing music until the money runs out. Yes. And then how long was that? But Peter was at culture and arts. And we had just gotten the Martin Luther King holiday.  And he said, I want you to fill up the courtyard every month for the holiday. And so that's how our relationship started. And the courtyard at Honolulu Holly courtyard at Honolulu Holly. And gosh, I don't remember how long that's been, but it's been a long time. And so Peter was a great, well, he is a musician. And what I wanted to talk about was not so much that time. This is the anniversary of the overthrow of the Hawaiian kingdom. And it is the same time as the Martin Luther King holiday. And somehow it always gets tucked in with MLK. And we forget about it. So I asked Peter if he would play one song, or as many as he wants to, but one from his album that I just sit and adore. And that's Hawaiian nation. So just pick one. Let me give a kind of not so much an introduction, but just a little quick context. Groping wine I long story short, I ended up at the University of Oregon, ended up in the hook band in the 60s. And did that for a number of years. We were fortunate enough to have contracts with the electorate records, all the big labels, Columbia. And we traveled the nation for years, college concerts, etc. When I left Hawaii in 1957, it was not a good time to be Hawaiian. We were nowhere close. We've been silent for years and years and years. And it was a time when most Hawaiian parents, as an example, my parents stopped speaking Hawaiian because they wanted their children to possibly become American, so to speak. I didn't know until I was 25 years old that both my folks were in Manilao. They were native speakers. I know they spoke a little bit of Hawaiian, but they never did in the house. Me, my brother, three sisters. All right. This is growing up, 40s, 50s, 60s. I leave town in 57. I don't get back to Hawaii till 75. Boy, I have things changed. 1975, I'd get off the plane. The first thing I see is a Herb County poster. The Okolea project was just getting started. Now you have to remember growing up in my time and having left when I left, I really had very little clue. I knew I was Hawaiian, of course, Hawaiian blood. I knew some of the basics of being Hawaiian, but I really was a cultural ignoramus. I knew what my folks could teach me. But then again, parents of that time were not trying to make their kids Hawaiian. They're trying to make their kids less Hawaiian so they would blend. So here's this Herb County poster after all these years, I had really no clue of what it really meant to be a cultural Hawaiian.  Here's the Herb County poster, the project's good. And I see this Okolea, sails flying in the wind, they lay huluies out, the warriors on deck. I had never seen a picture like that that depicted what Hawaiians actually looked like, and what they probably were like back then. Because up until those days, all the stuff that we had that were presenting Hawaiian and its culture were done by European artists. And their job was really simply to describe and to sketch out really quick sketches of kind of what they saw. It wasn't any kind of in-depth artwork or illustrations. So we growing up were absolutely absent because we were an oral tradition. We didn't write anything, we didn't have pictures, we didn't have drawings, we didn't have graphics. So when we grew up during my period, we had no clue what we looked like except from what we saw from Europe. So now here comes Herb County, here comes, and now all of a sudden through his drawings, et cetera, we're beginning to see ourselves as a culture.  I am completely knocked out by beginning to understand my history, the so-called the illegal overthrow of Hawaiians, et cetera, and our search for dignity, our search for restoring our self-determination and all of that. And so they were the seven days with the concon and the rebirth, I guess, is the renaissance of the Hawaiians in that, in that very period that you're talking about. And so now it's short enough. So now I come from a music background, largely folk music, a lot of songwriting in folk music back in LA and New York into this. So now I'm swept up with my Hawaiianness and trying to figure out who I am. And so I start, I'm a musician, so I started writing about it because back then there were not a song, not a lot of song being written about sovereignty, about self-determination, about any of that. Probably the closest thing that came up was, oh no, I forgot the title. Anyway, getting to the song. So this is the first song that I wrote feeling my Hawaiianness and it's called Song for Sovereignty Songs. Sing a song of sovereignty? A sovereignty song. That's the official title. Oh, okay. And when I look back today, the word sovereignty is somewhat misconstrued. When we say that Hawaiians are seeking sovereignty, we're really talking about Hawaiian seeking self-determination. In other words, we need to be able to convene ourselves, to organize ourselves, to seek out how we might be able to create a system of reconciliation with the federal government in order to ease the pain, to wipe the slate clean, and to either, I mean, there are different options in the self-determination package. One, you hear from a lot of, we have 12 Hawaiian nations today. Exactly. Organized. So you have this whole spectrum, everything from becoming like the Native American Indians, who's seceding from the union, that whole spectrum. So when I say self-determination, I'm talking about the Hawaiian's ability to organize and to determine their own future. So that's kind of what this song is about. And wow, there's a long and deductible song. That's okay. That's okay. I just absolutely love this whole CD. So Song of Sovereignty. Okay. So The Ages in an ancient melody. It's a song you should not be afraid to sing. It's a song that was written by our father's father's hand. It's the only thing our commander can understand, that the future lies.  Thank you so much. You are welcome. I, since you mentioned why and I, then you have one song on here. Why and I? Yeah, with the why and I song. Yeah. Yeah. You wanted me to sing? Yes, please. Well, I, you know, I can't do most of the songs because it's been so long. That CD was so long. I don't remember all the lyrics. I need the lyrics. Okay. Let's do, let's go back to the back.  It's a Liko Martin song. Liko Martin, for those of you who are old enough to remember him, Hawaii Aloha. Well, I was going to do a Liko Martin song. Isn't that Liko Martin, Hawaii? No. Hawaii Aloha? Yeah, I'm sorry. Yes, Hawaii Aloha. Yeah, Liko Martin was like Hawaii's Bob Dylan. Yeah. He wrote, he wrote a lot of great songs about the politics of being Hawaiian. And this one is, was pretty much of a pretty good kit, different versions of it. But Liko Martin was one of my, my great inspirations in writing about Hawaiian stuff, so. Thank you, sir. Thank you, sir. Thank you, sir. Thank you, sir. Wonderful song. Thank you. I had forgotten. It's been so long. Yeah. Yeah, I forgot. Yeah. Now tell us, Liko, I was just looking at, at this one. Anthology. Anthology is a CD that was kind of an attempt on my part. By that time, I had five CDs out. And that represents kind of a collection of the songs that I liked the best of the five CDs. So yes, it is an anthology album. Well, which one do you like best? That or you mean versus, versus the Hawaiian nation? Or which song? Which song do you like best? Since you're going back to the future, so what do you like? I like all of it. I like all of it. What do you want to play for us? Oh, oh geez. This turned into a music video. Yes, it is. It's your music. You got the copyright. Yeah. So actually, I lied about the first song. So I would do song with, not the first song I wrote. No. Yeah. I forgot about the first song, which is on that CD. It's called which is title. You know what I mean? It's when you rise up and follow me. Actually, it became, it was somewhat of a hit. I recorded that song with Del Beasley. We did a CD together called Apollo and Beasley. And it was a song I wrote actually on the big island. And I was just starting to learn about, relearn about my Hawaiian. Anyway, it's another one of those self-determination type of songs. It's not a song that tries to remember. Instead, you're going back to the future. So what does that mean? What are you going to, from where you are today? What are you, where you're going? There's a, I'm going to try to give you the simple answer. It's more complicated. I'm 82 years old. So am I. One of the things that I'm learning about. I said I'm 82.  Well, that's true. So I'm 82 years old and I've come to the conclusion as I age that if you want to stay alive, you want to stay healthy, you want to be happy. You got to reinvent yourself. You know, most of the people that you knew when you're 82 are dead. Okay. A lot of the things of the conditions of existence in the world has changed. The difference today from when you and I growing up, cell phones. So trying to adapt through age is, if you're not on it, and if you don't stay on it, and if you give up and keep talking about how much you're looking to retirement, for those of you do, when they say retirement, this is for those who mean to stop working and do nothing. That's the sure road to death, at least mental death, right? So 82, well actually when I was 81, I decided I need to shake the tree. I needed to get to start creating new circles of friends, renewing old friends who are still here, paying attention to family, and doing something with my life that has some meaning, and is something that I am passionate about. I spent 40 years, the last 40 years of my life in government service, and I loved it. And I spent much of those 40 years in doing Hawaiian, you know, as an OHA trustee, et cetera, doing Hawaiian things. I've now decided to go back to the 60s and do what was I doing then, which is playing music. So not only back to my future of playing music, but back to my future by playing the music of the 60s and the 70s, which is still relevant today. The Bob Billions of the World, Eagles, Linda Ronstadt, all these people are still popular. And some of the young kids don't even know who they are, but when they hear the music, they go, wow, grandpa, that's pretty cool. Who is that? No, they don't know. They don't know. Back to my future is about going back to where I was then, but knowing what I know now about what it takes to live and to try to be happy in relationships. And it excites me. I get up in the morning now. I'm excited about seeking new opportunities. I get excited about some of the new friendships that I do. My wife and I are trying to stay active. So that's what I mean by back to the future. It's going to be the title of my new CD. And you're recording more music. Yeah. Great. Great. And so my goodness, we are running out of time. That went fast. But what can I say? Yes. So now I have to tell my Martin Luther King story. Okay. Oh, I love the story. Yeah. Yeah, we have time for that. Yeah, let's do it. Martin Luther King story. I am, forget what year it was. I am Speaker of the House. Martin Luther King was assassinated. His wife was traveling around the country based on a congressional decision to allow states to determine whether or not they were going to, they could have a Martin Luther King day. And it was left up to each state to decide. And the condition was they had to substitute another holiday for it. So, so Loretta Scott King, his wife, with an entourage was going to every state capitol and she came to Hawaii. I'm Vice Speaker of the House. So I set up a meeting with her and the entourage and the Speaker of the House. And I'm not going to mention his name now because it doesn't make him look good, but he was a nice guy. So Speaker of the House and we have President of the Senate, all the important legislators were there and some people from the administration. So Loretta gets up and she does all her justification about why we should make honor her husband and create a holiday here for her. So beautiful presentation, just lovely. So she finishes and the room is silent and we're in the Speaker's office. So we all kind of look to him to do the opening, you know, response. So the first thing he says is, you know, Loretta, Hawaii, we don't have a lot of Negroes here. Oh, we wanted to crawl under the table. And you know, it was, you didn't mean that in any way, but she was, it wasn't very worldly in the sense you know, it didn't. No, it took us two years to go through all of that to get the holiday, but that's right. Yeah. Yeah. Well, listen, sweetheart, you will come back and sing some more for me, won't you? Yeah. Next time we'll set it up a little better. I'll set up my end and Hallie, take care of the thing about the delays and stuff. Well, thank you. This has been a real pleasure. And again, I want you to come back as you keep advancing the future. Because, you know, at 82, that's all we can do is the future. And I want to get in the plug, plug in for Sink Tech. I think Sink Tech is a really valuable service. I've been here four years now and I'm loving it. Yeah, it's great. Well, thank you for inviting me to be here. Thank you.