Gushing from rocket nozzles that rise, slowly at first, from a launch complex at the Cape. It is the power of America. Knowledge, skill, energy and imagination from every corner of this nation pool for this thrust into space. In July of 1950, American rocket pioneers at Cape Canaveral launched Bumper, a captured German V-2 with an army developed second stage. More than 1,400 missile and space vehicles have since roared skyward from the Cape. Some have probed deep into the secrets of the solar system, past the moon, past Venus, around the sun. On this proving ground today, foundations of national goals in space stand in concrete and steel. The challenge in space is infinite, but our nation's goals are immediate and critical. America's leadership on Earth demands leadership in space. The job is not easy. Witness this launch of a Titan II. In the test arena, engineers subject all systems to the most exacting laboratory conditions. The missile is destroyed. All tests, including this disappointing failure, contribute vital knowledge for the greater reliability of this weapon. Now the Martin-built Air Force Titan II is the big stick of American leadership. Its 6,000-pound warhead can be hurled one-third of the way around the globe with pinpoint accuracy. This flight was a milestone. Long-range cameras record staging. The same phenomena is shown from space by cameras mounted on the second stage. Shown 33 times slower than it actually happens, the booster is blasted away at second-stage ignition. This is the view that the Gemini pilots will have as they rock it into orbit. Seemingly motionless, the second stage is fast approaching speeds beyond 15,000 miles an hour. Station after station down the Atlantic missile range tracks the missile's flight and records telemetry data on its performance. Whether there are no islands, range instrumentation ships like the H.H. Arnold fill the gap. Target zone is near Ascension Island, more than 5,000 miles from the Cape. 30 minutes after launch, the huge nose cone is there. Here is a sight few men have seen, a reentry vehicle making its fiery plunge from space back through the atmosphere. Designed to withstand the superheating caused by air friction, Titan's nose cone survives to land squarely on target. As the flight ends, the job of compiling the test reports begin. Speed is vital. Some data cassettes are picked up on the fly by range aircraft, making information available to engineers in hours instead of days. The new parameters of missile and space operations are measured in microseconds and millimeters instead of minutes and miles. Back at Patrick Air Force Base, headquarters for the Atlantic missile range, flight information is already being checked. It shows this Titan's performance to be nearly perfect. This is good news to more than weapon system people, for Titan is earmarked to boost the two man Gemini spacecraft into orbit. To Lieutenant Colonel John G. Albert on Gemini Pad 19, this flight had special significance. Colonel Albert is chief of the Gemini Launch Division, 6555th Aerospace Test Wing. Now, certain booster modifications to man-rate the Titan have proven flight worthy. Colonel Albert checks the Titan, which will boost the first unmanned Gemini capsule into space early in 1964. From the block house, he will direct all launches in the National Aeronautics and Space Administration Gemini program. Still, another version of the Titan II will be the core of the giant Titan III space booster. With big solid fuel rockets strapped on either side of the liquid fuel core, Titan III will generate more than a million pounds of thrust at liftoff. Titan III will put enormous payloads into orbit. Launch facilities for this fast-reacting giant booster are under construction. Atlas, like Titan, plays a variety of roles. Atlas, built by General Dynamics, was the first operational intercontinental ballistic missile on duty with SAC. For NASA, it powered the Ranger moon probes, the Mariner flight to Venus, and the orbital flights of Project Mercury. Air Force crewmen need all their technical competence to prepare this complex system for flight. This Atlas, being prepared for launch by airmen of the 65-55th Aerospace Test Wing, seeks both military competence and scientific truth. Passenger pods attached to the side of the Atlas carry a variety of experiments for basic research in the space environment. On the tip of this 90-foot tower of steel is a completely new type of nose cone designed to increase the effectiveness of this system. 300,000 parts functioned perfectly when the Atlas roared to life, living up to its reputation for dependability. And Titan are formidable weapons, but an indestructible intercontinental missile with a quick reaction time was needed. Minuteman, the solid fuel, instant ICBM that is fired from concrete underground silos was the answer. By mid-year, Boeing was delivering Minutemen to SAC squadrons at the rate of one a day, and at the Cape, missile men were already at work on an advanced version of America's Sunday Punch. This early flight ended with an explosion that was visible for miles, but even from such a brief flight, great quantities of information are gathered from telemetry sources. Resulting changes and improvements will soon have the advanced Minuteman as reliable as the earlier models now operational with the Strategic Air Command. Employing an entirely new second stage, streaked more than 5,000 miles down the Atlantic missile range to score a strike. The Navy's new extended range Polaris also experienced some difficulties in achieving its full 2,500 mile range. It had so improved reliability of the new bird that it was considered ready for the acid test. Launch from a submarine. Every missile firing submarine comes to the Cape for a shakedown cruise, which includes the launch of a production model Polaris. The USS Andrew Jackson was chosen to fire the first new model Polaris. Loaded with the Lockheed Corporation's new Polaris, the Andrew Jackson cruised a few miles off the coast of Cape Canaveral and submerged. Then, in a cloth of bubbles, the bullets shaped missiles surfaced, ignited, and sped away downrange. The Army completed development testing of their selective range Pershing with a demonstration of how this new tactical weapon earned the nickname shoot and scoop. Men from the Army's 2nd Missile Battalion of the 44th Artillery conducted this test under simulated operational conditions. The Mobile Launcher and Support Equipment, mounted on half-tracks, first made a grueling trek through rough Canaveral scrub land. Upon reaching the firing site, the rugged combat soldiers demonstrated their newly acquired technical skills by assembling the Pershing. Moving through the simplified countdown, the crew erected and checked out this new addition to the Army arsenal. The sharpshooting missile ears hit the bullseye, proving to the watching Army artillery board that both men and missile were ready. Pershing, built by the Martin Company, will be with units in the field in early 1964. Another final chapter was written on the Atlantic Missile Range with the last research and development test of the Hound Dog. Nestled under the wing of a B-52, the air-to-ground Hound Dog drops from the mothership and streaks to its target 500 miles downrange. The Air Force MACE has been a sentinel on the outpost of freedom for years. Selected crews for this tactical weapon are brought to the Cape for system checkout and for launch training. In hardened protected sites overseas, MACE crews are ready and waiting, should their missiles ever have to come alive. ASSET, the first wing spacecraft and virtually a flying laboratory. ASSET, short for Aerothermodynamic Elastic Structural Systems Environmental Test, was designed to attack a full spectrum of basic research problems relating to re-entry from space. Its findings will be applied to current programs and will increase options for designers working on future space hardware. In its 22-minute non-orbiting flight, it transmitted volumes of information over 137 telemetry channels. An Air Force Thor, retired from overseas service with NATO, sent ASSET on its successful flight. Thor, built by Douglas Aircraft Company, has launched more payloads into space than all other boosters combine. NASA uses the Thor Delta for a wide range of space projects. In May, a Delta orbited Telstar-2. Seventh in the series of Tyros weather satellites was orbited in June. In July, Syncom, a new communication satellite, was placed in a difficult, synchronous orbit 23,000 miles up. This perfect operation has led to plans for placing another Syncom, boosted by a Super Thor Delta into orbit at the intersection of the equator and international dateline. Hovering over this spot, the Hughes-built Syncom will link Asia with North America for worldwide television transmission. Radio communicators for years have been plagued by the peculiarities of the ionosphere, a globe-circling band of electrically-charged particles. Scientists from the Cambridge laboratories designed a 50-pound device to take the measure of this ion band. The Air Force Blue Scout was selected to send this payload 8,000 miles into space. The Blue Scout crew assembled this off-the-shelf booster and fitted its delicate payload in place. The Blue Scout is aimed at its target in space, much like a rifle, and spin motors maintain flight stability. Rockets reaching into the secrets of space from the Cape are giants like Titan, Atlas and Thor. Each year, nearly 300 smaller rockets are used in scientific studies of near space. The Robin is a weather rocket used for investigation in the upper atmosphere. Air samples, high-altitude winds and temperatures gathered by the Robin complement information from traditional meteorological research and, like the findings of the Tyro Satellite, is available to all the world. This sleek-looking Nike Cajun is equipped to measure radiation. Along with high-altitude aircraft, Nike Cajun is used in a joint United States, Great Britain and Canadian Radiation Detection Program. The Nike Smoke is used in studies of wind shear. Photographs of its smoke trail reveal the strength and drift of wind currents at various layers of the atmosphere. This information is valuable in planning, guidance and in determining the structural strength necessary for large space boosters. Yet no mechanism, however wonderfully wrought by the hands of men, can substitute for man himself. A machine can be built to stand more heat, more cold and perhaps take up less space. But engineers cannot fashion something as dexterous as a hand, as perceptive as the eye, nor can they make a brain with curiosity, imagination and courage. Air Force Major L. Gordon Cooper confirmed all of this in the last and longest of the Mercury flights. He'll be counted among the present any longer. He has left the Cape and the world below and in five minutes will be going more than 17,000 miles per hour. He will be in orbit so the press gaze at the diminishing speck in the sky. Major General Leighton I. Davis, commander of the Atlantic Missile Range, directs the 18,000 people of the Department of Defense who are committed to the support of Project Mercury. In the 19th orbit of Major Cooper's 22-orbit flight, the failure of an electrical relay eliminated his autopilot and attitude indicators. Without the astronaut, the mission would have ended here in failure. Ground controls could not have retrieved the spacecraft from orbit. Major Cooper fired the retro rockets and, using the window for attitude reference, manually controlled the spacecraft during re-entry. The landing was perfect, emphasizing the fact that the most important system in space is man himself. Major Cooper elected to wait in his spacecraft for retrieval by the nearby USS Kiersarge. The band on board strikes up the Air Force song as Major Cooper emerges, wearily from Phase 7 and responds with a grin and a salute. Before his flight, Major Cooper, along with other Air Force astronauts and space pilots, attended a traditional Air Force dining in at the officer's club at Patrick Air Force Base, Florida. Secretary of the Air Force Eugenem Zuckert stated the need for our efforts in space. We believe that space can be free to war with peaceful activity only if somebody keeps it free. We are that somebody. Project Mercury scouted the frontier of space. Project Gemini will make further explorations, but much more power is needed to make the trip to the moon. NASA's Saturn, the booster for the Apollo program, will furnish this power. Standing 168 feet tall, this rocket dwarfs the people preparing it for launch. Three previous tests of the eight-engine booster have been completely successful. Primary objective of this test was to check booster performance with one engine shut down in flight. This flight, too, was successful. On November the 16th, 1963, Air Force One touched down at the Cape Skid Strip, bringing President Kennedy on his third visit to America's spaceport. He was welcomed by Major General Leighton I. Davis, commander of the Air Force Missile Test Center, NASA Administrator James Webb, and NASA Launch Operations Center Director, Kurt Davis. The President moved out quickly on his whirlwind tour, stopping outside the Saturn Black House on Complex 37 for a Project Gemini briefing by Air Force astronauts Cooper and Grissom. After another briefing inside the Black House on Project Apollo, the President and his party, which included Florida's Senator Smathers, drove to the base of the giant Saturn. Saturn will carry an American crew to the moon in this decade, a goal established by the young President shortly after he took office in 1961. The President then boarded a nearby helicopter for an aerial tour of the space launch areas and a 30-mile flight to the USS Observation Island. Donning a sailor's jacket, he looked every inch the naval officer he was during World War II. Leighton performed flawlessly, and President Kennedy saw his first Cape Missile launch, a Polaris from the submerged nuclear submarine, the Andrew Jackson. Proud Commander congratulated a proud crew. The President returned to the Cape by helicopter. His visit expressed his continuing support for the nation's space program. President Kennedy bids his farewell. 25th, the Cape was closed. Officers and men of the Air Force Missile Test Center assembled for memorial services. Brigadier General Harry J. Sands Jr., the Center Vice Commander spoke. He moved among us with warmth and interest and awareness of our efforts. It is well to remember that we are assembled here today, not because of the shocking way that he died, but because of and in tribute to the way he lived. We salute the memory of our late President, John F. Kennedy, and salute as well in token of our steadfast devotion to duty, the new President and Commander-in-Chief, Lyndon B. Johnson. Demonstrating a determination to move forward toward the goals established under the late President, Cape Workers the next night launched an interplanetary monitoring platform. It was the 21st straight success for the Thor Delta. NASA underlined this determination the next day, successfully launching the Atlas Centaur. The entire Centaur upper stage was placed in orbit. On Thanksgiving Day, President Lyndon Johnson announced the Cape would trade one world famous name for another. Cape Canaveral will here and after be known as Cape Kennedy.


Hello everyone and welcome to Inside Leather History, a fireside chat. I'm Doug O'Keefe and I produce these chats with Mistress Joanne Gatti. Every once in a while we do a slightly different chat and today I'm doing a chat in Amsterdam with Mario Delott. You may notice behind us that we have a wonderful image of the village people and boy didn't everyone love the village people. Mario has a very unique story that he's going to share with us today. Mario was very dear friends with Glen Hughes, the Leatherman, and he's depicted right here behind us. So I'm going to start off a little bit here. We'll talk a little bit about Mario and what brought him to knowing Glen Hughes. Then we'll talk about Glenn and some of the work that Mario's doing. So Mario, let's start off right now. Tell us a little bit about your childhood. It was very difficult for you. I've been born, I was born in 1951, born out of wedlock, been raised in a children's home, so to speak, orphanage. Came home when I was nine, 10 years old. Left my home when I was 18 and doing the things that I had to do. Met my husband in 1975. But before that I was already doing my things in clubs like discotex and so on. And I was involved in music, especially dance music. So I was living my life, so to speak. So in 1977, it go very fast when I heard this music in discotex at that time, I was totally flabbergasted. And then I heard these songs of a band called The Village People. There was no picture of it, I just heard it, music of it, San Francisco in Hollywood, Macho Man, and it was fascinating for me that all the gay ingredients, but I could not relate to whatever it was, I could only relate to the music. There was no real picture of the group. So that's how it really started when I started to be interested in a group called Village People. That's how it started.  Tell us a little bit about that. In the orphanage, it was taught, don't moan, do the things you have to do and don't talk about it, this is the way it is, and don't think about it. It was very sad in a way, but when I grew older, I took it as an advantage in order to do something or to gain something. I still use it today. Don't moan about it, this is what you have to do and that's the goal. It works in some way. So here I am, and that's what I did. You alluded to music being very comforting to you and you even said that you mentioned Billie Holiday's Lady and Sadness being very, very important to you. Why is that? Tell us a little bit. Okay, okay, now I really have to tell the real story. I was brought up in the orphanage without any love. There was no comfort, there was absolutely nothing. So when I got home at 10, I didn't know who my father was, I didn't know who my mother was. I was brought up actually by nuns. But you have to find out things yourself. At first you hear music and okay, you like it. But the first album I brought, no, the first music I listened, I was able to listen to was Billie Holiday. I didn't know who the singer was. At first I thought it was a man because of Billie. Billie is the guy's name. But then I heard a voice, Billie Holiday, and Strange Food, that was the very first song. And when I was 16 years old, I bought the album Lady and Satan, and that was my first final record that I bought for the prize of 19 guilders and 90s, which was a huge amount of money. But I could afford it because I was working at clubs when I was 14, 15 years old. So I had money in order to buy vinyl. But Billie Holiday's Lady and Satan was my first fourth album. That's how it all started with music and being comforted by the lyrics that Billie Holiday sang. I could relate to it more or less. What lyrics does the song contain that are so precious to you? About love, about man.  And I, so, but I knew that I was attracted to men when I was 13, 14 years, but not to boys my age, but to men, elderly men, not elderly men, but, you know, men of 24, 25, older, you know. When you are 14, you know, these are men, you know. So that's what happened. So I had my first sexual relationship, my contact with a guy who was 24, 25. And that didn't work out. So when I heard Billie's songs, I said, okay, I can relate to that as young as I was. What other music of Billie Holiday resonates with you? My man. I wanted to be hit by a man, but it never happened. So, you know, I was very dramatic. I wanted to be loved by a man, and it never happened at a time. I just want to be loved because I had no love. So I did everything in order to get love or to be in love, and that was difficult. What other music has had such an impact upon you? Pardon? What other music has had a similar impact upon you? The music, most of the time it comforted me. I could relate to the lyrics, so to speak, but also could relate to the voices. Mainly I listened to female voices. Now it's a different story. The only male voice I could relate to was Johnny Mathis. I like Johnny Mathis, so, you know, I started to buy albums of Johnny Mathis at that time. And next to that, I was young, so I wanted to have good times. So I was totally mesmerized by the Motown sound. And being gay, of course, I love the Supremes and the Motoweeves and the Fondellas and the Marvelettes and all these wonderful ladies that could identify with all these groups. I was, you know, this is what it was. And that helped me in order to become who I am. But you've seen yourself as androgynous. How do you mean? I was a boy, but I was very skinny. I was very hairy, and I was very feminine, and I was not feminine as people thought. I was just who I was. I was not over the top, but still I was over the top. But it was totally myself, you know. I was totally myself, and I never excused myself for that. My mother told me that.  But my mother always said, me never excuse your lifestyle, so to speak. So I never did. But I had a very low self-esteem. I have to admit that. I didn't eat. I was very, very skinny.  So there was no fat in my dictionary, so to speak. So I always wore black, had very long hair. I curled my hair. And I was hairy. I was totally hairy. I was, you know, like this. I'm still very hairy. So, but I was skinny.  And as skinny as possible. But coming back to the music scene here in Amsterdam at the time that you discovered the village people in the 1970s, tell us a little bit about the gay scene here in Amsterdam at that time. What clubs were available? What kinds of things did you do? Oh, I never participated in the gay clips in Amsterdam, so to speak. I was then involved.  And he was a musician. So we were both involved in that aspect of life. We were making money. We were traveling around. And that's basically it. And because we were both involved in the music industry, I started to discover disco music. And when we went to clubs, it was like, you know, we went to the IT Club and to other places. And that's basically it. I went to clubs in order to dance. I didn't need any other men because I had a man.  So that's what I did. And I was not involved with other men or I had my own man. What sort of music was very popular here in Amsterdam at that time? Disco music because I was only related to disco music at that time. And you mean about the 70s? Well, what stars were famous here that were also famous, for example, in England or the US? I have no idea. I have to tell you, I was not into pop music. I was into Billie Holiday, Nancy Wilson. Diane was in the Supreme's Motown and American Songbook. Oh, OK. And I was not involved in pop music, like Queen or it's OK. I couldn't be bothered. All right, thanks. But what about stars like Gloria Gaynor? That's disco. I love disco. That's what I'm saying. Tell me more about the disco people, the disco names you knew, Yvonne Elliman, for example. Oh, I was living in the country when I was, let's say, 20. And Gloria Gaynor came by. But I never can say goodbye. So I went to all these disco clips in the Southern part of the Netherlands where I lived. So I spent my days in disco clips all over the Southern part of the Netherlands because I lived there. So yeah, Vicky Sue Robinson of Gloria Gaynor, the trams, you name it. And then suddenly you heard a song like Village People or San Francisco in Hollywood. Everybody is a star. So I could relate to that as well, you know, lyric wise. And the beat, I loved the beat of the disco song. It was the best. I was not involved in all the things. Just the beat, just let's move it. And it was a good exercise to stay skinny, you know. Take us to 1980 when you met Glenn Hughes, the leather man in the Village People. Oh, OK. I met the Village People on April the 17th in New York at the Sigma Sound Studios. Before that, I already was involved more or less with the group. I became or I proclaimed myself as president of the Dutch Village People Fan Club.  And I always sent it to the company in New York. And I always got mail back. So I'd say, thank you for your good work. Keep up the good work. So in 1980, I traveled to New York and I more or less announced myself, OK, I'm coming. You know, I really want to meet you guys. So I went to the office. And I was greeted very nicely by the producers, Chapmar and Henry Balolo. They were very, very nice to me. And then they offered me, well, why don't you go with us to the Sigma Sound Studios where the group is? They are recording the music for Can't Stop the Music. So I said, OK, very happy, of course. I went there. And I got introduced by the producers to the group. And they were all very, very cool and friendly. And also to Glenn Michael Hughes, of course. And what I did was, I had for each member, I had a question list. And each member had to fill in a list of 10 questions. So I had 60 answers. And I'm more or less demanded it, so to speak. And they were impressed by that. So that was a good sign. And after we met in the studios, the road manager, we said, you know, ask me, why don't you join us to have some lunch at a Thai restaurant somewhere on Broadway? And I said, yes, OK, I will do that. So, you know, I went with them to a Thai restaurant. And it was very nice, very OK. I was tense. I was a fan. I was not a friend. I was just a fan. So when we said goodbye, Glenn Michael, he said to me, keep writing. And I thought by myself, sure. Anyway. So I wrote him a letter. Thank you for everything. But I wrote to all members of that. You know, and also to the people. Thank you for being so nice to me. But he was the one who replied me. And from that on, it really started to develop some kind of friendship, so to speak. Or, you know, you got to know each other a little bit better. That's how it really started. April 17, 1980. What were your impressions of the various members of the village people? There you obviously there were six people. Tell me a little bit about each one of them. What's what stays in your mind? What stays in my mind is that they were very cool. Cool. They were OK. They had no so to speak. They were very, very nice. And they were relaxing. And that's what I liked. They were like you and I, you know. They had no, they were not arrogant. That's what I liked about them. And they were surprised that I knew so much about disco music. Not even about them, but about other people, you know. So it was my enthusiasm. And they were very nice to me, absolutely. And the producer itself, a producer like Jacques, he was very kind to me. Very, very kind to me, so to speak. But I rejected that. So, yeah, I just wanted to be, I just wanted to get in touch with the group in order to make my club bigger. That was the main thing, so to speak. I had no other intention in order to. No, no, no. How were the village people formed? The village people were formed by Jacques Morali. They were put together by Can't Stop Predictions, by an ad.  And they all did auditions. Victor Willis was then the lead singer. He was already into the group. And Alex Bryde was a friend of Victor Willis, the soldier. And they needed more, four more characters in order to form a band. And Glenn was one of them. And he was a talk collector at the Brooklyn Battery Tunnel. The Brooklyn Battery Tunnel. Brooklyn Battery Tunnel. Exactly. And, you know, they saw him. He had this, you know, this attitude and this mustache. And he was just in. And that's how it all started with them. And Wendy, the cowboy, and David was on Broadway. Wendy was on Broadway, so he all needed a job. And, you know, we have to find a job in order to support ourselves. That's how it really started. And Philippe was, Philippe the Indian was already involved in the project Village People with Jacques Morali and Henry Balolo with the very first album Village People. So Glenn went from being a talk collector to being in a singing group. How was his persona developed? He was the son of a policeman. And his model was a former tap dancer in the circus. His grandmother was a trapeze artist in Barnes and Bailey. So, and they lived in Bethpage on Long Island. And he was, you know, blue collar family person. But he always wanted to be in show business. His mother was in show business. His grandmother was in show business. So he was, he wanted to be in show business. So he, he went to Ed and, you know, more or less did his thing and did the audition for Village People.  He always wanted to be in show business. He auditioned and he did two songs from the musical Hair. Where Do I Go? And Let the Sunshine In, I believe. No, Aquaria, sorry, Aquaria. And he was okay. Did he have to sing these acapella to the producers? Yes, he had to do acapellas. Just a bar, so to speak. But also because of his looks, you know, he had this, this, this masculine look.  And he was the perfect guy for it. Why so? Of his looks and his attitude. He was very handsome.  So he thought, oh, Glenn is very, very nice. That's okay. So that's also one of the reasons that Glenn was into the world. How did Glenn acquire the image that we see here on screen, his cover, his chains, his leathers, were those things that he already had? No, no, no, no. He was given by the producers an amount of $1,000 and he was sent to Mr. Leather in New York. There's a store in the village. And they said to him, here's your $1,000 and buy yourself some leather so that you can become the leather man of the village people. So he was given a thousand and he spent a thousand and came back with all these leather goods. And he created the leather man from scratch, from zero to, you know, he crystallized more or less over the years the leather man character. And he was very good at it.  You know, the more he created it, the more he became a part of the character as well as far as I can consider. You know, he loved it. He loved it very much. Village people was his life. Were there various items in his leather closet that he preferred over others? Not in the beginning, I suppose, but later on, he loved his character, but he also loved his gear, so to speak, but it was only on stage. But when the group became bigger and bigger, he also custom made vests, you know, and buckles. Like this buckle, for instance, he wore a lot on times, on stage, and it became also, his nickname was Mr. Eagle, and that's because of this buckle that he wore. We have a photo here. I don't know if the audience can see this very well. It's Glenn wearing a studded vest. You have this vest in your home. Yes, that's correct. And I have to say it's an amazing piece of work. It's truly breathtaking in its complexity and its personality. What about this, can you tell me? This is so iconic. What can you tell me about this vest? Actually, Glenn was very, he was interesting, so to speak. He didn't, he was very down to earth, first of all, but he didn't put any value to the things that he owned. So I was the one, later years, that I took care of the leather, that I took care of this vest because it was totally damaged and I more or less restored it. He didn't put any attention to it if it was kaput or the nut, doesn't matter. So I fixed it to it, whether it is today. Actually, he owned two and one was given away by his mother to the church because the mother had no idea how valuable the vest was. And I more or less saved the vest because he said, when I'm gone, please take the vest. I said, okay, I'm gonna take care of it. So the same about the buckle. He loved it, but he had no clue how valuable it actually was. He was very, you know, he was not into material things. He was very down to earth. Okay. That was, you know, I like that about him. So tell me how your relationship with Glenn began to evolve. What sorts of things were you able to do with Glenn that, for example, someone special might be able to do? Well, first of all, I was a fan and he started to write me and I responded.  And, but I also started to get bigger and bigger in my so-called dutch fan club of village people. And at a certain point, the company can stop positions, decided that I would become international because of my work, what I was doing for the group. And in 1983, I was invited by the group to come to Las Vegas to see their shows for seven days. So I accepted the invitation. The invitation came actually from Glenn. So I went to Vegas. First two days to New York, blah, blah, blah. And then off to Vegas. And they had an engagement at Riviera Hotel in the Versailles Room, a capacity of 800 people, twice as two shows a night. So I remember when I came by taxi to the hotel and Glenn and Alex were waiting for me outside the hotel. And, you know, I was kind of nervous. I've never been to Vegas before. I was to New York, okay. But Vegas totally knew to me. Anyway, they picked me up from the hotel, blah, blah, blah. And Glenn said to me, come to my apartment, to my suite, so to speak. And I said, okay. And, you know, he was very okay. And suddenly he said to me, why don't you come sit next to me on the bed? And then he put his hand on my lap and said, I'm so happy that you're here. And I thought, oh, okay, what's going to happen right now? And then he really looked me deep into the eyes and said, if it wasn't for you, I would jump out of the building right now. And I remember, and I remember saying to him, well, before you jump out of the building, let me do the shopping first. And, you know, I thought it was not funny to say, but it came out of my mouth. He started to laugh so loud, so loud, he couldn't stop laughing. And then I think because of my answer that really gave us a click, that gives a bond, you know. And then I realized that he was very depressive. I was depressive at that time as well because I was in a seven-year itch with the man I was living with. So, you know, we were, you know, we were there. And then he said, okay, I'm gonna take care of you these coming days. Don't you worry, I'll show you wherever you have to go. And he said, I want you to be in the show room five days here, five shows here and five shows backstage so that you can do your work. And that's what I did. And he took care of me and it was wonderful days. I never saw daylight, I partied all night long and slept through and slept through the day because it was too hot. And midnight show started at 12 and ended at two.  So, you go to bed at four in the morning or five in the morning so you don't get up.  It's a total different rhythm. And it was no clock, so. And I was young, you know, I was 32, 33. You mentioned Glenn being depressive. What does that mean? What was going on there? I believe he was depressive of, he had a very low self-esteem as I could. But at that time I didn't know what was going on. The only thing that I know that he could be very depressive. But I found it out later in my relationship with Glenn what really happened. But, you know, at that time he was, you know, when he was on stage, when he was the character, he was okay, he was the best man you could ever be with. But in his private life, he was 180 degrees different. And I started to see that. But I couldn't put my finger on it. I was too young to know. I know that I was depressive at times. So we were two lost souls, so to speak, you know. I never mentioned it to others. Never. No, it was so-called secret between us. But over time, knowing Glenn, what did you come to understand about that? Like I said, he had a very low self-esteem and he was not very happy with the life that he was living. He had everything. He had money, obviously fancy clothes, obviously traveling the world and meeting famous people. Why would he not be happy? I ask him that many times, but I believe people don't have an answer for that. He didn't have an answer for that. He just didn't feel well. Could happen just like that, you know. And in the late, in the mid 90s, when I started to live with him, when I was with him, he became manic depressive. The disease became worse and worse and that was frightening for me as well. But I never blamed him for that. But, you know, it was a disease that more or less developed more and more to that. But on stage, you couldn't even, you didn't notice. At that time in that environment, clearly drugs were a major player, especially in the disco scene and at that time in entertainment history, was this an issue for Glenn? No, he was drug-free, he was drug-free. He only drank champagne, as far as I know, and some wine. But no beer, as far as I know, no drugs. Drugs was a no-no because his father was a very strict cop. And when he was a young kid, his father showed him many times the bad sides of reality. So his father took him in his car and showed him 42nd Street and said, this is the other side of reality. Don't you ever do this? So Glenn was warned, so he never did any drugs. He was very strict, he was very conservative in that. He never tried it. And I never did drugs either.  Yeah, absolutely. And at times when I was with Glenn, it was even offered to you. Like sex was offered, drugs was offered as well. It was very easy and very attractive, of course, but he never used it. How was Glenn about managing his fortune, for example? His father took care of that. Oh, okay. His father took care of him. So when Glenn passed away, he died as a millionaire. His father was the businessman. He was very taken care of of Glenn as well as the other members of the village people. He took care of the finances of village people. He did. That had to be quite something for a blue-collar cop in suburban New York City having a son in a basically gay iconic situation. How did his family cope with Glenn's circumstances and the others? That was very funny. I still believe still today Glenn was in show business and they loved it and they never brought up the gay aspect of Glenn.  They were just very proud of their son. Did Glenn ever bring a boyfriend home? Yes, but it was never mentioned as a boyfriend. The carpenter, let me put it that way. No, it was never mentioned. The word gay was never mentioned, not even when I was there. I was his friend from the Netherlands, Amsterdam. No, homosexuality was a no, no, I believe, according to his father. His mother was more flexible, I have to say that. Mother was very religious, okay. But his father was very, very strict and very conservative.  So I was there in five minutes and religion was already on the table and being gay wasn't anyway. Was it good or bad that this was the case? His father was shocked by my, because I'm from Europe, I'm from the Netherlands. So, hey, being gay is not an issue for me. Religion, hey, you can discuss religion. So he was shocked, but still I was a good friend of Glenn according to Patrick, his father. I went along with Patrick because I knew where he came from. I never judged his father. This is what he is. He had his own demons too, to deal with. That's why I always thought, always said to Glenn, please don't hate your father. He's a victim of whatever. That's very progressive. Always think like that. But how did Glenn manage to balance his religious convictions with the circumstances he was in with the village people? Glenn was raised Catholic, yes? Yes, Roman Catholic. How did he cope with that religious element to his life? No, that was no issue. He abandoned his religion's background totally. He didn't believe in that. That no value for him. He was more into, Lucerne, atheism. Yes, atheism. That's very, it's a big step. For him, probably. He had many conflicts with his father. His father was a very strict religious man, Patrick. His mother was, you know, the most sweetest woman and angel in the house, taking care of her boy, so to speak, of her husband and her son. And later, the boyfriend from Amsterdam, taking care of her boys. That's what she always said. Dolores was a sweetheart, still is. We spoke a moment ago about the drug scene in the entertainment industry and the recording industry at that time. What about sex? Clearly, you've got six iconic-looking men who represent numerous elements of the gay community. There had to be tons of boys and men throwing themselves at these guys. How did Glenn and the others manage that? Oh, that was very funny. I never participated in it, please. I was very shy. Anyway, so I didn't do that. I had my reasons for that. But Glenn, you know, Glenn stayed in the character of village people, the latter men, so it was presented to him in a silver plate. And he took care of that. And everybody did, except for a few from the group. And I've seen that happen. I always kept my mouth shut, of course. You don't talk about like that. You don't go into public. You don't do that, you know? It's a code. You don't talk about it. But I've seen it happen, of course.  And yeah, and they, you know, Glenn was just presenting a character, so to speak. But there were these guys who really thought he was the real character in real life. And he wasn't like that. It was his job, so to speak. So. Well, tell us about real life. If Glenn were just a regular person, what sort of things did he like? Or what things did he do? When I was with Glenn, we watched TV shows like Touch With An Angel, and we stopped together, so to speak, you know? We went out for shopping. We went out to record stores. We did our shopping, you know? And we watched TV. That's basically it. And he cooked for me, and I cooked for him. And I was no heavy duty leather scene at all, as far as I know. As far as I've experienced it. But when he was into his character on stage, it was a different agenda and a different person. And I could totally understand it because it was the way he was. He was like Jacqueline Hyde at times. And that also had to do with his depressions. He could be Jacqueline Hyde at the same time. And that was not a nice side of a beautiful side of Glenn Michael Hughes. And I could relate to it more or less because I recognized it more or less. But it was very, very sad at times. So on stage and off stage, when he was still in the character, he was the best leatherman you could ever imagine. When he was out of the leatherman character, he was the best friend you could ever have. I have the most wonderful times with him. When I visited your home, and I saw, for example, the vest that we mentioned earlier. Yes. Seeing that and seeing some other things that Glenn's that you have, Glenn was physically very small. He was. He hated sports. And that was surprising to me. Well, at that time, it was not really necessary to do sports. You have to remember, this is the 70s, the 80s. So today it's a total different story. You have to be masculine in order. And at those days, it didn't really matter. Plus, he was covered in leather. Yes, yes, yes. Who cares? So Glenn really has the image here. I mean, we can see he's got his cover. He's got his shades. The the mustache alone, I think a lot of men would love to be able to have that. I've tried growing my mustache like that. I can't quite get it to the same volume that Glenn has here. So another iconic image of Glenn here. This is where I really think Glenn is the most attractive is when he's like dressed like this. That's when he really shows sort of that badass element, I guess. Pardon? The badass element. Yes, it could be. Yeah. He could be like that to me as well. He could be very, very badass. Yeah. If you love a man, you love a man. That's basically it. And we've got a picture of Glenn here, the center of the group of the village people. The disco group of the village people. Yes, yes. There's an interesting bit to this as we as we explore Glenn and the rest of the people in the group. They originally, were they not simply to be performers? And then there was some arrangement made for them to actually record the music? That's just... Say that again. They actually recorded. And that's, of course, where the money came from and their fortunes came from where the, because their actual voices were recorded. That was the very first group. And the producers had to find the characters because the first group was very successful. But the first album was recorded by studio singles. Yeah. And the group was not even formed. So that's why the second album, Much A Man Was Produced, and then you came in Glenn, Randy, and your other members. So then the group became a face, you know. I see. And that's how it was. That's how it worked. Yeah. There's Glenn again in his another iconic look here. Yes. Yeah. This is a very famous photo, but you can actually see his waistline. I don't think I've seen a waistline on myself like that in 40 years. This is taken in 1998, two days before, not two days, two years before he passed away. Yeah. Let's explore that a little bit. Tell us about Glenn's health. It deteriorated toward the end there. Tell us what was happening with Glenn. Glenn lived a, I do say, lived an easy lifestyle, so to speak. And in 1980, after we met in Vegas, our friendship became very close, so to speak.  And in 1986, he, I got a phone call from London, and it was Glenn saying that he was not doing very well and that he was HIV.  So I hang up the phone. And I was angry about the fact that he was only, that he only had five years to live, and our friendship would end within five years. So I didn't judge him.  So after a few minutes, he called me back and he said, are you going to leave me? I said, no, I'm not going to leave you.  So, you know, our friendship grew stronger for that. And what do you do? The friendship has, I always call, I always consider friendship as the wave, you know? As the sea, you have up and tired, you have up and tired, you know? So this was, this is what it is, you know? So, okay, this is what it is.  You took care of me, I take care of you. No question. And that's what I did from the day that he told me that he was HIV, but he didn't have full blown AIDS then. That happened years later. So being HIV didn't stop him to perform with a group or doing good things. Nobody knew it, so hey, you know? But he was diagnosed, that's true. But for me it was no issue. As Glenn's health deteriorated, what were you able to do for him? Help him, and listen to him. And one of the, when he was very, very sick, he, I was living with him in New York. And what I still remember is what he said, AIDS gave me all the freedom I needed in the world. And I couldn't relate to that.  But now I understand. I'm older now, you know? But that, you know, he taught me a lot about life, about the real thing, what's going on in love. He really taught me about it. And I, you know, what I did was help him and listen to him and take the best what I could do and, you know, what can you do? You do things without questioning it. If you love someone, if there's true love, you do it. I don't even, I still do that. I don't even question it. That's the way it is. Take it or leave it. So that's what I did. And I'm okay with it. I still miss him, but he was the best friend. I had a lot of my life, which is my husband, but I had the best, best, best friend and that was Glenn Michael Hughes. He was my best friend ever, ever. You have a lot of Glenn's things. When I visited your home, you showed me all kinds of memorabilia, gold records. How did you come to have those items? When he was passing away, when he was dying, he said to me, I want you to have this and take care of it. And I more or less refused it. I said, I don't want it. Please don't do this to me. He said, I want you to have it. You have to take care of it. And perhaps you can make money out of it. Well, we are 20 years later and didn't make any money out of it. It's still in my house because I cannot do it. But like the buckle and some other things he gave to me and he said, I want you to wear it on gay events and things like that. I said, okay, I will respect that. So that's what I do. I wear it on gay events and other events that I think is important and wear Glenn stuff. That's what I do. And it's still in my house and it's now time to do something with it. And it's time to pass it on. Glenn had a copy of this buckle and I gave it to his successor to Eric Angzolone three years ago while Eric was here in Amsterdam and I said, this is for you. And he was totally surprised by it. And I said, well, Glenn would have loved it and he is smiling at you because you're doing a great job being the successor of Glenn. So that's what I'm doing now. I'm trying to pass it on, which is okay. But it's still difficult, but it's okay. It's always hard to say goodbye to things that you love. But it's okay. And it also gives me some more freedom as well. But not only Glenn's things continue, you told me that Glenn's financial contributions benefit or benefited a lot of people, families, for example. Yes, that's correct. When I was working for, I've worked for the group for about 17 years. And Glenn was the only man in the group who stayed in touch with his fan base. So every year when I was there, I had to select all the addresses on the system. And the young women and the young men at that time were 22, 20, whatever, 20 years. 20 years later, they were 40, 44, whatever. But it turned out when he passed away that he had supported four families, four fans who had created the family. And he had supported all these families, four families as a matter of fact. And nobody knew, even I didn't know that. So he had a heart of gold. He was a very, very good man. It's his religious backgrounds, I suppose, you know. Do those families still benefit? I don't know. I really don't know. I just found it, I just found out. And his mother was even surprised by that. Wow. I really don't know.  I did a lot of work with them. You're working on a very big project now about the village people, about Glenn Hughes. True. Tell us about that. What are you doing? It's in the process, so to speak. So what I'm doing is I'm trying, or I'm not trying, I'm putting together all the things that are things important for a photo art book. And the work title is My Journey with Glenn Michael Hughes. And it will include all the material that he produced, as well as never, ever seen published photo material, DMOs that I know, and I can do. Memorabilia that I will photograph. Letters, interviews that I had with a group from 1980 till 1986. So it's going to be huge. There is so much that has to be in the book. So I'm talking about at least 300 pages. And it's a coffee table size, album size. It's not going to be a small book. So I'm working on it, let's say two or three hours a day. And it's going to be huge.   It puts me also back in the time when I was working for the group. And I have so many material from the group as well from the record companies at that time. I was supported by many record companies worldwide because I was working for the group. And I kept everything, everything, every little scribble, everything, even personal notes from Glenn and the guys to me. So, you know, there is a lot. That's so much. I was going through my closet today and I realized, oh dear, I have also five tour jackets that I have put them somewhere, you know, and leather gear. And I have his chaps, his buckles, his vests, his shirts. I kept everything because you wanted me to have it. So that's what I, you know. What are you going to do with these items, especially the gold records? These are very valuable items. I have no idea. Today is today, tomorrow is another day. I always believe that, you know, it will work out fine. I believe in that. Today is today, tomorrow is another day. People will come to me, whatever. It always worked that way, you know. Time is running out. I understand that, but, you know, so far so good. There are always vibes or energies that come in your way and taking care of you. I always believe in it. I always believe that in my friendship with Glenn, you know, I still do that.  I miss him, but, you know, today I can say I'm very thankful that we had this friendship for 22 years. How lucky can you get? Mario, I would like to thank you very, very much. My pleasure. For participating in Inside Leather History, the fireside chat. Again, doing something different, not necessarily old-timers being interviewed, but something unique.


In its effort to learn more about the Earth's atmosphere, NASA has launched a variety of experiments using balloons, rockets and planes. Scientists are now looking at a new generation of inexpensive aircraft made specifically for high-altitude studies. Called Perseus, it is shown here in a hanger at NASA's Dry and Flight Research Center in California. Okay, please remove the ground equipment and pay out the tow line. Clearance from the tower. I'm in position, Tom. This remote-controlled glider has a deceptive or simple design. It's thin, wispy wings and large 15-foot proper made of strong ultralight composite materials. The plane carries bottled oxygen to help fuel its gas-powered engine when flying into the upper reaches of the atmosphere. It has the ability to fly twice as high as a commercial jet liner. Conceived by Aurora Flight Sciences in Manassas, Virginia, Perseus can carry 110 pounds of science payload. NASA hopes to eventually commission a fleet of inexpensive global watchers that can be launched anywhere in the world. I think the excitement is that you're actually building a vehicle that's never been done before. Jenny Bayer-Reedhart heads a program to expand NASA's development and use of remotely-piloted vehicles. The science community, Perseus, is a quote, war community. So with these vehicles, you have a little more cost-effective way of getting that type of data and information. And then if it looks like you need more information to where you need a higher payload manned vehicle capability, you can then spend that money to bring that extra source in. Perseus, NASA's newest global watcher. The first in a family of low-cost airplanes designed to further our understanding of Earth's atmosphere. In its effort to learn more about the Earth's atmosphere, NASA has launched a variety of experiments using scientific movements, sounding rockets, high-altitude reconnaissance and one of the fastest planes in the sky. Scientists are now looking at a new generation of inexpensive aircraft made specifically for high-altitude studies. Called Perseus, it is shown here in a hangar at NASA's Dryden Flight Research Center in California. This remote-controlled glider has a deceptively simple design. Its thin, wispy wings and large 15-foot prop are made of strong ultralight composite materials. The plane carries bottled oxygen to help fuel its gas-powered engine when climbing into the upper reaches of the atmosphere. It has the ability to fly twice as high as a commercial jetliner. Conceived by Aurora Flight Sciences in Manassas, Virginia, Perseus can carry 110 pounds of science payload. NASA hopes to eventually commission a fleet of inexpensive global watchers that can be launched anywhere in the world. I think the excitement is that you're actually building a vehicle that's never been done before. C. Bayer-Reedhart heads a program to expand NASA's development and use of remotely piloted vehicles. The science community, Perseus, is a quote, poor community. So with these vehicles, you have a little more cost-effective way of getting that type of data and information. And then if it looks like you need more information to where you need a higher payload man vehicle capability, you can then spend that money to bring that extra source in. According to Aurora project manager Tom Clancy, there are advantages to keeping the pilot on the ground while an onboard computer interprets commands and adjusts flight controls. When you leave the pilot on the ground, a lot of the hardware as well as the mass of the pilot doesn't have to be carried up to the particular position that you're targeting. Perseus-like aircraft may enhance important studies of Earth's protective ozone shield over the north and south poles. Both very hostile environments. It turns out to be an extremely dangerous mission for a manned vehicle because of the cold temperatures that you have below you and the inability to glide home from Antarctica in an engine out type of situation. Remotely controlled vehicles are under far less constraints than when a pilot is in the cockpit. This allows the team to take some calculated risks and reduce development time. Aurora's computer designer Martin Gomez. I made a change to the software this morning which we're going to try to fly tomorrow morning. If this were a manned airplane, that would have paused our flight operations for weeks if not months. Adjustments are also being made on a tow release mechanism that will resolve handling during takeoff. Minor changes such as the one that's being done right now on the airplane can be done in a matter of hours because there's nobody's life at risk. Much of the design work that made Perseus possible grew out of a human-powered flight project at MIT called Deadless. In 1988, this 69-pound craft flew a distance of 72 miles between the Greek islands of Crete and Santorini. The ultralight long, flexible wings were able to keep the plane aloft at low speeds, breaking new ground in aerodynamics. Building on their success, several members of the MIT team branched out to form Aurora. In creating Perseus, they borrowed from the shape and design of the Deadless wings. Greg Zack was one of five cyclist pilots on the Deadless project. Capitalizing on his skill in flying gliders and remotely controlled model airplanes, Zack has gone on to pilot Perseus. Okay, please remove the ground equipment and pay out the tow line. Aurora uses an open stretch of dry desert lake bed for flight testing. I'm in position, Tom. Okay, go ahead and accelerate and call. Accelerating, now. When all systems are set, the truck accelerates, gently lifting Perseus into the air like a kite on a strain. At 700 feet, the tow line is released and the ground team engages the propeller. Perseus is free. During flight operations, Zack communicates with another pilot, Frank Stanley, who sits at a duplicate flight console inside the ground station. Zack must keep the plane in sight during takeoff and landing. Once airborne, Frank Stanley can take over Perseus' control. Martin Gomez and Tom Clancy help Stanley with the engineering of the plane and keep communication ties with the NASA tower and launch team at the lake bed. 50 knots. Okay, we're turning the base to final. Eventually, kite testing will reach altitudes of 80 to 90,000 feet, where their atmospheric research can begin. The elements that these scientists are looking for, particularly in stratospheric chemistry work, are really very volatile, and if they come in contact with the airplane, they no longer exist. So both the slow speed and the ability for the payload to be in the nose is very important. Scientists argue that to positively determine the effects of ozone depletion by man-made chemicals or aircraft exhaust, instruments need to fly slowly through specific areas of the upper atmosphere. What we're trying to do is give the atmospheric scientists the ability to deliver his instrument to a place in space as often as possible, as cheaply as possible. This year, Perseus will attempt to fly higher than any propeller-driven remotely controlled aircraft. A tremendous technical leap forward. The fact that we're making an airplane which is not designed to blow up people halfway around the world is rather comforting. The end result of this airplane will be a better understanding of the Earth's atmosphere, and I get a certain pleasure out of that. I'm sure most of us do. Perseus, NASA's newest global watcher. The first in a family of low-cost airplanes designed to further our understanding of Earth's atmosphere.


बिस्मिल आईर्फ्मान रहीं तो आज भी देरीवेटिव्स आज हम एक ब्रीएव सा तोपिक दिसकास करेंगे अच्टूली इसकी दिफ्रन जगो में हम लोग बाद करेंगे भी बाध हैर वी नी तु सेस्टाएज़ेद के मेटर लेज़ बाद और भी देरीवेटिव्स यह कोई एक क्छातिकरी नी है ब्सी के लिए हम बाद करेंगे अन्ट्रुस्रेथ से जो प्राँन यह जो लिंक्ट है उनके एं आमारे पे क्या अम्ट्टीकेशन है वी वो अईं, वी जीवित दीखाज देखाज देम ख़्डें तो ठूराँग, में शिवास वीग नाए। वीग भी आग्ए में ठाश्वारे बलत्फारी या पच्वीट हैंचिराश़ी, ढ़ी दीडवाग च्वेइं ठाश्वागा ठाश्वा Garage, यह आप भटी प्छ़ट श्क्रीम करीए पैमंट की और एक बारटी फलोटिग रेट श्क्रीम की पैमंट करीए दो अगर अपका लेट से फलोटिग रेट का लोन अगर आप ट़र लग रेट बड़ जांगे आप पिक्स तुसीविग वले उस में आजाया और अगर अपको श ्' पाटी ्तो दादucback' अ स्वनॉस्नोई señor पर ये के पर्ऻ�身 bows horse ौम्नेवट कददीई सर avoid पासचित नहीख पीटबय़न था पत्नन कर दें, उब र toujours रया बसgeld श mélअ Runner र uda save पासचित अब उच्यम धीटान अन ळ जर क्त letzब आनक Вид stew same some notional principle on that amount there is a hundred million and one billion dollars whatever the notional amount is normally the loan is written on that amount is determined and the payment is net which you have to pay effectively your expo year is shifted to floating depending on your choice though these exchange cash flow to parties aim to reduce uncertainties depending on your forecast clarity comes from this method this is one way of capturing with the interest rates then caps and floors a company with floating rate loan that does not want to swap fix but does want some protection but does not want to fix but wants to safeguard itself what it does is take interest rate cap that my loan is fixed floating rate if I take the cap so that more than this so that is buying caps the cap is set at the top rate maximum how much you will pay so if it goes to that level so you pay higher and you get the compensation from the cap which you have bought if you get compensation so you have log data above rate so that is its pre-order and if you have a certain level then you do not have to bear more interest rate premium which is the cost of cap is the protection level above than the current market you have to pay premium that is the additional cost you will be bearing that accompanying receiving floating rate that means you have invested somewhere and you are getting floating rate so you will be afraid that when you are getting money you are afraid that the interest rate in that case what you do is you buy a floor that you get the minimum rate so many times people have to buy a floor that is caller we can refer to that but here we are just understanding game pack interest rate link so if you buy floor you will get a rock bottom level that you will get this much you will get other instrument but there are many as we have discussed it is very simple and complex so other ones are euro strips which are future strips in foreign currency with euro currency so there are multiple ways in which interest rate can be captured and we will keep reading this but you should keep in mind that there are many ways to capture it and this is an important element for every kind of business thank you


Hey guys, here is our breakdown of the perfect trail food to pack for your next hiking adventure from two Tearoa Trampers breakfast Start the day with a trail hiker's bread and butter, which is in fact not bread and butter, but oats Sweeten this with whatever takes your fancy I like Nutella, but you can use sugar honey peanut butter or good old-fashioned dates or Buy a handy muesli pre-mix with everything already in Snacks nut bars are an easy on-the-go snack So I like to get as many as I can fit in my food bag after the essentials of course if I'm feeling extravagant I may even add some chocolatey extras Lavi prefers a varied pick-and-mick selection of nuts and dry snacks topped up with plenty of double-chock brownies for good measure lunch I'm gonna put something out there. You may be familiar with it already, but if not you're welcome peanut butter noodle wraps Nothing more to say about that Dinner Cusco's is a hiker's best friend just pour on hot water and it is good to go Pesto and a stock cube give this a strong and tasty flavor and for added calories butter and cheese are also welcome additions to this great dish Another great dinner option is potato flakes gravy and dried peas which can also be boosted by adding butter and cheese We hope you have found this video useful in preparing for your own trail adventure But we are by no means set in our ways if you have suggestions We would love to hear your trail food secrets. So get in touch and share your ideas For now happy tramping Hi guys, thanks so much for watching the video We are so thankful for all the support we get and we would love it if you would subscribe to the channel by clicking here Help us continue our journey recording and sharing the music and stories of the world


Now, as gunshots echo across the windswept snow-covered reaches of the Wild Northwest, Quaker-puffed wheat and Quaker-puffed rice, the breakfast cereal shot from guns, present the challenge of the Yukon. It's Yukon King, swiftness and strongest lead dog of the Northwest, blazing the trail for Sergeant Preston of the Northwest Mounted Police, in his relentless pursuit of lawbreakers. On King, on your Huskies. Gold, gold discovered in the Yukon, a stampede to the Klondike in the wild race for riches. Back to the days of the Gold Rush, with Quaker-puffed wheat and Quaker-puffed rice, bringing you the adventures of Sergeant Preston and his Wonder Dog Yukon King as they meet the challenge of the Yukon. You fellas and girls know a good food when you taste one. And here's what's so good about Quaker-puffed wheat and Quaker-puffed rice. They're made from only the premium grains of wheat or rice. And these choice-flavor-rich grains are shot from guns, actually exploded up to eight times normal size to make them bigger and better tasting. Yes, they're crisp, tender, delicious. Just see how good they taste tomorrow morning. Treat yourself to Quaker-puffed rice or Quaker-puffed wheat. Sergeant Preston rode along the trail toward Whitehorse with the great dog Yukon King running alongside. It was spring, and the thaw had brought a great deal of activity to the great Northwest country. Suddenly, Preston heard a distant shot. He stopped for a moment listening. A shot, King. We'll go along the trail a bit and see what we can find out about it. Get up, Lucky. Sergeant Preston, followed by King, rode at a fast pace. Until, as they rounded a bend in the trail, the Mountie saw a figure lying on the ground and a horse grazing nearby. Well, Lucky, hold on, steady. It's not dead, King, but he's wounded and unconscious. Have to get my first aid kit. Do what we can for him, boy, and we'll take him to the nearest cabin. Sergeant Preston gave the wounded man first aid and tied him on his own horse. Then the Mountie leading the other horse continued along the trail until he came to a cabin. There, he reigned to a halt. Well, Lucky, easy, fellow. Preston took the still unconscious man from the horse and carried him to the door just as it opened. Ned! Sergeant, what's happened to Ned? Better let me get him inside. Yes, yes, of course. The bedroom is through that door. There. That's your husband? Yes. Sergeant, is he old? He's unconscious, but he's still alive. I'm Lucy Dummond. We settled here last fall. What happened to Ned? I heard a shot and later on the trail I found your husband. It's a shoulder wound, rather serious, but with proper carry ought to pull through. I'll send a doctor from Whitehorse. This isn't more than three miles from town. But why would anyone shoot Ned? I don't understand. Maybe when he's able to talk, Ned can tell us something about it. He's coming up the trail away from town, you know? Ned heard of a deserted claim up that way. He decided to go look at it. Our claim here doesn't pay off very well. I see. Well, I'll go to town and get the doctor. I'll come back with him so I can question Ned when he comes to. I'll be back as soon as possible. By the time Sergeant Preston returned with the doctor, Ned Delman had regained consciousness. After the doctor had treated his wound and made him comfortable, the mounting questioned Ned.  I don't know, Sergeant. I haven't any enemies as far as I know. Strange that someone would shoot you for no reason. Did you see the man who fired the shot? No, the shot came from across the gully on the other ridge. I was heading for the branch trail further on that led to that ridge to look over a claim. I heard about it last night in the cafe in town. The old sourdough who was working it gave it up and left when the thought came. They couldn't get anything much from the claim. What did Ned? He was rather old and had a spell of sickness during the winter. I thought maybe he hadn't given it a chance that I could work it along with the one we have here. I see. Old Mr. Higgins was awfully nice. He used to stop here sometimes during the winter in his way to town. Frank Higgins? Well, yes, that was his name. He's been gone about a month now. They say he went to Selkirk. Stranger didn't stop to see me. I knew old Frank quite well. Did he come to say goodbye before he left? Well, no. No, he didn't. Ned hurt in town that he'd left. That's right, sir. I think King and I'll go over to Frank's place on the ridge and have a look around. I might get a line on the person who shot you. I'll stop on the way back to town. Come along, King. Mr. Higgins. A short time later, Sergeant Preston and King reached the Higgins' cabin. It was located on a stretch of level ground between the ravine and a low hill. Hello, buggy. Come on. The Mountie walked slowly about the cabin as his keen eyes took in every detail. Because of King's calm attitude and disinterested sniffing, Sergeant Preston concluded that there were no fresh sense to indicate the cabin's recent use. Well, boy, I'd say no one's been in this cabin since Higgins left. Let's look outside, King. Finding no signs to indicate that anyone had been near the cabin, Preston and King studied the level ground in the vicinity, as far as a tunnel into the hillside, a hundred yards behind the cabin. No fresh sand, eh, King? Probably no one's been here since Higgins left. Now we go along the ridge and find the tracks left for the person who shot at Delman. Let's go, King. Sergeant Preston and King thoroughly examined table land between the mountain and the ravine for marks that would show the place from which the shot had been fired at Ned Delman. Preston rode slowly and kept his eyes glued to the ground, where the end of the ridge sloped downward into a gully. He pulled him a stop. A puzzled expression on his face. Well, King, no sign of anyone. Ned Delman clearly made a mistake, but he seems pasty as the shot came from this way. Yet I'm just as pasty. No one's been in this vicinity since Frank Higgins left. Well, we'll go back and have another talk with Delman. Let's go, boy. Once more, Sergeant Preston and King stopped at the Delman cabin. Well, blugging. We're here, King. No, I didn't. There's nothing to show that anyone's been on that ridge since the thaw, Delman. But I swear the shot came from over there. I'd have no reason to try to fool you. I hope not. But the fact remains we found no sign of anyone having been there. That's strange. I agree with you, Mrs. Delman, it is strange. Tell me, Ned, who was it told you Frank Higgins had left a month ago and deserted his claim? Well, no one in particular. I heard the men in the café talking about it last night. It seemed some prospector passing through Whitehorse about a month ago met Frank on the trail, headed for Selkirk. I see. But you didn't hear about it until last night. That's right. I just happened to mention at the café that I'd like to find another claim that had been already worked and that was nearby. Then I heard about old Higgins deserting his. I see. Well, I'll go into town and make inquiries there. Sergeant Preston rode to Whitehorse. His first move was to have a talk with the constable. He sat in the constable's office with King beside him. After relating what had happened, Preston remarked... The mystery to me, Sam, how and why Ned Delman was shot. Also, why does a certain vagueness about Frank Higgins' sudden departure? I didn't even know he'd left until you brought it up a few moments ago, Sergeant. Well, Frank didn't come into town very often. I'd like to meet at least one person Higgins spoke to about his decision to leave his claim. Say, I bet we could get some information at the trading post. Mike ought to know. No, I had to school. I'm ready. Come on, King. A short time later, the two Mounties entered the trading post with King at their heels. Sure, and it's good to see you and King again, Sergeant. Thanks, Mike. And you, Constable. I suppose the two of you are needing some supplies. I hear the Mounties stop and eat once in a while, like the rest of us. We're here for some information, Mike. Sure, and what is it you'd be asking me, Sergeant? What do you know about Frank Higgins? Frank Higgins, is it? Well, now it was a surprise to myself to hear all Frank up and pulled stakes and eye onto him a month ago, especially with him owning me a bit of a bill and him usally so prompt and careful like about paying in the past. It isn't like Frank Higgins to do a thing like that. That it isn't, but leave he did without us so much as a word of pardon to anyone seems like. What do you make of that, Sergeant? I'd rather not say it yet, Sam. Tell me, Mike, what do you know about Matt Delman and his wife? Sure, they seem like a nice enough couple hour and hour. They've been around here only during the past winter, mind you, so I can't rightly say much about them. Well, thanks for the information.  Oh, I heard some of the men speaking of it. It seems some stranger met him on the trail and got talking to Higgins. He mentioned it when he was in town for a day or two. Did you see the stranger? No, I never laid my eyes on him. And nobody seems to remember much about him. Well, we'll see you later, Mike. Let's go, Sam. So long. Come in again, Sergeant. The two Mouties went to the cafe and inquired, but found out no more than they had from Mike. As they walked back toward the constable's office, Sam was saying... I guess old Frank decided to pick up and leave without telling anybody about it. If he'd wanted to keep his departure and his destination a secret, Sam, it doesn't make sense he'd tell that stranger about it. That's true.  That's the case we've got to try to solve. Sam, my opinion is that Frank Higgins and that Delman are mixed up in the same case. What's more, I don't believe that Higgins voluntarily left Whitehorse if he left it on. What do you mean? I'm convinced we'll solve the entire case involving Higgins' disappearance and the shooting of Delman when we solve the mystery of the ridge. We'll continue our adventure in just a moment. When you're traveling up here in the Yukon, you never can tell what kind of a scary adventure you're going to have next. Like one time when it was just about dusk and I was on the trail back from the dead Dutchman goldmine. I was just about... What's up there? It's an ambush. I'm trapped. Don't make a move. You'll want to stay healthy. I'm after one thing. That they're gold. Gold? I don't have anything to do with the dead Dutchman goldmine if that's what you think. Don't pull that. Where you got it hid. But I have no gold. Quit stalling what's in them packages. Oh, well, that's the swellest tasting ready to serve breakfast cereal from here to Dawson. It's the cereal shot from guns. Guns, guns. What? I mean that Quaker popped wheat and Quaker popped rice are shot from guns. What good are those guns? Say, when the choice premium grains of wheat and rice are shot from those guns, they're exploded up to eight times normal size. What? Eight times? That makes them bigger and better tasting. They're crisp, tender, with bang of nut-like flavor too in every mouthful. But I'm after gold, buddy. How do I know there's Quaker Puff wheat and Quaker Puff rice in them packages you carry? Oh, that's easy to prove. Just take a look at these famous red and blue packages. We pack Quaker Puff wheat and Quaker Puff rice in a fine, modern package with a sealed inner lining to doubly protect its flavor and crispness till it hits your table. Yeah? That's why the original, the one and only wheat or rice shot from guns is never sold in bags or bulk. Sounds like the real McCoy. It sure is.  What's more, Quaker Puff wheat and Quaker Puff rice give you fellas and girls added food values of restored natural grain amounts of vitamin B1, niacin and iron. So every morning enjoy this delicious nourishing treat. Quaker Puff rice or Quaker Puff wheat. Now to continue. Sergeant Preston told the constable he was convinced that if the mystery of the ridge were solved, they'd find the solution to Higgins' disappearance and to the shooting of Ned Delman. When the two Mounties arrived at the constable's office, Sam said, What's the next move, Sergeant? Now take King with me and inspect Higgins' mine. Meantime, I suggest you try to find someone here in town who can tell us more about that stranger. All right, just as you say. If I do happen to find out anything important, I'll write out to meet you. Good. See you later then, Sam. Come on, King. The tunnel of the Higgins' mine ran back into the low hill for about 20 feet, then turned sharply to the right, forming an L. At the end of the L, there was a vertical shaft or air vent from the ceiling to the top of the hill. This shaft, about six or eight feet long, was large enough for a man to move up to the hilltop. A narrow wooden ladder ran from the floor of the tunnel up through the shaft, which had been recently dug. The opening on the hill was concealed by heavy brush. On the opposite side of the small hill, just down the slope from the air vent was a weather-beaten trapper shack long forgotten and deserted. Two rough-looking men were in the shack. One of them spoke. Gil, eh? You think that Snooper Delman is alive after the bullet you put into him earlier today? Well, I couldn't tell from up there. But it wasn't moving when that Mottie took him away. Yeah, better go up and relieve Rusty's lookout, Steve. He's got to get to town for more supply. Sure. It's a good thing Rusty is known well enough to go and come as he pleases in town without folks being curious. I'm sure he's busy at that phony claim of his half a mile from here. Yeah. Now that the Mottie is in town, it wouldn't do for us to be sane. He'd ask questions, maybe. You know, Mr. Go, when I went to the cafe and said it was passing through and told that story about meeting the old man head north, I didn't hang around long enough for anyone to get used to me. Good thing that Mottie didn't come in the mine shaft when he came back. He had to put a bullet in him, too, eh? I know. We're digging in the cross tunnel where the old man first made his stride. We'll be ready for him this time if he comes back. If he does come back and goes into the tunnel, a lookout can tip us off. And the other two can go around and cover the tunnel entrance. We're two out there with guns and one at the top of the vent. You'll be trapped. We'll bury him right in there beside the old man. I'll go up and relieve Rusty now. Don't take him long to get to town and back. The three men used a back trail that led from the shack so that they never had to go around the ridge near Higgins' Cabin or the tunnel entrance. Rusty left and rode to the trading post in town. He entered the store while Preston and the Constable were still at the cafe asking questions. This was before the Mottie and Dog had set out for the ridge. Hi, Rusty. I didn't expect you back so soon. What do you mean, so soon? Well, the other day, you bought enough supplies to last a week or more. You're two or three men. That's my business, as long as I pay cash for what I get. I'm sure there's no reason to be so touchy about it. Uh-oh. There goes the Constable and Sergeant Preston into the Constable's office. Sergeant Preston, is he the man you... I mean, is he in town? He sure is. Big as life itself. They were in here a bit ago asking about that stranger who told about Higgins' Laven. And from what I figured, there's something in the winces I...  Uh-oh, there's the sergeant. He just come out. He's mountain up. I've heard a lot about that dog, is. I wonder where he's heading now. There he goes, heading out the main trail. Might be going to the Higgins' place like it's not. He knew Higgins and put them two and two together. I figure he's a bit worried about the old man. Now, what was it that you said you wanted? Nothing, nothing right now. I'll come back later. What's gotten to that one I'd like to know? He beat it out of here like Lucifer was at his heels that he did. Look at him go now. Raising up the street towards the back trail. Oh, here comes the constable across the street. Lakers not, he'll ask me the same questions all over again. Hello, constable. That man who left here sure seemed to be in an awful hurry, Mike. Did you pull a gun on him or something? No, nothing like that, constable. At least I wouldn't be admitting it to you. I didn't get a chance to see who he was. Oh, that was some sort of odd prospector. Rusty something or other. Don't hang around with the others in town much. The funny thing, he'd come in saying that he wanted an order. Then when we saw the sergeant riding away through the front window, and I said something about him maybe going to the Higgins place, Rusty up and left here like a shot. He did. Oh, well. No, what can I do for you, constable? Nothing, nothing right now. Goodbye, Mike. Great day.  Glory be. Riding at a fast pace, Rusty reached the shack by the back trail, and warned Gil and Steve about Preston coming out to the Higgins place. Later, as the three tense men watched from the brush on top of the hill covering the air vent, Sergeant Preston came into sight on the main trail, with King running alongside. Steve instinctively raised his rifle, but Gil pulled his arm down. No, Steve. You'll miss you'll get away. Anyhow, you might hit him, but not kill him. We couldn't get close to that big dog around here. You know, it was a lucky shot I took this morning at Delman. Gonna take him about five minutes to ride it till where the gully closes off. Then he'll come back along the ridge below us. Well, that mutt of his might warn him we're up here. Well, he didn't earlier because the wind was blowing from them doors. And it's still blowing that way. He won't catch our scent, but we gotta keep quiet. What do we do when he gets up here? Well, he gets into the tunnel. We'll run over there and jump down alongside the entrance so the gun's ready.  But that dog... If he starts to come out toward us, give him a bullet. We'll trap that mutt in his dog too. All right, come on, Rusty, let's go. I'll be quiet when you get down there. A short time later, Sergeant Preston pulled rain near the entrance to the shaft. Hello, buggy. Come on, King, let's go inside. As Preston entered the shaft, the great dog King started behind him. Then he suddenly whirled barking as his keen ears caught the sound of gill and Rusty's steps moving forward above. King, what is this? King! Back here for the quick. The mutt he and the dog hurried back through the main tunnel, which was well-lighted by the rays of the setting sun. They turned to the branch tunnel, which, though shadowed, was brightened by a lighted lantern hanging from a spike in the wall. Good, the tunnel turns here. A lighted lantern means they've been in here too. We're safe now, fella. If you're up that way, buddy, we got your prep. Watch that tunnel, Steve. Don't worry, I'm ready, Barb. There's an air shaft, but something's up there. We'd have closed in when it gets dark, buddy. We'd have fixed you on that putt. You don't have a chance. He's in, King. I'd better look around the corner of the tunnel. He might try to sneak up on us. Sergeant Preston eased to the corner of the tunnel. He realized the situation was desperate. He pulled back his head as he saw the gleam of a gun at the tunnel entrance, a bullet whined close by. Back to him. Then he heard a slight sound that made him whirl and looked toward the air shaft. Preston tensed. He hoped to get a shot at Steve's legs as the crook moved down the ladder. Suddenly there was a dull flood and a groan from up in the air shaft, and Steve's unconscious body fell sprawling at the bottom of the ladder as his gun fell beside him. It's the Constable King. I was coming to find you. I heard the shooting and saw a man on top of the hill. I circled around and got up there to investigate. Just after two of them went down toward Higgins' tunnel. Glad to see you, Sam. I sneaked up to the bushes above and saw the man in the air shaft. So when I got a chance, I sucked him on the head with my gun, but... We've got the advantage now, Sam. We'll leave King here in the tunnel, and we'll go up to the air shaft and over the hill to get the two at the tunnel entrance. King can keep them from running into the tunnel. Good idea. Let's do it. King, stay here, boy. Stay in the light corner. Cautiously, the two Mounties went up the ladder to the top of the hill. Meantime, on either side of the tunnel entrance, Gil and Rusty stood pressed against the supporting beams on each side. Now and then, one of the other would peek around into the tunnel. Suddenly, a small stone fell from the slope just above the tunnel entrance, and Gil stepped back a bit and looked up, and then cried out. Hey, Rusty, look out. There's two Mounties coming from above. I'll show them. As Gil yelled and raised his gun, Sergeant Preston leaped. Get the other one, Sam. The Mountie landed squarely on Gil before he could shoot, bearing him to the ground, and the two men rolled on the ground, trading blows. The constable jumped from above with his gun ready, but Rusty had already turned and headed into the tunnel. This will settle you. No, no. No more. That's enough. No more. You don't want to run into the tunnel. Get him, King! What's this one, Sam? I'm getting easy, fella. Here's the other one. I put handcuffs on him. Put these on the one King caught. We'll move back into the new part of the tunnel where it turns. Come on. Come along, King. Look, Sergeant, where there's been recent digging. There's gold in that ore. Yes, so we know Higgins didn't give up this mine. Ah, King's found something. Here in this corner near the air shaft, the earth is soft and sunken. That's enough, King. That's enough, boy. Sam, he's uncovered the edge of a parka. We've found Frank Higgins. Gil and Steve planted all. I went to the trail a month ago and put them up at my shack. One day, as we left the shack for a towel...  No. I won't hang for what you and Steve did. As we left the shack, we heard somebody yelling loud. We investigated and found the noise coming up through the air shaft in the bushes on the top of the hill. We went down and right into the tunnel. Well, Higgins was in there dancing around because he struck gold. I see. Go on. They said they were going to stay and be partners with him. But the old man got mad and ordered him away. They slaughtered him and Gil put a bullet in him. Then they buried him right there. They're all under arrest in the name of the Queen for the murder of Frank Higgins. No, wait. They did it.  Why? Because he was coming to inspect the old man's claim. The court will decide what happens to you. Well, Sam, the mystery of the ridge has been solved at last. This case is closed. In just a moment, Sergeant Preston will give you a preview of Friday's adventure. Hey, fellas and girls, just think of having your very own models of the dead Dutchman goldmine on Sergeant Preston's Yukon Trail. Of Sergeant Preston's cabin. His dog sled and team of huskies to hitch up and move around. Of a Yukon riverboat with a paddle at turns. Well, hurry to your grocers. These exciting models and many more, actually 59 Yukon Trail cutout models, are yours on the big red and blue packages of Quaker Puff Rice and Quaker Puff Wheat. They're yours at no extra cost. Get every single one of the eight different Yukon Trail packages. These are not ordinary models. They're larger, easier to build. And you get the interiors of the buildings. The inside of the White Horse General Store of a supply cache of the Dawson City Hotel. You even got scenery. The Klondike mountain and forest. The Indian waterfalls. And remember, they're yours right now. Without it costing you a single extra penny. You get them right on packages of Quaker Puff Wheat and Quaker Puff Rice. And only on the original, crisp, fresh, shot from gun cereal that is never sold in bags or bowls. They're at your grocers now. Hurry and get the complete set of eight Sergeant Preston Yukon Trail packages of Quaker Puff Wheat or Quaker Puff Rice. Remember, fellas and girls, all may help through the Red Cross. So give a dime, a quarter, or more if possible. Yes, give whatever you can to the 1950 Red Cross Fund. This year, thousands of boys and girls like yourselves will need help. I can't begin to tell you all the Red Cross does. Like helping people in fire and flood areas and in dozens of other fine services. So do your part. It's important. All may help through the Red Cross. Listen, Friday, when Sergeant Preston and Yukon King meet the challenge of the Yukon in the case of 20 little Indians. When the miners of Goldflat were persuaded to build a new mission for Father Michelle, we thought the men would lose their taste for violence in work. But there were some men in the town who were intent on robbery and ready for murder. The moment came when I saw a killer's gun trained on a little boy and King ready to give his life to save the child. Be sure to hear this exciting adventure Friday. These radio dramas, a feature of the challenge of the Yukon Incorporated, are created by George W. Trendall, produced by Trendall Campbell Enterprises, directed by Fred Flower Day and supervised by Charles D. Livingston. The part of Sergeant Preston is played by Paul Sutton. They are brought every Monday, Wednesday and Friday at the same time by Quaker Puff Wheat and Quaker Puff Rice. The breakfast cereal shot from guns. Remember for delicious hot breakfast, enjoy Quaker Oats. The giant of the cereals is Quaker Oats. Delicious, nutritious, makes you feel ambitious. The giant of the cereals is Quaker Oats. And here's why Quaker Oats is called the giant of the cereals. There's more growth, more endurance in oatmeal than in any other whole grain cereal. So make your hot breakfast nourishing Quaker Oats. Quaker and Mother's Oats are the same. This is J. Michael wishing you good bye, good luck and good health from Quaker Puff Wheat and Quaker Puff Rice. So long.


Yeah, my doubts had to do with, especially with the Trinity, because in Christianity we believed that God exists as one being, but in three persons.  I always found it very hard to understand the concept, because in Christianity Jesus Christ dies on the cross, but he is God, so God dies. So I asked the minister, when I was 12 or 13, how is it possible that something that is infinite, the God is infinity or infinite, how is it possible that it dies? Because then it is ending, so that's impossible, and if he is dead and he is alive at the same time, that's something like a square circle, that's impossible. And then they said, well, it's a mystery, but you have to believe it, but if I try to believe it, I can't, because it's a mystery, and I don't find that very satisfying. So that's something that, and there are a lot of theologians who have very nice concepts, but in the end it's coming back to the question, is the God of Jesus Christ, is it one or three? And in the whole Bible, there is no sentence in the Bible that says God is three, and it isn't there. And the parts that are referring to something that could be interpreted as three are added later, and it's even in the Christian Bible, you can see that it's almost always between, I don't know how I said it, we call it hakes, quotes, no, not the quote, yeah, that one. And in the Bible it says that the sentences between those things are added later, so in the Bible there is no, there's no, there's no reveration to God as three, and there is even a sentence that Jesus Christ says, here, oh Israel, your God is one. Well, that is exactly the same as Prophet Muhammad said, there is one God, that's Allah. So it wasn't logical for me, so the Trinity thing was an issue for me, and another thing I talked about earlier, short, it was about whether there should be a murder before God can forgive, and I found that not logical, because in the Bible there's a story about a prodigal son. It's a story that there's a father, and he has two sons, and it's a very rich father, and it's a very successful company, and one of the sons goes away, and he says, well, dad, if you use a rich, and one day you will die, so can't you give me the money I'll get when you die? He says, okay, if you want that, here's the money, and he goes away, and he does everything he shouldn't do, he's partying all the time, going to hookers, and I don't know what he does, and he comes back, he's totally wasted, and he doesn't feel like a man anymore, and he says, well, what am I doing suddenly? I wish I'd never gone away, and he regrets it very much, and after a few years he goes back to his father, and his father sees his son coming, and he says to his assistant, well, bring him the best clothes that you have, put a silver ring on his finger, and let's celebrate that my son, my lost son, is back, but the other son says, well, I was working all the time for you, I did everything that I had to do, I abide you, I abide the law, we pray together to God, and a weird, weird willy there goes and does everything wrong, and you're celebrating his return, and it's a story that Jesus tells in the Bible, and then the apostles, the people, the Jesus followers, okay, what's the point here? And Jesus says, well, okay, the father is happy that his son returned, after he did so much things wrong, he still accepts him, and there is no condition, there's no son or whatever who had to die first, or there's no slapping, or no screaming, there's nothing, he just forgives his son. And it was for me, I thought, okay, well, the practical son story that Jesus tells, it's almost 180 degrees opposite of one of the dogmas of Christianity, because if Jesus tells this story to show the rachma of God, how is it that the Christian church teaches that God wants to see someone get killed first? But there was another point for me that I thought, well, the Islamic narrative is much more logical, and it's, in a sense, even more Christian, than the Christian teaching the doubts I had when it comes to the Trinity of God, and the crucifixion, the fact in Christianity, people believe that God had to sacrifice Jesus Christ, so he could forgive the world. But at the same time in the Bible, it says that God is almighty and does what he wants to do. And I always thought as a child, well, if you are almighty as God, why can't you just forgive?  So I thought it was illogical. And I still think Christianity is a nice religion, only I didn't believe the truth with a capital T. It wasn't there for me anymore. And strangely enough, when I was writing the book, I got Islamic answers to Christian questions. And yeah, that was a point for me that I thought, yeah, it gave me a lot of rest. And my heart and my head resonated. And that's something that I didn't have before. So when I felt that, and of course, you believe it, that made me in the end deciding to become a Muslim. And that's what I did. And I still am.


ghost writer. It's illegal in my state. Just my boss doesn't like weed or stuff like that, but especially because it's martial arts. He doesn't want people high off their mind. Oh yeah, for sure. You wouldn't do that unless you're doing... I can see, like for me, some of the... I'm not condoning everything. I'm not promoting anything. I'm just letting you know.  So for me, for a number of years, whenever I went to the gym to do weights and stuff like this, I would smoke a little bit of cannabis and go inside and do my weights and meditation and stretching and stuff like this. You have to be careful. You have to know what you're doing and I don't. I'm not promoting it. I'm not recommending anyone to do this. It's just something that I did and it was beautiful. It was amazing. Like, wow, I need to do that again. Body felt phenomenal. Iced on. Twitch, how are you doing? Yo, Chicho. How's it going? Hope you're well. Doing well. Thank you very much. In the patio, no rain, smoking a cigar, eating chicken. Hey, there's a kitty cat right there. Hey, Sal, come here. Do you see him? Oh, you saw his tail. There it was. Just woke up. There's a via here too? No, there's a via. Do you guys see via? Right there. There he is. They're awesome. They travel together a lot and if one's sleeping, the other wants to play. One of them goes over and messes with him a little bit. Gallagher, fighting and drives lead to trouble. Yeah, do not fight if you're intoxicated in any way. Not a good idea. Not a good idea.