All right, thank you Chuck I'd like to thank the organizers for allowing me the opportunity to speak here today I want to specifically mention to Kenna that I did just sign the release form so you can tweet and film and Facebook all you want Let's see how does this work, okay, so and of course I'm representing a large group of people here So you may think because I'm today. I'm talking about the somatic landscape of GBM, and you may think Sure, there's an easier way to do this. Oh there You may think a GBM marker study didn't we already have one of those and that's of course correct because we started in 2008 by publishing on the comprehensive genomic characterization of GBM And that was sort of the kickoff publication to and the entire TCGA and then we followed that in 2010 by two papers One describing gene expression subtypes and a second one describing a hyper methylator phenotype so The the data set that we used for those three papers is sort of represented here We had DNA sequencing of About 600 genes in about 91 cases at that time of course in an enormous amount of sequencing Whereas nowadays you can do that in a day and we had molecular profiles and copy number profiles on us on a sample cohort of about 200 cases So fast forward to 2012 now we have exome sequencing 300 cases or close to 300 cases we have copy number on almost 600 and we have some form of unlocular data on about 600 samples So this is really quite a large data set Importantly we also have whole GM sequencing of 17 samples and RNA sequencing of 164 samples First we looked for significantly mutated genes using the 300 or close to 300 exomes You'll see that the top Genes are the ones that we saw in our 2008 paper as well p53 eGFR p10 sort of the usual suspects But we also find a bunch of novel genes that have previously previously been Unassociated with cancer and Cleo Blastoma in specific So for instance, there's spta1 that is mutated in in 10% of the cases ATRX, TCHH and so on and these genes are all free present at frequencies above 3% So this slide summarizes the 26 most significantly mutated genes With the 300 samples on the x-axis and the genes on the y-axis First I'd like to point out that we see No significant gene mutation in about 10% of samples that's sort of remarkable in my mind Although we see that in most tumor types We see interesting patterns of mutual exclusivity such as There's never a co a never a mutation in both pic3r1 and pic3ca Which obviously makes sense as these are working in in complex And we also see interesting patterns of co-occurrence for instance all the cases with an ideates one mutation also harbor a mutation in p53 and the majority of ideates ones harbor a mutation in ATRX and this has been Recently reported by Vogelstein and colleagues That these also co-occur in lower grade oligodendrogliomas I'd also like to point out that we found a five B ref V600 e mutations These are of course of interest because they are very frequent in melanoma and respond to femorefinib in that disease Although in other diseases such as colon cancer these have also been described, but they were not sensitive So it doesn't automatically translate to a treatment And as John Weinstein showed this morning, we also look for Patterns of mutation in chromatin modifiers as these have recently gained great interest in different diseases We compiled a gene set of 167 genes thought to relate to chromatin modification and we then plotted the mutation Mutations in these 167 genes as you can see in this slide And we find that about 40% of GBM has a mutation in at least one of those and these occur in a strikingly mutually exclusive exclusive fashion Now we tested this for significance by doing 10,000 permutations of similar sized gene sets And we found that in 97% of these permutations We find a lower number of cases to harbor a mutation thereby suggesting that this finding is quite significant And as I mentioned we have a very large number of copy number profiles And in 2008 we reported on about 200 GBMs And we found a number of significant Amplifications as is shown in this logistic figure where you have all the chromosomes on the y-axis and each of the peaks represents a focal region of copy number gain Now fast-forward again to 2012 We find more peaks also because we have a better methodology But we also importantly find that most of these peaks harbor only a single gene Similarly, we find this for Focal copy number loss and I want to highlight QKI at 6 Q 26 Which is now the only gene in this region and this has previously been thought to target Park 2 So we looked at genomic rearrangements using a whole genome sequencing data This is a specific copy number locus chromosome 12 Q 15 This is a locus that harbors MDM 2 and each of these lines here represents a copy number rearrangements between two chromosomal segments So as you can see this in this specific sample, there's many genomic rearrangements And we could actually assemble all those genomic rearrangements into an extra chromosomal Ring structure also known as a double minute and this was confirmed by fish I see one Showed you this morning. We looked extensively for fusion transcripts And we found 84 in-frame fusion transcripts. We also found a number of out-of-frame fusions in 164 GBMs And I want to highlight FGFR3 tech 3 as this was recently published Just like the ones you want this talked about this morning TFG. This is a local small inversion And since we have and we have two cases that harbored this fusion event and in both cases This is the copy number profile. We see that this Attacks along with a focal amplification We found a number of EGFR targeting Fusions they don't do not necessarily involve EGFR as a fusion partner, but all of these occur In the area of an EGFR amplification, so these are 11 samples that have an EGFR associated fusion So this is EGFR here in the middle And the red indicates the area of focal copy number gain So this suggests that there's a more complex event going on at this locus We looked for intergenic rearrangements Starting with the v3 deletion that has commonly been reported in GBM and the v3 deletion targets exon 2 to 7 and falls in the extracellular Domain of EGFR and this is also the domain where the majority of point mutations occur We then searched for C terminal deletions and we found three different C terminal deletion variants And but we are likely undercalling the true number of C terminal deletions as those would not result in a fusion Transcript with reads on both sides of delete the deletion so the 6.4 percent that we report is likely undercalling and Then we Also showed this morning. We also find two novel variants or at least relatively unknown. There's a few incidental reports on this That target exon 12 and 13 or exon 14 15 If you now combine all the data on EGFR And using all using all our samples we find that 45% of GBM harbor an EGFR associated point mutation or genomic alteration Aside from the focal amplifications that we see so EGFR is clearly one of the most critical genes for gliomagenesis and Efforts to devise a EGFR therapy which still be very worthwhile As I mentioned in the introduction we have previously looked for molecular subtypes We found a G simp or hypermethylator phenotype That fell entirely within the expression pro neural group and we also described a neural a classical and a mesenchymal expression group This slide shows you the data of about 330 cases sorted by molecular subtype and in each of the rows indicates a genomic change and It highlights associations between genomic abnormalities and molecular subtypes for instance There's the association between ideates one mutation and G simp which we of course have previously found We now also see that most of these have a mick amplification Similarly, we find EGFR amplifications in classical, but we also see cycling E1 in the classical group and so on and so forth Importantly we confirm that the G simps do a whole lot better In terms of outcome than the for non G simp expression groups And we challenge a bit of paradigm here because if you look specifically at the non G simp samples You'll see that the pro-nerals without G simp do worse than other groups Whereas this was previously thought to be one of the better survivor groups Lastly we have our PPA based protein expression profiles So I have to disappoint Doug Levine because we also looked at this in the context of the gene expression groups For instance, of course PG phospho EGFR is highly Expressed in the classical group which also had all the EGFR amplifications and we also see although It's not as visual, but we also see a small decrease in the apoptosis modules So a number of proteins that combine form an apoptosis module We see decrease in expression in that module in the classical group So in summary I described comprehensive genomic profiling of about 600 samples We detected novel significantly mutated genes such as spta1, LZTR and so on We used whole genome and RNA sequencing to detect genomic rearrangements and most notably involving EGFR And lastly I want to again point out that the pro-neral class may actually perform worse than other subtypes I want to thank Linda Chin, Cameron Brennan and Aaron McKenna with whom I have co-led this project And I want to thank the people in my lab most notably Siobhan and Rahul who performed a lot of the analysis that you saw today And lastly the TCGA G-Dec and MD Anderson Cancer Center. Thank you. Any questions for Raul? I have one which is So is EGFR amplification is that occurring in double-minutes? Or is it in the chromosomes or what? So the double-minutes that we have seen we have seen two different double-minutes. So two individual whole genome samples had one They both are contained MDM2 But one of the two additionally had portions of chromosome 7 So it was a chromosome 7, chromosome 12 double-minute and indeed it also contained EGFR So I was going to ask the significantly mutated genes that are new. Do you think they are biologically significant? Well, of course, we don't have any functional data and in terms of the statistics I would argue that they are The methods we have to identify significantly mutated genes I think have improved and Based on those methods we would argue that these are biologically significant But we don't have the functional data to support that notion Following Chuck's question, I noticed and David there's some significant mutation of PDGF RA and I think Eric Holland's group at MSKCC had reported Introgenic rearrangements and PDGF RA similar to those in EGFR Did you observe a significant number of those rearrangements as well? Thanks, that's a great question. So PDGF RA indeed has small Exxon 8, 9 deletions and we see those but at much lower frequency Very actually, I maybe one or two percent I would say How does the MGMT promote a methylation plane to your survival analysis? It's also a good question. We do have MGMT methylation status I Don't think if I remember correctly. It doesn't specifically track with one of the molecular subtypes But we haven't corrected for it in the survival figures that I showed you. Thank you, Will


The next item of business is a statement by the First Minister on the EU referendum, and before I call the First Minister, I may just say a few words. This is the first opportunity we have had to come together since the monumental events of last week. The consequences of the EU referendum for Scotland are clearly complex and will take some time to fully emerge. I'm determined that the Parliament is able to play a full role in this process, that we are able to be a voice and able to provide a platform for every voice in this debate, and to scrutinise the reactions of the Government in this matter. I'm determined that the Parliament is able to respond to events as they develop, and I've deferenced up to the Parliamentary authorities to ensure that resources are available over the summer recess, if necessary, to support a recall of Parliament should I deem it necessary. I will remain in close contact with the party leaders and with the business managers to discuss this matter and to report back to Parliament regularly on progress. Thank you. I'll call on the First Minister. Thank you very much, Presiding Officer. This is not a statement I wanted to make. The Scottish Government didn't seek a referendum on our membership of the European Union, and we certainly did not want that result. While, of course, I respect the views of all those who voted, the UK result leaves me deeply disappointed and profoundly concerned. The Scottish Government continues to believe that membership of the European Union is in the best interests of Scotland for our economy, our society, our culture and our place in the world, and not just for Scotland but also for the rest of the UK. That is why, with the great majority of members of this Parliament and all of the party leaders, I campaigned hard for a remain result. I am proud that Scotland voted to remain within the European Union and that we did so emphatically. It is, of course, important for all of us to recognise that some in Scotland did not vote to remain but instead to leave the European Union, and I want to make it clear that, as we move forward, I am committed to listening, to understanding and seeking to address the concerns that they have. However, more than 60 per cent of voters across Scotland and a majority in every single one of our 32 local authority areas said clearly that they wanted Scotland to stay in the EU. Scotland voted to stay inside the single market and to protect the jobs, investment and trade that depend on it. We chose to be an open, inclusive and outward looking society where other EU citizens are welcome to live, work and contribute. We voted to protect the freedom and prosperity that comes with our rights to travel, live, work and study in other European countries. We endorse the principle of independent countries working together to tackle global issues such as climate change, energy security and the fight against terrorism. Scotland spoke clearly for remain and I am determined that Scotland's voice will be heard. We are now, of course, in uncharted territory. We face risk and uncertainty greater perhaps than at any time in the post-war period. We are already seeing some of the early consequences. There has been extraordinary volatility in equity and currency markets, and beyond the financial markets there are suggestions that companies are considering relocating jobs and diverting investment and that others are concerned about their future access to skilled workers. The chancellor emerged yesterday—I will not say from hiding, though it was beginning to feel like that—to tell us that the UK economy faces the future from a position of strength. Just hours later, the pound reached a 31-year low and the standards and poor ratings agency downgraded the UK's AAA credit rating. Like all of us, I hope very much that we will see an early return of stability and some confidence. However, I do fear that we are still in the early days of this period of risk and uncertainty. These are times at call for principles, purpose and clarity, in short, for leadership. That is why the vacuum that has developed at Westminster is so unacceptable. Politicians who propose this referendum, no matter how bruised they feel by the result, have a duty now to step up to deal with the consequences of its outcome. Those who campaign for a leave vote, making a number of promises in the process, must now be clear and honest about their plans to deliver. One thing that I think is clear is that there cannot be three months of drift now, while both the Government and the main opposition parties at Westminster immerse themselves in eternal elections. That would compound the difficult situation that we are already facing and risk even more damage to our economy. We have heard that, almost incredibly, there was no plan for this outcome. It is my view that the UK Government must now get a grip on this. First, to restore stability and confidence, then to set out its plan for the way forward, and it must involve the Scottish Government in that work at every step of the way. The Scottish Government is already hard at it. I have set three priorities for our work in the immediate term. First, I want to reassure those from other countries who have chosen to make Scotland their home. I made a commitment to them on the morning of the result, and I want to repeat it here today. You are welcome in Scotland. This is your home, and we value your contribution. This commitment is all the more important in light of reported racist attacks in the wake of last week's result. Let us as a Parliament unite today to make clear that Scotland is an open and welcoming country, and that prejudice, hate and racism will not be tolerated now or at any time. The terms of the motion that we debate this afternoon afford this whole chamber the chance to send that message loudly and clearly. As Alasdair Allan, the Minister for Europe, stressed our commitment to EU citizens living in Scotland when he briefed the consular court earlier this week, and over the course of next week I will host consuls general from all EU member states at a summit in Bute House to discuss how we provide further reassurance in the weeks and months ahead. The Deputy First Minister is also taking steps to reassure EU students already studying in or due to come to Scotland of their continued place in our academic community, and I welcome the commitment from Aberdeen University to guarantee the tuition of EU students for the duration of their course whatever the UK does. Presiding Officer, our second priority has been to engage with businesses, with organisations and with stakeholders to provide as much clarity as we possibly can and to understand the concerns and perspectives of all those affected by this period of damaging uncertainty. We have made clear in those discussions that Scotland remains a stable and attractive place for business and investment. Our ability to trade with EU countries continues unaffected by the result of the referendum until the UK concludes any negotiations, and it is my intention that we will secure continued access to the single market for Scotland. I summoned a resilience meeting within a few hours of the result being confirmed to review with ministerial colleagues the early impacts and the Scottish Government's plans and actions in response. The following morning, Saturday, I chaired a special meeting of the Scottish Cabinet. My colleagues reported on their immediate engagement across different sectors and communities in Scotland. That engagement continues to inform our planning and our response. Scotland is a good place to do business. Let us be clear about that, but let us also be clear about this. If, in the circumstances that the UK is now in, Scotland does find a way to maintain our relationship with the EU, as I am determined we will, then Scotland will become an even more attractive place to do business, and I want to ensure that we are alert to those opportunities. This Government and, indeed, I hope that this Parliament will not look in on ourselves. We listen and we will lead. That is what people expect of us and it is what we must continue to do. Let me turn now to our third and overriding priority. Through all of this, I am determined, utterly determined, to protect Scotland's relationship with and our place in the European Union. The formal process of the UK leaving the EU does not start until the Prime Minister notifies the European Council in terms of article 50 of the Lisbon Treaty of an intention to withdraw. As the Prime Minister made clear on Friday morning, he does not intend to make that notification, it will be a matter for his successor. That means that we are not yet at the stage of formal negotiations. It is vital, however, that we seize the chance that we have before those negotiations start to ensure that Scotland's voice is heard as widely as possible in London, in Brussels and by member states across Europe. The Prime Minister gave me a commitment on Friday morning to the full engagement of the Scottish Government and to ensure that the interests of all parts of the UK are protected and advanced. Today, I seek the Parliament's authority to hold the Prime Minister and his successor to that commitment. This week, I have discussed the situation with the President of the Republic of Ireland, who will address this chamber tomorrow. I also had a very constructive discussion earlier this morning with the Taoiseach. As the chamber would expect, I am closely in touch with the heads of other administrations in these islands, including through the British Irish Council, which met in Glasgow just before the referendum and which I expect may meet again very shortly. I spoke on Friday with the mayor of London and this morning with the chief minister of Gibraltar to discuss the shared interests that we now have in protecting our relationship with Europe. The Government is directly in touch with the Governments of other member states, both to repeat our assurance that their citizens are welcome in Scotland and to make clear Scotland's strong commitment to our relationship with Europe. We are also in touch with the European Commission and the European Parliament in Brussels, responding to messages of encouragement and support for the work ahead of us. In those contacts, we have again emphasised the overwhelming support in Scotland for staying in the European Union and the commitment of the Scottish Government to protecting our relationship with Europe. Those contacts are, of course, just the start. Tomorrow, I will make an initial visit to Brussels to set out Scotland's position and interest to representatives of the major groups in the European Parliament and to the president of the European Parliament, Martin Schultz. I expect to hear from the Prime Minister on the outcome of the European Council taking place this week, and following that, I intend to set out Scotland's position directly to the European Commission. We are also following up our first contacts with other member states. The Cabinet Secretary for Culture, Europe and External Affairs yesterday met the ambassadors of Slovakia, Germany and France to share our response to the result and our determination to protect Scotland's relationship with Europe. I believe that we have made a good start. Our early priority has been to ensure that there is a widespread awareness across Europe of Scotland's different choice in the referendum and of our aspiration to stay in the European Union. We will intensify this work in the days and the weeks that lie ahead. It is my responsibility to ensure that Scotland's voice is heard in Europe and I intend to do so. I have also been very clear that I want our work to be guided at every step of the way by expert advice and by wide experience. We have got a great deal of work to do both in government and indeed as a Parliament to set out and evaluate all the impacts of the referendum result and all of the options open to Scotland to secure our relationship with the European Union. For that reason, I am establishing a standing council of experts to provide advice to me and to my government on how best to achieve our EU objectives. This council will be made up of specialists in finance, economics, European and diplomatic matters and it will encompass a range of political and constitutional opinions. It will provide the government with access to a wealth of knowledge built up over years of experience. The council will consider the impact of proposed changes to the UK's relationship with the EU on Scottish interests and advise Scottish ministers throughout our negotiations on the best way to secure Scottish interests and objectives. Membership of the council will be flexible to ensure that we have access to appropriate advice as and when it is required. However, I can advise Parliament today that it will be chaired by Professor Anton Muscatelli, principal of Glasgow University and include amongst its members Professor Sir David Edward, former judge of the European Court of Justice, Dame Marriott Leslie, former UK ambassador to NATO, Lord John Kerr, formerly head of the Diplomatic Service at the Foreign and Commonwealth Office, John Kay, one of the country's leading economists, Anne Glover, former chief scientific adviser to the president of the European Commission, Charles Grant, director of the Centre for European Reform, David Martin, the Labour member of the European Parliament and Graham Smith, general secretary of the STUC. I intend to publish the full list of initial members later today. I have set out for Parliament the action we have taken so far since the result of the referendum became clear. The motion we shall debate shortly invites the Parliament to give me and my Government a mandate to continue this work and to explore every option for retaining Scotland's relationship with the European Union. I very much hope that it will attract support across this chamber. The motion before us calls on the Government to report back to Parliament and to the European Committee and we will do so. I will also keep party leaders informed of our progress and ask the cabinet secretary for Europe to keep her counterparts fully informed over the parliamentary recess. I assure the chamber that we will return to Parliament to seek approval of any outcome to those discussions. I also believe that there is a role for key committees of the Scottish Parliament to contribute to this vital process, and I will be very happy to discuss that with the European Committee at the earliest opportunity. Let me turn now finally to the matter of independence. I want to be clear to Parliament that, while I believe that independence is the best option for Scotland, I do not think that that will come as a surprise to anyone. It is not my starting point in these discussions. My starting point is to protect Scotland's interests and to protect our relationship with the EU. However, I am in no doubt that there has been a very real and material change to Scotland's circumstances brought about by last week's referendum result. There is no doubt that we are in a new and different place this week from last. During the independence referendum, we were told that staying in the UK meant that we could benefit from having guaranteed access to the EU. Indeed, that was a driving factor in many people's votes. That is no longer true. The country and the constitutional settlement that the people of Scotland voted for in 2014 is no longer a reality. Based on the very clear result in Scotland, if we were to be removed from the EU, it would be against the will of our people. That would be democratically unacceptable. It is for that reason that I have said that everything must be on the table to protect our place in Europe, including a second independence referendum, and to ensure that the option of holding a referendum within the timeframe of UK negotiations on leaving the EU is viable, we will prepare the legislation now. However, let me be clear about this. If the Government does conclude that the best or the only way to protect Scotland's place in the EU is through a referendum on independence, we will return to Parliament with that judgment and it will then, at that time, be for Parliament to decide. I am emphatically not asking Parliament to endorse that step today. A vote for this motion is not a vote for a referendum on independence. I hope that this clear commitment will remove any reason for the Conservatives not to back our motion today. It would be ironic and I think deeply regrettable if the party that has put us into this unfortunate position ended up as the only one standing in the way of our efforts to resolve it. Voting to deny us the Parliament's support for our discussions with EU institutions and member states to explore ways of delivering the outcome that people voted for would, I think, be to frustrate Scotland's interests. The situation that we find ourselves in is not of our making. There is no easy path ahead and, at this stage, there are no guaranteed outcomes. However, my job is to navigate the best possible path for Scotland, one that protects our interests and gives effect to what the people of our country voted for. That is what I am determined to do. As I do so, I promise that I will be open and frank with Parliament and with the Scottish people about the options, the challenges and the opportunities that we face. I hope that we can move forward in a spirit of unity and national purpose. My final point today is this. While our agenda on Europe is vital, we will not, must not, allow it to distract us from the business of governing Scotland and delivering on the priorities that I set out only a month ago. Later today, the Deputy First Minister will underline our determination to promote excellence and equity in our education system by publishing our new education delivery plan. We will not waver in our determination to reduce inequalities, promote an inclusive and growing economy and reform our public services. The situation that we face will not stop us seeking to make Scotland a better country for all the people who live in work here. Indeed, the steps that we take to protect our place in the European Union will be part of that work. To conclude, I am asking Parliament to recognise today the position that Scotland has been placed in by the referendum result, a position that is at odds with the will of the Scottish people. I am asking Parliament to support the motion that we bring forward today. Scotland has voted to remain in Europe and we must now take all the action necessary to ensure that the will of the Scottish people is respected. I am asking the chamber today to support the Government in the challenge that lies ahead of us and for all of us to work together and to do our best to turn this moment of disappointment and regret into a new and promising beginning, based on our common values and our shared commitment to the people we serve.


Mystery House. Mystery House. That strange publishing firm owned by Dan and Barbara Glenn, where each new novel is acted out by the Mystery House staff before it is accepted for publication. Mystery House. Barb, you said tonight's story had something to do with a Scotch background. Right, Dan? Well, now, no cracks about the Scotch being stingy. Please, you know my ancestry, Scotch. How could I forget? Say, I don't see why everybody thinks it's so smart to crack wise about being economical. It's just good common sense.  I certainly am, Mr. Glenn, and I can prove it. Listen. Okay, places, everybody. Set the scene, will you, Tom? Daggers in the dark. Tonight's story opens in the makeshift dressing room which adjoins the small auditorium of the women's club in a small Midwestern town. The room's only occupant, Alive, is Gene Gordon. Gene, is that you? Gene! Gene, what the great Scotch? Mother, my dear, but he's on dirt. Gene's snap out of it. His own dagger right through the heart. Oh, Pete, who could have killed him? I don't know, sweetheart, but I wish I did because that's the question the police will be asking us. I'm Joe Briggs, Sheriff here. I take it you're Gordon's daughter. That's right, Sheriff. Gene discovered the body. Who are you? Vail, Pete Vail, booking agent. Eh, where's the body? Let's have a look at it. Hasn't been touched, Sheriff. They're under the window where Gene found it. Eh, what's this get-up? Did he always wear this? Kiltz? Sure, he was a Scotch entertainer. That's why he's here in town. Didn't you see the show? You mean he wore skirts on the stage? Oh, please, Sheriff, my father's dead. It was a Scotch act, Sheriff, father and daughter. Scotch songs and dances, both of them dressed in tartans. Both of them, eh? What about the young lady? She ain't wearing them. Well, I... I changed into street clothes before... Before your father was murdered, eh? What about this knife sticking in him? Ever see that before? Well, that's what the Scotch call a dirt, a dagger. It's part of the costume, part of the act. You mean these people are knife thorns? No, the Scotch Highlanders were a knife in their stockings, just below the knee at the top of the stocking. That dirt was Gordon's, the one he wore in the act. Eh, and all either one of you knows is that he was found laying here on the floor with that knife in his heart. Is that it? No, no, Sheriff, that isn't him. Now, Jeannie... Be quiet, Pete. This is something the Sheriff should know. All right, come on out with it. What is it? Well, Father and I... Well, we've been quarreling. Jeannie, for the love of mine. No, Pete, they'll find out sooner or later. I'd rather tell it my own way.  Hang yourself, mister. What's your story, young woman? Well, Father was old-fashioned. He used to be a big-time entertainer with his Scotch stories and songs. But he didn't realize that times had changed. Get to the point. What she means is I was fighting with her old man. All right? No, Sheriff. I wanted to break away from Dad. I did it once and was doing all right on my own. Doing modern stuff, Jai. But he got so angry about his own daughter singing jazz songs that he came out of retirement and had Pete set up this tour of tank tops. Huh? Look, Sheriff, it doesn't mean anything. Old man Gordon was big-time. Sure, 20 years ago. Command performance for kings and all that stuff made a lot of dough. But when Jean here got set to be a star in her own right, he got mad. Especially when she started jazzing Scotch songs. But what's that got to do with this? Nothing. You see, the only reason Pete is here is... I'm their manager. That's why I'm here. Oh, don't try to kid me, Vail. I know managers don't come along on one night stands. Especially managers of people performing before small-town women's clubs. That's right, Sheriff. Pete and I want to get married. That's why. Jeannie, now you have done it. Pete wanted to have it out with Father. Once and for all. But I asked him to let me do the talking. I knew Father didn't want me to marry Pete. I knew Pete would just make him angry, so... So? So I talked to Dad and it was just as I'd expected. He wouldn't give his consent. I told him we were going to get married anyway, tonight.  No! Look, I was just outside when she screamed. I ran in and caught her. Oh, so that's your story, huh? The only thing she didn't tell you is that I saw her father right after the show. You saw him? I thought you was waiting outside. Well, I wasn't. Well, you'd better tell me where you was or I'll have to dig it out of you. I don't have to talk unless I want to. Oh, Pete, please. Sheriff, he's only trying to protect me. He thinks the evidence looks bad for me. Well, right now it don't look so good for either one of you. Are you sure nobody in the audience knew your father was killed? Well, I... I don't know. I didn't hear anything before it happened. Wasn't anybody working backstage? Sheriff, these women's clubs, all they've got is a committee to run the show and everybody on the committee is so busy congratulating themselves after it's over and nobody worries about the performers. Well, it strikes me, young lady, that neither one of you have been paying much attention. That makes it tough when you're trying to get away with murder. Come along. Alma Peabody, what are you doing in the courthouse? Joe breaks this serious. I have something to tell you. Well, I'm always glad to talk to important people, Alma. And I got about as much work to do as I ever had here. I know. That's why I'm here. All right. All right.  It's a cinch. I won't be able to do anything until you do spill it. Joe, I know something about that murder. What do you know?  Is that what you know? No, Joe. I knew Angus Gordon a long time ago. I mean, I knew him well. You mean you were a Bobby Soxer when he was a big star like Harry... Harry... What do I... Well, anyway, Alma, this is serious business. Joe, it's hard to say this, but you... Well, you may find it out yourself and then it'll look... Well, I was married to Angus Gordon. What? It's true, Joe.  You was married to Jim Peabody before you came to this town. Everybody knows that. Everybody thinks I was never married before, because I was so young when I came here with Jim Peabody. But I was born in Scotland, and my parents married me off to Angus Gordon when I was 16. Angus was just a coal miner there. All right, Alma. All right. You kind of knocked the wind out of my sails there for a minute, but what does all this have to do with murder? I'm trying to tell you, Joe, when Angus and I came to this country, he was just a struggling Scots singer. Poor the church mouse. So when Jim came along and offered me real security as the wife of a bank president, I left Angus. I never loved him anyway. Alma, you've been thinking that I might suspect you of Gordon's murder if I found out about this. Well, my conscience bothered me. I just had to tell you, for fear you were, someone would make it seem different than it really was. Well, you've got nothing to worry about. I got your ex-husband's daughter locked up along with her boyfriend. Between the two of them, I figure I got the one who done it. But do you think the girl is actually implicated, Joe? I doubt it. I figured the boyfriend done it. The girl's trying to protect him, but that won't last long when I turn the heat on. Joe, do you trust me? Well, that's a strange question. Oh, don't heads, Joe. Answer me. Well, I don't know. When it comes to murder, I don't trust anybody. But to be sheriff in this county, you've got to be careful of your politics, and you swing a lot of votes. That means you do. What do you got up your sleeve? I think I might help you and at the same time do something charitable for Angus' daughter. If you'll let me, Joe. Are you sure you're not holding out on me about this girl? She's not your daughter, is she? Oh, heavens, no. Angus adopted her right after I left him. And what is your interest? Oh, I suppose it's conscience. I feel badly about what happened to Angus, and I'd like to do something for Jean, something that might help you. Help me? How? Well, if you put Jean in my custody temporarily, I could be nice to her. That's no help to me. Oh, but don't you see? Let the young man out, too. If he did murder Angus and if Jean knows he did... Oh, you mean they might try to get together, huh? Exactly. I'll watch Jean like a hawk. She'll think I'm just being nice to her for the sake of her father. Then if this person she wants to marry comes around, I'll be able to find out what he's cooking up. Something you could never do as long as you hold them both in jail. Well, it's crazy. It ain't right. But you'll do it? All right, Alma. I'll send the girl to your house. Where did you get the ladder? How did you get here? There. I made it. Oh, Pete, you're crazy. What are you doing here? That sheriff has an idea. We'll try something together. That's why he sent you here and let me out on bail. But this time of night, what's the idea? I wanted to be sure all Mrs. Peabody would be asleep. So I could talk to you privately. Oh, she's asleep all right. But, Joe, what are you doing here? But, Joe, what are we going to do about you? The sheriff is sure to get you convicted for what happened to Father. He practically told me that. Yeah. I understand he offered you a nice little deal. What do you mean? That's why I'm here, baby, to tell you you can't get away with it. What? Pete, what are you talking about? I never thought this would happen to me. Falling for a girl and having her turn out to be a double-crosser. Pete, I've never seen you like this. Well, you never will again. Do you really think I'd tell you off? Oh, spare me that. Well, you're Jean. It's bad enough to know it. Pete, available. Well, you really think... I don't think anything anymore. I just came to tell you I'm going to beat it. But before I go, come over here, close to me. Pete, what's got into you? Nothing's changed between us. Listen, Jean, before I go, there's just one thing. Oh, Pete, please. Not this way. I won't listen to you. I can't. Okay, baby. If that's the way you want it. Oh, no. No, Pete. The Scotch entertainer was murdered. And now Angus thought her Jean was... was she murdered, too? Well, it looks very much as if Sheriff Joe Briggs has plenty of problems to solve in the second act of Dagger in the Dark. But now, while the scenes are being shifted, listen to this. And now, act two of Dagger in the Dark. Sheriff Joe Briggs has arrived at the home of Mrs. Alma Peabody to find Jean Gordon bleeding profusely and still unconscious. As the curtain rises, the sheriff is talking to Alma. I sure was a fool to listen to you, Alma. If I'd have left the girl in jail, this wouldn't have happened. Oh, I know, Joe. I regret this even more than you do. But there's one good thing about it. Don't you see? What's good about a knife wound in a pretty gal like her? Oh, I don't mean that. I mean, now you know who did the other murder. Who killed Angus Gordon. You mean because you saw Pete Vail hauling the ladder up to the side of your house? Of course, Joe. I saw him as clearly as I see you. He climbed up to poor Jean's window and stabbed her. That's the way he stabbed her father. Do you see him do it? You got the knife? Knife. Well, whatever he stabbed her with. You got the weapon? Of course not. Well, then we don't know as much as you think we know. All we know is you think you saw this guy hauling the ladder up. I did see him. Well, how'd he get away then? You claim you called me as soon as you saw him? I did. He just must have got away. Well, how? My men were all around the house the whole time. When I got here myself, you were just coming out of Jean's room. And you say you got to the girl right away. Oh, Joe, don't argue about such inconsequentials. Do something about Jean. Yeah, she's all right. The doc's in the other room fixing her up. She's going to be all right. But what about the man? Her boyfriend? Yeah, we'll get him. Don't worry so much. That's my job. What? Jean! Wait a minute. What are you doing out of bed, miss? Where's the doc? I'm all right. The doc left me quite a while ago. Jean, you should be back in bed. Come, I'll help you. Leave me alone, Mrs. Peabody. I want to know what happened to Pete. You mean you're worried about that veil-feller yet? Sheriff, tell me what happened to him. Is he all right? Ah, I'll be switched if I know Jean. I ain't seen him. Only Alma here claims she's seen him with the ladder outside your window. Well, sure he was here. But is he all right, Sheriff? See, I told you so. Please, Sheriff, I've got to know. He thinks I lied to you about him. Did he get away? Now, look, young lady, you shouldn't be worrying about a guy who stuck a knife in your back. He didn't. I know he didn't. What? Jean, you're not rational. Well, of course it was he. It was so dark you couldn't see. But not so dark I couldn't feel. Look. Well, your finger's stressed. What about it? Whoever it was who tried to kill me was behind me. I could still see Pete against the window when this hand was clapped over my mouth. Joe, don't mind her. She's so weak from the wound she just can't remember by. No. I felt this hand over my mouth and I reached up and tried to pull it away. That's how I scratched my finger. On the knife? No. On a diamond ring. What? I could feel the ring when I tried to pull the hand away. Don't you see, it couldn't have been Pete. He never wore any rings at all. But Jean, who else could it have been? The house was locked. There wasn't any other way of getting in except through your window. It must have been your friend, Pete. I don't know who it was, but it wasn't Pete. Well, it speaks to me.  Joe, you've got to do something about this. I can't have my reputation at stake this way. Your reputation? Attempted murder happening right here in the Peabody House. Buffle the town thing. Joe, you've got to clear this up right away. That's a fine attitude. Now, wait a minute, you two. Just what you might expect of a tank town big shot. Why, Jean, after all I've done for you. All you've done was you who got my father to come to your old woman's club show. Me? I heard the other women talking about it. I know you didn't write the letter, but it was your idea. And now all you're worried about is what people will think about you, even though father is dead and somebody tried to kill me. Jean, you're ungrateful. Yeah, I'm not. That's no way to fix anything. Well, neither one of you has to worry about me anymore. I'm going to get out of here and find Pete Vail before he gets caught for something he didn't do. Oh, no, you don't. I'll get it. I'll get it, Elma. Yeah, Sheriff speaking. Who? You're Lambert. Yeah? Yeah. Well, bring him out here. Yeah, right away. Oh, it's Pete. I know it's Pete. What's happened, Joe? Oh, it's that Vail fella all right. Gil Lambert, the lawyer, was on the other end. He said Vail walked into his office an hour ago. They're coming out here right away. Okay, Gil, come on in. You too, Vail. Hello, Sheriff. Oh, Pete. Jean, Ginny, are you all right? Now break it up, you two. Everything isn't settled yet. The idea. The audacity of this young man.  Joe, break it up. If you're any kind of a sheriff at all, you're going to... Oh, what are you fretting about, Elma? There's plenty of men guarding the house. Nothing can happen. Why don't you arrest this young man and be done with it? Well, first, I want to hear what Gil has to say. You said it was important, didn't you, Gil? I didn't. Well, I'm not going to listen to such striddle talk. Now look here, Elma. Oh, it's all right, Joe. Let her go. We don't need her for this. Let me go. I like that. I'll see we have a new sheriff in this community. Yeah, go ahead, Pete. Tell the sheriff what you told me. Oh, Pete, please get yourself out of this. I will, sweetheart. Just a minute. Now, come on, Vail. Let's hear it. Not so fast, Sheriff. You almost got me on this when you told me that tall tale about Jean Ratten on me. But in a way, I'm glad you did. What do you mean? Let him tell it, Joe. You wanted to find out which of us was guilty, so you told me Jean accused me of murdering her father. Yeah. That's what brought me here to Jean's room. And that's what started me seeing things. But what, Pete? Jean, I knew I hadn't put that knife in your bag, but I also knew that if I was found with you, everybody would be sure that I had. So? So you ran out on her. So I could see that whoever used that knife had missed the mark. I knew Jean was going to be all right, so I left to find the clue that would tell me who did it, this. That's the knife that killed Angus Gordon. That's right, Joe. I took the liberty of getting it out of your office. Take a good look at it, Sheriff. See anything? Pete, what are you getting at? That's Father's Dirk. But there's writing on it, engraving so small. I can't quite read it. That's right. And look at it through this enlarging glass. And, and fair the wheel, my only love, and fair the wheel of while, and I will come again, my love, though it were 10,000 miles. Wait, that's Bobby Burns. A nice sentiment, isn't it? What are you getting at, Bill? When I left Jean here, I went back to the dressing room where Angus died. All his personal stuff was still there, so I went through it. And I found a small box full of sentimental things about his marriage. You mean his marriage to Alma, Peabody? How did you know? She came to my office and told me. Oh, she did, did she? Well, that's just fine. What about the box, Pete?  Apparently, your father was a sentimental man even before he adopted you. Tell him about the knife, Pete. Right. Now, in this box, there was a sail slip for a handmade Dirk with four lines of engraving and specifications that would be made smaller than the normal size. I don't get it. There was also a letter to Angus from Alma, which she thanked him for the Dirk he had given her when he went away on his first tour of this country. And she quoted the lines engraved on the Dirk, those lines from Burns. You mean it, this knife belongs to Alma? That's right, Joe. But how? You see, Pete came to me because he said he needed a lawyer, and he was sure he could clear himself if I'd agree to help him. After he went through that box of your father's, he was sure the weapon found in your father's body was smaller than the dagger your father used in his act. It proved he was right. The two daggers were identical in design, but this one is smaller and has the engraving. You mean that I'm supposed to arrest Alma, Peabody, because of this? What? Arrest me?   What would she be killing the next husband for? Revenge, probably, or jealousy, because he'd done so well. She probably hated him. Ah. Well, Alma, it looks like I got to take you into the courthouse. What? Arrest me for murder? Why, Joe Briggs? I'll sue you for defamation of character. I'll... I got my duty, Alma, and it kind of points toward you. Come on. Oh, you will live to regret this, Joe Briggs. I've never been so humiliated in my life. There's nothing much I can do about it, Alma. Nothing that would interest you anyway. Interest me? What do you mean? Why, there ain't really any evidence against you except what I got. What do you mean, Joe Briggs? Oh, that's stuff about the daggers. Heh. That could be blown higher in a kite. You see, I'm the only one who knows your real motive. What? What are you talking about?  Money don't last forever. What? Hmm. The way I figure you asked this Angus Gordon for some money for the sake of old times. Well, how did you know? And I make it my business to know such things. Sheriff, ain't I? And he turns you down. Wouldn't give you a penny. But, Joe, you couldn't know that, right? No. I heard it myself, Alma. Gordon was a mite worried about you. Yeah. Figured you might be up to something. Joe, that's not true. He was well as nice to me as he could ever be to anyone. Yeah. Sure would look good for you if I was to testify about that meeting, wouldn't it? Well, you couldn't. You couldn't do such a thing to me. Well, I've got my duty, Alma. And then there's the law. What about the law? I've got my own wife. What? Joe Briggs, you must be out of your mind. Be quite a thing for Joe Briggs to be married to Alma Peabody, wouldn't it? Have folks buzzing plenty. And it had clinched you're not getting caught, too. But, Joe, I didn't murder Angus Gordon. Sure, sure. But you think it over, Alma. We found something very interesting among Alma Peabody souvenirs, Joe. Eh? Well, now you look here, Lambert. You've got no right to be snooping through her house. It ain't legal. Legal? If I can convict Dad's murder, I don't care how legal it is. Here's the weapon, Sheriff. She'd put it back on her writing desk. Her letter opener. And it's a little long for its holder, Joe. Apparently, when she killed Angus Gordon, she left her dirt in his body, and then she took this. But his knife was long and didn't quite fit the letter opener case. You see? Yeah. About an inch difference in the length. But she didn't have any motive. I'll bet these two planted it there. I don't think so, Joe. We wired New York and talked to his lawyers. We found out about Angus Gordon's will. Well, what about it? He left his money share and share alike to his adopted daughter and his former wife. You don't say. But he never let Almano know about it, did he? And I still don't give her any motive. You don't really think you can get away with it, do you, Briggs? What are you talking about? Me? Dad's will said he'd investigated and found his former wife was in need of money. Well... Dad wouldn't have paid for an investigation. He never paid for anything he could get for nothing. He'd have written to the sheriff. What? You mean... Don't worry, Mr. Bridges. We could check that.  But I know how he'd operate. And when you found he was coming here, you saw a chance to capitalize on what you knew. Now, now, now, wait a minute, wait a minute.  And I didn't know a blame thing about any will. You'd figured some way to get part of that money, Briggs. What was it? Nothing. Look, if anybody was to benefit, it'd be for them to live on for close to three years. Why, she must owe him nearly $10,000. And he's a lawyer. He's a lawyer. Oh, no, you don't. I'll put down that gun, Gilbert. Sorry, I can't oblige you, sheriff. You were wrong, Miss Gordon. Your father paid for his investigation. I made a deal with Alma Peabody after I'd corresponded with the old man. I'd finance her till she got the money and return for half of what she got. You... You killed Dad and you didn't even know him? Yes, and I'd have killed him, too, with a little luck. I had a hurry to get home before your boyfriend found I wasn't there. I saw him pounding at the front door and I had to sneak around the back way. I pretended I'd been asleep. How he ever happened to come to see me... Put down that gun, Gilbert. No, thanks, sheriff. She still gets her share of the money and someday I'll get my part of it from her because you won't get me. No, I think I'd rather keep it all for myself, Mr. Lambert. What? Well, you... Nice work, Alma. You got him. He was a jerk, but as a girl I'd rather prided myself on my marksmanship. I knew he was guilty but I was scared to death. When you went for Mr. Vale, I was, well, blind with fear. I don't blame you, Mrs. V, buddy. But V, how did you happen to pick Lambert? I don't know, Ginny. Just, uh, well, a stab in the dark.


This show is brought to you by these lovely people. Hey there you beautiful NPR enthusiast! Are you ready for some juicy unrealness? Here are the highlights. First, a different way of shading with vectors. Second, departure from night, great animations and dynamics. And third, freestyle has a new user interface. Welcome to the BNPR show! A celebration of stylized and non-photoreal rendering. You know what? Let's get directly into the juicy bits. Here are the artworks of the month. For all you dash-line enthusiast, the dot-dash grease pencil modifier is in master. With this inclusion, stylized dash lines and animating them are super easy to do now. Grease pencil line art chaining, which is the algorithm that makes your lines seamlessly continuous for line art in grease pencil, has gone through many improvements. In this newer update, very few short overlapping segments are left. These short segments can be easily removed with near-field searching. There are other ways to get smooth chaining, like smooth contour support, like in freestyle, for high accurate geometrical calculation. But being very accurate can also introduce chaining problems. A simpler, less accurate algorithm is in the works with a much more clever way to remove unwanted lines. Let's see which algorithm will ultimately create the best results. In other line art related news, the freestyle user interface upgrade, which has gone through over 8 months of development, is now accepted in Blender's master branch. You can find it in the Blender 3.0 alpha test build. Go give it a try and report any bugs you may encounter. There is a new malt feature funded by a version of reality. It's called normal beveling. It is used on anime hair to help smooth out the edges for shading without changing the geometry. It can also be used for edge detection on textures. You can find this new feature in the malt mode in the test bevel branch. Hey, it's tutorial time. Let's start with tune face shading with object normals by a version of reality. What if there was a new discovery for shading that does not involve a mesh? What would that shading process look like? And why do we need to invent something like that? Okay, the basic idea is using an object coordinate from an empty and changing it to the shape of an anime face. The main reason we use object coordinates is to avoid the shading artifacts caused by mesh vectors. Other shading solutions like normal transfer, vertex normal editing, mesh topology tweaks, and baked textures don't always work 100% of the time. They produce shading artifacts which appear in many 3D CG works that emulate the anime style. These artifacts add the CG-ness to the artworks which are not welcomed by many. Using the object coordinates, the shading is always clean no matter the light direction. Regardless of the mesh topology and it works well with animation. The source vector is obtained from an empty object. Then the vector is modified to various shapes used for shading the face. You will need many vector shapes plus some vector math can be quite complex. These shading shapes can be dynamic and static. For the static parts, like neck and back of the head, you can vertex paint those areas to make a mask. For the dynamic parts, like the face, the shading shape of the nose, the triangle shape under the eyes, those will require a more specific vector setup. The more animations on the mesh, the more of these specific vector shapes you will need as well. Some will require a driver to cover the animation. For example, the shading for the opening and closing of the jaw. Other solutions will require copying rotation coordinates for further vector calculation. Every shading shape is a specific case. The amount of nodes to create a certain shape will vary with the complexity of the shape. But combining these shapes are relatively easy since they are like doing Boolean operations. Since this is an experimental shading method, more explanation and discussion will be required to cover the most common use cases. Perhaps a hybrid method would be preferred to lower the complexity to make this technique easily combinable with other shading methods. Oh, and you can also bake the normal result to a texture. But texture stretching in animation, which causes unwanted artifacts, is also an issue you would need to solve. This tutorial is very long and full of a technical discussion, so it's really not for beginners. Please take your time with it. Allow the vectors to flow into you and it will all make sense. And stay tuned for further development. On to grease pencil lettering and animation by Sophie Jantak. Hand lettering, it looks really cool, but it's very tedious and labor intensive to create. Since grease pencil has a build modifier, the bulk of the work is easy. What's left are the techniques to handle quirks when working in grease pencil. So let's handle them one by one. Creating the text. Use any raster software to create your text. The text must be black and the background white. Solving the problem of holes. If you import the text as is, you will encounter the first problem. The holes in the text will turn into a second grease pencil layer with a holdout material. To avoid that, get rid of the holes. First convert the text to raster, then open the holes with gaps. Next, export the text as a JPEG. Import the text image into Blender. Drag the image onto the viewport and it will create an empty. Getting the text. Trace the image to grease pencil, then tweak the settings to get the text as close to the image. Now sculpt your grease pencil text to add more flair. While you're at it, close the gaps you created earlier. Animating the text. Add a build modifier to the text. You will now encounter problem number two. The text is reconstructed out of order. To solve that, go to edit mode. In the order of how they are going to be drawn, move the text one by one to a new grease pencil layer. And the final touches. You can either change the stroke and fill material, or vertex paint them to give the text more glamour. These techniques can also be applied on any grease pencil object, so have fun with it. Area 21. Martin Garrix. Major followers. Official video. Thunder was used extensively to combine 2D and 3D assets. Here's a short write-up from the production team. The production would identify the 3D needs based on the storyboards, which would be divided among the four-person team. The CG artists would then collaborate closely with the director and art director to fully integrate the 3D assets with the 2D animation. And the result? Well, stunningly good. Sinking Feeling is an animation for the Papyrus Prevention of Young Suicide Channel. It was done in Blender. Since it has a music video kind of setup, we can only show screenshots.  Berry Best Friend, Episode 1 by TTDAnime. The animation is purely done in Blender. It's really good and so no more spoilers. Desert Island by Lukas Rusinek. This animation may look simple, but for those who have tried grease pencil sketching, they must know how hard it is to draw in 3D space. You need a lot of helper objects just to draw. And Lukas made it look simple. Great job. Departure from Night by Bono Yuki. Behold this. This is still a work in progress, but it's looking real good. When you see this screen, please don't click it off. There's always some cool stuff we leave until the very end. First, our color ebook is on discount right now. Please use the link in the video description. Limited code count. Second, there are a lot more animations in the show notes. And third, do you want to make anime looking shading?  This show is made possible by these kind-hearted people. Please thank them kindly. Before we go, one final question. How is your journey into the NPR rabbit hole thus far?


Welcome, everyone. Once again, let's talk about urban planning. From pandemic-era travel to navigating without a ticket, public transport is a battleground for belonging. And to talk about this, I've invited Louise Staule from Tallinn University in Estonia. And Louise will join us to explore how passengers negotiate the differences, how they challenge norms, and redefine what it means to be public in these mobile spaces. So we reveal along with Louise, we reveal these hidden struggles, the resilience of those who rely on public transport. Louise, welcome to our episode. Thank you so much for having me. So what prompted you to explore the experiences of people in public transport? I started out with an interest in public transport as a public space. How can we understand it? What does it mean if we frame it in a way of kind of seeing it, not only in terms of something that provides movement, that we need to kind of plan and research for more efficiency or sustainability, but actually that also has a function like other public spaces, a communal or a political function beyond its own movement function. So I started off with this idea of how can we reconceptualize public transport to understand really the diversity of people that come together in this space and the experiences that they have on a really daily basis. And what was specifically missing in the research that you wanted to address? So I started off with this interest in the publicness, kind of in itself what is the idea of publicness. Not only about public space, but particularly about public transport and what we can learn from it. And I found two, let's say shortcomings. I would say in the public space literature and planning, we very often look at public spaces still in a kind of static way. So the ideal are squares or public parks or streets, but rarely, I mean, increasingly so over the last years, but still rarely we understand it as also a mobile space, spaces on the move or that are kind of in between movements for people to. So this is on the one hand from the public space literature. And on the other side in the public transport literature and planning, it's still very often focused on this efficiency on kind of the movement function again. So there is less focus on the daily experiences to mundane practices and maybe also these minor instances of resistances that I talk about in the article. So this really communal and also political function of the space in itself that goes beyond a public service provision or a public ownership of public transport. Sounds like a promising background. So let us know the most important highlights the findings of your research. Okay. I think the main kind of my main approach, my main finding is that public transport is a public space. And it is so made through the negotiations of the differences that come together within. So I can explain this a bit through this research. I established that one characteristic that makes public spaces general. I mean, I talked to users, transport dependent users on public transport, but I think this can relate to public space more broadly is that it is kind of shaped by a way of how people are expected to behave within this space. And this can be formal rules of conduct like policies of how to access the space, what is allowed, what is not allowed in it, but it can also be kind of social rules of conduct of what is expected to behave. So this is one finding that this is one of the delineations or definitions of what makes a public space or the respondents I talked to. And then the result of this that I focus mainly in this research and this article is that actually there is a set of normative values that come with these expectations. So there are expectations towards how to behave within the space, how to negotiate with other people, these shared spaces, and everyone that somehow doesn't fit within the values or within this normativity that sets kind of a default standard passenger experiences one or the other form of deviance. So this notion of deviance comes repeatedly also in my article that can be situational. So someone doesn't quite behave according to the situation, or it can be societal which is very prevalent. I think in public transport, this can be someone who can't afford the public transport ticket. I look at people who resort to fare evasion because they can't afford public transport ticket. It can also be someone who can't really navigate the infrastructure that is very restrictive. So control barriers, they also come as a result from fair policies that we need to somehow control the entrance. So people that travel with France, people that travel with some kind of luggage or accompaniment, find it more difficult to negotiate certain infrastructures. And it can also be how the system in itself is planned. So historically, we have very center-oriented and commuter-oriented transports of all these kind of values or normativities that shape who is considered to be the ideal passenger, create for those passengers who don't fit in a sense of deviance and experience that comes with this. Deviance that they somehow have to navigate in this system. Of course, let's follow up on that because I read your article and it indicates that there are lessons to be learned from planners, from policymakers, but probably among transport users following these dialogues and interactions that you mentioned. So what lessons are those? So I think there's, methodologically, there's one lesson that I would bring closer to also researchers' hearts is to kind of take these micro-level experiences, so the experiences that people really have on the bodily level and the practices that they adopt on the body, so the embodied practices, as really informing an understanding of which or whose needs are actually marginalized, whose transport needs or mobility needs are maybe not met. And then I think conceptually also there's a lot that we can learn from putting this public space lens on public transport, understanding, okay, what other function does this space fulfill for people in their daily lives and also understand certain practices that people adopt, maybe a bit from a different perspective. I mean, I particularly look at fair evasion as one of these instances, and fair evasion is not a practice that has not been studied or is unknown. It has just been very often studied from a perspective that is kind of criminalized and assumed, okay, people do it out of opportunistic or ideological or voluntary reasons. And I think bringing conceptually this a bit different perspective in can make us understand the root causes of certain practices instead of countering the symptoms. So instead of trying to just cancel out fair evasion, maybe understand, okay, what are the more systemic inequalities that we could address and make it more equal and fair for a diversity of users. Of course, you were touching in one one topic that I would like also to address because it concerns now future research. So what's ahead of us, because you indicate that you will mention before focusing on marginalized groups or probably also the role of technology on public transport you mentioned this in the article. So tell us more about next steps in research. I think one of the next steps is to kind of translate these findings that I have maybe started to address with looking at one specific dimension of fairs. Fairs are a way of delineating who is allowed to access public space, which capacities and our capabilities sorry are considered as standard to use and there are a lot of different dimensions that also affect this. I mean, the one way is, for example, the access to technologies of digital platforms of digital tools. Also, if we talk about public transport to translate this also into different settings of different transport environments that have different fair policies, for example, or just different infrastructure in place. So this is one way of going further in the research and I think the other way is also to understand what can we take if we acknowledge that public transport has this political and communal function. What can we take from the actually very broadly existing already ideas in public space and public spatial planning to also make public transport more inclusive, more resilient and ultimately also more sustainable within the cities. Thank you first to couple of good tips for research. This has been a very straight to the points episode but I would like to challenge you a bit more and if you could summon up this conversation in one or two sentences of the punchline of this conversation. What would it be. I mean, but I would say the public in public transport stands not only for ownership, but for the people that use it. And by looking at their daily experiences, we can understand who is allowed to move and who has more difficulties to do so. Perfect. Thank you for coming to our episode, Luis. Thank you very much for having me. So for those who are watching us on YouTube, you can find all the resources, all the materials of this conversation on the let's talk about urban planning website, including the study and all the interviews that Luis carried on. You can also listen to this episode, whatever you get your podcast you can subscribe to our newsletter below and follow us on Twitter.


This is the American Lomba And this is the Bariori This is the Bariori Assalamualaikum, this is Dawood Ki So now I am in Lahore Pakistan So today I will explore the Pakistani food Especially in Lahore Actually Pakistani foods are really amazing and delicious So I will show you with my Pakistani local friend Let's go Assalamualaikum Assalamualaikum Assalamualaikum Mashallah Now we have something This is Chinese food This is from Lahore Lahore?  Thank you so much Allah Hafiz The people over here, especially They are very kind And always give me kind words Wow Do you like it? Very good very good It tastes unhealthy taste Seems like board right? Yeah Handicraft things Like this Yeah have a look So good Amazing Looks so amazing I should take picture here This picture Lahore Lahore This is the door That's the part of our culture Batik clothes It looks very nice Yeah it's like batik clothes I won't have this The big one You need a body like him It's instruments La la la la la la La la la la la I am lying I can control the mind Good boy Welcome Your hand looks very nice We came to our center We met our brother We are very happy It's just me Allah gives us And gives us the gift We speak English Pakistan people are really hard for Dawah All over the world Yeah especially for their religion Islam is in our hearts We feel It's all for the sake of Allah Yeah sake of Allah May Allah bless all of the world Amen An interview over here How did you start studying about Islam What was the first thing you did about Islam This also Guided your life to go on the right path If you believe in Allah Then your direction is to Allah to get close to Allah Thank you so much Okay thank you Lafiz Let's go to eat street food Street food over here In Pakistan Lahore Insha Allah I don't know Again Now Welcome I was talking to you on Yes This one is Gulab Jamun Have you tried Gulab Jamun before Never tried No Pakistan No Gulab Jamun Your favorite drink Probably National dessert Of Pakistan So good It's delicious This is Gulab Jamun This is king of desserts Of Pakistan It's melting right It's melting right It's melting in my mouth I will be fat Pakistan So delicious So finally I came to street I will show you This will give you a boost This will wake you up It's so sweet And this is to show you So he will make it over there It's made with flour Then you have black seed You have slightly fennel seed inside And then they make it in hot oil Over there After 2 months His skin will be so oily I have to be careful There is a shrine here Of Mithapoda It's very crispy It's very crispy It will be very delicious I am very happy Again let's try So good Two and a half dollars Two and a half dollars For that much It's so good If you take it to US or Korea It will be at least 20 to 25 Yes, 20 to 30 dollars He is born for making Kathar Really? It's his business Family business He can spread like that way Amazing How is he doing? You can spread What do you want to spread? Yeah, man Very good You would be like salt Yeah Wow Wooo Wow Wow What is that?  Mohamuddin Thank you Take it He is not charging me Thank you so much Thank you Since I come to Pakistan I don't know how does it possible But I didn't use any single money Any People didn't accept my money Or other people pay for me So I really didn't use any single money So I will make video about this later It's Pakistan everything is really free It really is People don't believe this I didn't believe that But it's really true I don't understand what does it happen They just say to me oh you are my guest So you don't need to pay for me This is present for us So it's pretty amazing Thank you so much Pakistani hospitality is best He wasn't charging money from him That's so sweet of him Pakistan hospitality Thank you Thank you He came from outside Have a nice day Thank you so much Thank you Thank you Have a nice day Thank you Thank you so much Have a nice day This is our hard working man looks like Oh yes sure How much is this? How much is this? 20 cents 20 cents? 20 cents Balochistan, Kuwaita Signature Lacha Paratha Why is it different? Because it has a lot of layers So when you eat it It drinks They are also professional They are born Paratha maker What's this? Only 1 dollar? 5 chai In Korea 1 chai 2 dollars 3 dollars So expensive Did you enjoy that man? Did you enjoy it? So beautiful Can you just lift it and break it? Oh Break it Next level He made so well He is in it I love this Paratha So crispy You should do like that This is Korean style Korean style?  This is your pillow Nokia 33 It's very good It's very delicious I enjoyed it I enjoyed it This place is the famous thing Sharma Sharma Hey Salam Aleyk Sharma It's delicious Thank you so much This is my first time Sharma Sharma It's so fun I think it would be melting in my mouth It's so delicious Sharma 2 dollars How is the taste? So juicy with the mayonnaise Right? It's so good It's so perfect Look at the juicy Juicy chicken Wow Mashallah Mashallah It's very delicious I enjoyed it in Pakistan I enjoyed it in Pakistan Thank you Only 3 dollars I want to pay more The best of it is so perfect How much will you give out of 10? 100 out of 10 That's great In Japan It's so good I enjoyed every Pakistan Not every but Pakistani street food I enjoyed a lot It was so amazing Pakistani people are born cookers As well as food I'm really impressed About their hospitality today They are their hospitality Out of level I really love Pakistan Thank you so much for your support We are also looking For the foreigners over here I'm not foreigner, I'm Pakistani Mashallah I love you Love you I love you I love you I love you I love you Thank you for watching my video Take care and be safe See you later Bye Look at the sound I love what you are talking about


Guys, this is Jason here from Nathaniel and in this lesson, let's learn Dusk Till Dawn. So you have pretty much three sections, the verse, the chorus and the bridge. The verse and the chorus are almost similar in terms of chords and the entire song is on the B minor scale which borrows its chords from the D major scale. They're sort of like cousins, so to speak. So if you know the chords of the D major scale, I think all those chord options will be used when you play this song, that's all the parts of the song. So let's get started first of all with accumulating the scale and then the available chords of the scale. So D major scale, two sharps, right? F sharp, C sharp, D, D C sharp, B, A, G, F sharp, E, D. So you have the one major, which is D major, the four major, which is G major, the five major, which is A major, the two minor, E minor, the three minor, F sharp minor, and the six minor, which is B minor. And finally you have the seven diminished, which we sort of rarely use because it's not like a scary thing. You may not want it in a pop song. So let's go through the chords of the song now. Let's start with the verse. And while telling you the chords, I'll also give you a few piano patterns, which you could use throughout the song, depending on the intensity or the dynamics of the track. So let's get started with the verse. The verse is these four chords, B minor, G major, D major, A with C sharp bass. That's quite interesting, isn't it? You have A major here, but you have C sharp here. So that creates a sense of excitement or a nice movement, a sense of anticipation, if you will. So you have B minor, which is the sixth of the D major scale, G major, which is the four, D major, which is the one, A with C sharp, and it's sort of sparsely played in the verse. You basically do the chord one, two, three, four, one, two, three, four, one. So you could use this pattern four, one, basically hit at the one and the four, each chord as opposed to it's a bit more heavy. You could use that pattern for the chorus. So let's look at the verse again. Okay. And then for the pre-chorus, you could build up a little bit, using the same chords and playing something like, doing it at the one and while the verse, it was quite boring and chilled out. Now coming to the chorus, the chorus, you just have to follow the same chords B minor, G major, D major, and they have an F sharp minor seven. So the way you can play it is, first of all, try to follow my inversions, B minor played as B D F sharp, G major played as B D G, D major played as A D F sharp and F sharp minor played as A C sharp E in the right hand and F sharp in our left hand. So let's look at the chorus, G, F sharp minor. Also I'm trying to build up an eighth note rhythm here in my left hand, just with my thumb. So try to hit the end with the thumb, it's a nice way to play like a ballad in a very punchy way. Also play that melody, which they are singing in the track, back to chords for the last two chords. Just for the B minor and G major, you can add this small variation, that's B A F sharp A B. So G major with a supporting D with your thumb for both chords, so G, G, that you could let the singer do that and then finally you have the bridge, which I have written down here. So if you'll observe, you have one, two, three, one, follow the count of each chord. When I don't write anything, it means four times per chord. So let's repeat. G, two, three, four, D, two, A, four, A, two, D with F sharp A and then it goes back to the chorus, the dustled on part. So just follow the count I've put per chord, there's a D and A played fast in the bridge and you have an A, D with F sharp bass and then the G. So the bridge happens only once in the song. The verse and the chorus obviously happen a lot more. So I hope you guys have fun playing this song. It's a nice ballad which can really improve your chops on the piano for recognizing chord progressions which are quite popular and which sort of repeat from song to song. You'll have a lot of songs also which follow the same chord progression. So also try to follow the process to figure out chords for songs in general. So we'll attach the play great songs on piano playlist which all these songs are a part of. So perhaps after you learn this you could check out the playlist for more and also continue to follow us, tell your friends to subscribe to us and also hit that bell icon for notifications whenever we release a new video. Cheers!


First opening scene where he kills the people is kind of okay, like that is intriguing. Okay, this might be pretty good And then from there, it's like nothing happens like literally. Yeah, nothing happens in the movie 50 minutes nothing 56 minutes. There's zombies, but you don't know why The movie is called killing birds And there's no birds doing any killing in the movie. No until literally an hour and a half in Right before the credits roll, and you don't even see it.


What's going on, infinite family? Welcome back to another video. It's your girl Janice. If you guys are new to the channel, don't forget to hit that subscribe button and join the family. As you can tell, I'm talking loud and I'm talking clear. And that's because Isaiah's outside right now taking the other dog out while I do this intro. So guys, I have a real trick up my sleeve. I am going to be telling my dad to call Isaiah the B word and we are going to get his reaction. Now, my dad and Isaiah have the best relationship ever.  I have him on the phone right here. He's on FaceTime, but I'm going to be giving him a regular call later. I'm going to set up the camera and I'm basically going to have him talk private by Isaiah and Isaiah is going to freak out. So we are going to wait for his reaction. So if you guys are ready for today's video, don't forget to smash that like button and comment team Janice in the comment section below if you think this one's going to be a banger. Let's get it. We're just going to act like I'm doing laundry and I'm going to ask Isaiah to help me.  And then, okay, his reaction. So let's get it. I gave him a treat and he just picks it. Like I gave it to him in his mouth and he just drops it right there and leaves it. That was so, when Bloop eats it, he can't be upset. Did he steal each other's treats? They savages. I know. Why are you being laundry now? Just cause I want to get it done and over with, but... I told you I want to take Instagram pictures though. Okay, but I'll take them later.  What, playing basketball? Yeah. Of course he did. Of course he did. I'm gonna call him. I don't know what to say. I thought he got crossed up. I was about to, ooh, I was about to flame him if he got crossed up. I'm gonna call him and see how he's doing. It's mine. Where's my underwear? Bloop, you can't be on the laundry. Hello? Come on. Oh, he didn't even pick up. Dad, how are you saying hello to a random- Because it's like stopped. Hello? Bloop. How you doing? Dad, dad.  Are you okay? So what are you doing now? Like, you just chilling? Are you working? Oh, okay. Okay, cool. What's it called?  Gotcha. Duh-duh. And then the back. What? What? She was fired. No, he gotta come crazy like that. I didn't, I don't think he meant it like that. I don't think he meant it like that.   Like, he didn't really mean it like that. He don't ever call me that. We don't ever joke like that. Okay, but like- Yo, he really just called me that. Are you funded? I feel bad. I didn't think he would, like- I'm a little hurt. Like, he just sat there and he just called me a- He had, honestly. That was like really my stuff. Bro, what? What? Are you okay? Yo, I'm like shocked. Like, what the hell? I didn't even do anything. I know, but like, I don't think he meant it to hurt you. I didn't know. I don't think he meant it like to hurt your feelings. Bro, I thought it was a good picture. I thought I looked good in that picture. You did look good, babe. You did. Dang, I'm like- There's something wrong with it. No, I'm about to delete it now. No, don't feel- Are you feeling like some type of way? And he feels like that. How do you think other people was looking at me like that? Like- Dang. I don't think that he meant it like that. I think he was just joking around. Like, I don't- I think he was just messing with you. I don't know. He don't- He don't ever mess with me like that. He don't- I'm sorry, babe. Did he offend you? Like I said, I'm a little hurt. Well, why are you hurt though? Because he never calls me that. Why would he call me that? I didn't even do anything. He- I don't- That's what I'm telling you. I'm like more confused than anything. I don't think it was like out of pro intent. That's the thing. Like, it's just- I don't know. I just- I don't know what to say. I just- I'm sorry. I'm really sorry. I don't- I feel bad. But I know that you see him like as a father figure. So I don't want you to like- I don't want- No, babe. Please don't get upset. I don't even want to go over there now for like vacation or anything. I don't even want to go over there. Babe, it's not really like- It wasn't like that. You know that you didn't need to- Bro, and especially- No, and especially like we was thinking about like moving over there and all that. Why would I move over there if he just gonna like disrespect me and like call me something. I didn't even do nothing to him. He's not the- I'm dating his daughter and I feel like I treat you very well.  Like- Babe, it was a joke. That's crazy. It was a joke.  He's looking a little- I'm gonna have to talk to him and you know, like, like, damn. Like, what- I didn't even do nothing. It was a simple picture. You know, like- Yeah, wow. I don't know what to say. Like, I feel really bad. They know- Now I feel like- I mean, it's like a predicament because now I'm just like- Now, when am I gonna go visit? Now, it's gonna be like a whole issue. Maybe I should just- Not a whole issue. You can just go by yourself then. Maybe. Like- Maybe I should just call him back then. Should I just call him back?  He said what he said. No, seriously. I'm gonna call him back because I know that- Okay, okay. You can call him back. Like I said, I'm more confused than anything. I didn't do anything for him to just violate me like that. He didn't do it on, like, in cruel intent.  Let me just give him a call. There's no point of calling him back. He said what he said. There's no- Honestly though, like, I don't want you to feel any type of way. Babe, I don't feel- Like I said, I'm like, oh, come on. I'm just- I'm just more confused. Like, why would he call me that? Like, I didn't do anything. Hello? Hello. Yeah, can you tell- Can you tell Isaiah that this was just a prank?  I'm in the kitchen. Yeah.  So, guess what? My dad delivered. Honestly, guys, I was so scared to execute this prank, but I was just like, come crazy. Like, see, the worst thing possible without, like, being offensive, honestly. He slipped my spoon.  We ran out of milk. Guess who put him on? Savins again. Don't forget to smash that like button, and comment team Janice in the comment section below. If you guys liked today's video, also don't forget to turn your post notification bells on so you're notified whenever we post a new video. Speaking of post notifications, you know what? Today's post notification shout out goes out to my dad, because honestly, he did a good job executing this prank, and I'm very proud. I'm actually proud. And he said team Janice, so, you know, dads always know everything, so you should just be on team Janice. But anyway, guys, we'll catch you all in the next one. Love you, infinite fam.


Hey guys what's up check this out the reason why I'm going live is because I'm dropping something tonight at 6 p.m. that you don't want to miss I want to explain this to you real quick okay our goal this is the second quarter of 2020 right so this is probably how your years work so far so this right here I've got a graph going across here okay this is going to run from January all the way to December over here this is this entire year so for 2020 we have made a plan and I guarantee this is something that's just came out this is probably what your life looks like so let's go to January real quick you see how a number of these cars here from 1 to 25 most people will sell 1 to 25 cars okay I'm talking most we have people that sell more than that but watch this scale here this will be the time this will be the units let's say you're a 10 car hand in January right if you stole 10 cars in January and then all of a sudden in February you sold 12 and then you're in March you sell 13 this is middle of March you're sitting right here your skyrocketed up and then this last week has been what it has been overkill on the media everything that's going on by the way I completely respect everything that's going on people saying safe and smart and protecting their families but this is what happened we had an immediate drop okay so this is where you're sitting right now so you're in the middle of the end of March you're sitting right here you got about 10 11 7 days left and you wonder what do you do right here so here's number one how do you maintain this growth pattern how do you maintain it and number two how do you increase it because I know that you got set big goals for 2020 I know this and there's some things that have happened alright a plan a plan is needed there has to be a change why why does have to be a change because the customer has shifted in their behavior you guys answer this right I don't even have to say that has our customers shifted in their behavior since this has happened yes or no yes what are you going to do about tonight at 6 p.m. we're going to go over exactly how to crush it how to kill it how to get ahead of this I've got 10 things in plan for how we're going to destroy how every salesperson across the country right now can break loose I've got it map that look I've been right on my hand you talk about old school 80 days when I start right on my hand you know I get serious at the end of the night I should come home my wife would tell me man and you just destroyed your hands all day I said I'm learning I'm learning I'm learning stuff so fast right now and we're testing things in dealerships so it's a dealership this morning we just sold three cars off of a new plan okay and here's the goal you can do the same thing but we have to test it before we'll give you the advice so here's my point if you want to kill it you probably have had a drop and this is you there has been very few people that I talked to that that said hey since the corona virus hit I'm crushing I love it no everybody said hey I've had a massive drop some things are and bad negativity sort through my dealership what's the next step what do I do how do I handle it you know people are responding to my leads I'm doing what I used to do and it's not working that's right you know why there has been a shift in the consumer behavior does that mean that people don't need cars no it just means we're gonna buy them differently right now while this period of time is going on and remember this if you've been good at selling cars right now you're going to crash you have to be great right now to do this so this is what your next month could look like continuing to grow you don't have to stop okay people still need cars people still need help but there's a shift in the customer behavior so that being said this right here is the second quarter of 2020 we have to maintain we have to increase but it's your choice so throw the drone board I want to shoot this little video so you guys will meet me tonight at 6 p.m.