Hi everybody it's Sam here, thank you for watching today so I'm going to show you how to make this six by six double pop-up card. About a week ago I shared a five by seven version which is this one here so if any of you enjoyed this video this is now the six by six that I promised. Use these very cute papers which I'll show you in a moment and then you open it up and you have this double pop-out and you've got your happy bee day there and then on the back you've got space to write your message and for anybody that missed the five by seven version if you're new to the channel this is the one that I already shared a week ago so I'll link this one up now and it will also be linked at the end of the tutorial but for today's video I'm going to show you how to make this cute one. So this is the cute bluebells and butter cups by Craft Consortium so I've got the six by six pad there and I got the decoupage you got 3d decoupage here and I got the washi tape as well so I've selected the the papers I'm going to use and also I've used my chunky alphabet dies for the sentiment in the middle so I've already prepared my card blank so this is a piece of 12 by 6 and you want to score along the 12 inch side at 6 inches and that will give you your six by six card blank if you don't have 12 inch size and you can use your letter paper size and you can use your a4 if it's a4 then you'll be cutting it to the whole length so I would then do by 5 and 7 eighths and then I'd score along that 11 and three quarters at 5 and 7 eighths which is halfway so that'll give you just it'll be a smidge under six by six and then if you've got the letter paper size which is 11 then you'll score I would do a piece of 11 by 5 and a half and score along the 11 at 5 and a half. I'll pop those measurements in my blog but it just means your mat layers will be different you'll have to work those ones out I've got these four pieces of pattern paper two for the inside and then I've got one for the front this one's actually the back so I thought it would be nice to write my message in this section here and these are all the papers in the pad so I've already stuck those down on the four sides there okay then you will want to cut yourself four pieces or you may only want two if you if I go back to this one here if you just want to have one at the top and then maybe add all decoration and more stamped image in this area here you don't need this one so you may only want two of these pieces here this is what I'm talking about but I'm doing four which is what you'll need to have that double. Now these measure one and a half by two and a quarter this is the template what you want to do is along the one and a half side you just want to score at three quarters of an inch all the way down through the middle you can see I've already got these ones here and then this is my fourth one so I'm just going to score there three quarters through the middle pop it then on its side these here actually you just want to do them as very faint pencil lines or if you don't want to add any pencil at all what you just need to do is pop it along this side here and put a little notch little marker at three quarters of an inch and then at one and a half and that's that one three quarters of an inch and one and a half and then just flip it over again three quarters of an inch and one and a half and then you want to mark in the middle here so that's one and a half again just in that middle score line so you've done your one and a half on the edge there but just also do it along that score line that you just popped there now means that what we're going to do is just you can already see I've scored across from the top down to the little marker if you want to do two pencil lines through the middle at those two points that I said so three quarters do a pencil line and at one and a half do a pencil line then that's fine but just remember to rub them out you want to do that two to four times depending on how many you want and then using my stylus and a ruler you're going to score from the top of this middle score line down to the little marker that you've done or down to the pencil line and then here you're starting from that one and a half marker on the score line down to the you know the the point of the the card there so I've just scored that one there and again I've already done these but I'm just going over them again and then that one and I'll take a picture of this little template and I'll pop it on my blog so there's the template so all you want is to have a triangle here and a triangle at the top there and then that score line through the middle okay next you're going to fold these end ones so you've got little wings at the front that middle score line you want to be a mountain fold with the wings like so make sure everything's straight if you need to manipulate it a little bit and do so there we go and then where you've got this little triangle at the bottom you want to push that piece in like so so that's that triangle you're just pushing it inside itself so you have that shape there okay like I said you'll want to do that two or four times next you want to cut yourself two pieces and these are five and three quarters by two and seven eighths now I've done the two and seven eighths because you need both of these to fit nicely inside here and if you've done them both at three inches they're just you're probably going to end up getting them touching and then they're going to end up buckling you want to score along that five and three quarter side at two and seven eighths of an inch okay right through the middle just fold that in half so now you've got these squares are two and seven eighths of an inch squared on each side I've then cut these pattern pieces to two and five eighths of an inch squared so I've got a nice equal border and those images again are from the paper pad they've got loads of like kind of got the scenes already made for you there's those ones there so I've just taken those four but you also have these kind of strips and then you have those scenes there as well okay so once you've stuck your paper down just fold them in halves you've got kind of like a little book like so and then you want to take one of these and you want it to be upside down you want the opening facing away from you and you want the fold facing towards you and then you want the wings on your left hand side we're going to add glue all inside this piece here then you're going to grab the one that you want on the top and you're going to pop it inside here just bring it up near to the top not right you know kind of flush with it because you might see it when you open it you see when you open that you don't want to see any of the mechanism and make sure that this is a nice right angle if this is not then the whole thing it will open a bit wonky so just make sure if you turn it that way you should have that owl shape okay so just make sure that's all secure and then I'm going to get another one again you want the open end facing away from you folded side facing you and the wings on the left and then I'm going to again add my glue make sure you kind of spread it all out if you don't have a fine tip like this just get your finger in there spread it all out then this one I'm going to pop just below again making sure it's parallel with that one above and by having them both towards the top here so now when you open this you won't see any of those and the winged pieces of what we're going to stick to the card so those are going to go along the top and then you want to get the bottom one and the other two and this time you're going to flip it so you want the folded side facing away from you and the open side facing you again you still have the wings on the left hand side but again I'm going to add my glue all inside there grab this one make sure this is the right way up and you're going to pop it towards the bottom now if you want this to open up the same way as that one just pop it the same way so you'll be doing them both so they look like that but because we're going to have one coming out from the top one coming down from the bottom you'll have them two facing that way two facing down again just make sure that's all secure and then take your last one again just pop your glue and just secure that one in and again just open it make sure everything's kind of hidden and then you want to start attaching it so I'm going to do the top one first so just pop that one out of the way you're just going to pop your glue just on the little wings on the back side there leave these ones and then I'm going to line up the top of this with the mat layer or kind of just above the mat layer and you want the points here to just sit not on the score line but just kind of next to it that will be just right again make sure everything's nice and straight and then with the bottom one again popping it a bit of glue just on the wings there and this one I'm going to just sit it again just near that mat layer you can just line it up with the one that you've already laid down and then what you need to do now is add your glue on all of the other sides and then just close the card and just hold that there for a minute until that's completely dry okay and now when you open the card you have those double pop-ups really really fun you've got so much space to decorate here if you want to but I want to have happy birthday running through the middle now I did lay out the dies before the video and birthday fits in there but it's very very tight and then the happy's obviously got more room and then I tried putting the b on this side but then the the kind of open white area here looked like the eye and it just didn't work it just didn't look right so I'm going to have happy b day so what I've done is I've already cut and layered up my letters here and then I've just taken the eye and I've just cut it in half and that's just going to be my little dash so I'm going to have this so that it kind of appears in the middle when you open up the card you could do this before but I wanted to make sure I get this obviously in between these two but you can see there how the happy looks I covered these with glossy accents as well just let them dry so they're just they're like little they almost turn into little like chipboard pieces they're really really strong but it's going to be something like that in the middle and then the b day will be in the middle there I thought that way because I've got the same number of elements so that's the b day and then obviously the happy there so I'm going to get that stuck down so that's the happy birthday or happy b day stuck down I think it looks great I love the way it shines what I might also do is add some glossy accents onto their eyes maybe a little glitter like on the wings of the b and stuff just to make that sparkle as well but I think that looks great and then on the front I've got the topper here which is the one on the front of the pack so you just layer out the pieces they've all got numbers it says layer two layer three layer four you just stick them on top of each other with some foam and it gives you that dimensional little image there and then I just found this sentiment which I really liked may all your wishes come true so I've already cut a piece of white card popped it onto that just rounded the edges and then used some of the paper from the pad and then I'm just going to grab my glue and stick that down in the middle I'll give you the size actually so I mean if you've got the decoupage then it's the square size that it comes in so you don't need to worry about that but the white piece is three and seven eighths it's a bit of a funny size squared um it was just to give it that border really and then that piece is four and three quarters squared so I kept the front you know kind of simple these cards again a display a design to be displayed open but it's still nice for them to have something cute to look at when you open the envelope so I'm just gonna line that all up I might pop a little bit of foam on that one just again to give it some more dimension and then I've also got some bows here I think that could look really sweet that that blue goes really nicely let's just see what other ones I've got I'm actually going to go for the hot pink because I think it just lifts all the other pink there's quite a lot of blue already in there so I'm just going to pop this glue I'll probably end up using my hot glue on this but just for the purposes of the video but we'll pop that one just at the top there so that's the front all finished I might add some glitter though to the butterflies again like I mentioned on the characters inside and then you open it up and you have that really fun that double pop out feature and then you put your space on the back there to be able to write your message there is some bulk to this you might want to pop it in one of my box envelopes or bouncy envelopes I'll link that playlist up here now and you may also decide you want to add a belly band to this so you could turn the decoupage into the top or on the belly band and then they slide that off and there's the five by seven again so you can see two very different ways to decorate these so whether you just like stamping and coloring then you can do something like I've done here and make your own pattern paper or if you have lots of your pattern papers and decoupage toppers and things like that then you can see how the card will look using those I think they both look fab and yeah can't wait to give these to people so thank you for watching I hope you like the six by six size I will link as much as I can in the description box below the five by seven video will be popping up now if you want to go check this one out and I'll share another pop-up one there as well if you haven't subscribed please click the subscribe and hit that gray bell button and then it will go red and that means you'll get notified every time I upload a new video thanks for watching I'll be back again soon bye


Chat GPT? Wow.  And I think that's basically where the start and end of the whole debate around the use of chat GPT in academia lies, really. So where do I begin? I mean, it's something that has taken higher institution or, you know, higher education globally, really, by storm. And I think, if I'm honest, I think the anxiety surrounding the rise, the use, and basically how chat GP is mimicking or mimics human intelligence, the anxiety that is the, you know, at the center of everything is the fact that people feel that they are going to be replaced and ultimately they're going to be jobless. And that's a pretty valid concern.  I think that is more of the concern rather than, you know, the ethics of cheating and plagiarism. Because, of course, plagiarism and cheating academic integrity is something that definitely forms educational malpractice. But if it doesn't affect you directly, I mean, it's human nature to not be concerned with things that aren't your problem until they become your problem. So, you know, a student might cheat on a paper and, you know, in terms of your own ethics for yourself and for, you know, the environment that you work in, you feel inclined to report the students and make them undergo the whole process for plagiarism of work. But obviously, the extent to how that affects you is in the bigger picture because until somebody infringes your own copyright, somebody copies your work and passes it off as their own or monetizes something that you've put your blood, sweat and tears into, it doesn't really hit home. But obviously, plagiarism, you know, any kind of academic malpractice is just something that we kind of uphold because one day, you know, the repercussions can come and bite us in the arse. And I think with chatGTP, chatGTP, sorry, I keep calling it chatGTP, I think what the real concern is that basically we're going to be replaced and nobody's going to need anyone to write anything. Therefore, teaching is going to decline, research is going to decline. And with AI and the way AI has or is replacing human resourcing or manpower or apparently, I'm not allowed to say manpower. I was I was called out in saying manpower because apparently it's very sexist. So the politically correct word is workforce. But I'm going to call it manpower because I can and I will. So, you know, computers replacing manpower basically, I think we considered it to be a problem that doesn't necessarily affect more intellectually challenging jobs. So for example, you know, self checkouts and things like that. And actually my mum is somebody who advocates for self service checkouts to not replace cashiers. So she would go to a supermarket and request for the actual checkout to be open. And the people working there who tend to kind of be, you know, younger people will kind of be annoyed.  So they'll kind of think automatically, you know, she can't use self service checkout because she's a litra. Unfortunately, that is a stereotype that something she comes across, which obviously couldn't be further from the truth. And even if it was truth, you know, you can argue that the fact that somebody is illiterate and cannot use any kind of self service device still warrants some form of basic respect in terms of customer service. But I digress. The point I'm making is my mother would actually actively like challenge and say, look, I'm advocating for you. If we all use these self service checkouts, then you're going to be out of the job. And she stands by that, she refuses to use them, she will always request for being served by a checkout. And I think personally for me, I do definitely enjoy a human interaction. And I think definitely sometimes in the morning, because I like to go out and shop in the morning really early. So my local supermarket like around 637, there are specific checkout ladies who I go to and we have a morning chat. And I think I never fully appreciated the extent of that until the whole lockdown situation that we faced for two years. So definitely now I mean, before lockdown, I would happily stay in my home for a week as long as I had food and internet, I really didn't care and TV, I really didn't care to kind of, you know, go out. But definitely post lockdown life changed that for me. I think things I do for granted, I definitely appreciate human interaction a lot more. There are benefits of obviously remote working and remote living that we do. But I think I really appreciate a hybridity and the, you know, combining the benefits of both. So obviously that transcends into the use of chat GTP, because essentially why I'm using the analogy of self service checkouts is because before it was seen as an them problem, not an us problem. And, you know, I, you know, forgive me if you kind of feel that this offends you in any way, because definitely that isn't my mission here. If anything, I do try to keep what I put on this particular channel of mine as neutral as possible, obviously my personality is my personality and I'm not going to water that in any way. But I think in terms of like overly leaning to any kind of political ideology, I think that's for my other channel. But this channel is more of what it's supposed to be. So just more, you know, just a straight more fact based knowledge base hub really. What I'm trying to say is basically, I think with a lot of issues where any kind of restructure happens, whether it's within a company, an institution or in society in general, it's more seen as a working class problem or a lower income people problem. So obviously the benefit or privilege that people enjoy working in higher institutions as academics and as researchers is that there is a middle class privilege that comes to it and that's undeniable whether or not that sounds nice or not, it is true. It's really seen as the intellectuals are kind of protected because of their intellectual privilege. And I have mentioned before that privilege is something that regardless of race or any other characteristics, I think all people have access to a type of privilege that puts you ahead. And I think that's why it's even more important for equity, because equity recognizes when there are certain privileges and others do not have that. So basically the level ground isn't level, the playing field, sorry, isn't level for everyone. But again, let's let's pull back to the point. I think the reason why I kind of provided this tangential context is because I think it can't be ignored. Like I said, I think that the main issue is the fact that not that chat GTP will really affect students' creativity or their ability to work independently and produce thought provoking, critical work. It really is because people feel threatened. Or perhaps people who enjoy a certain societal privilege, whether it's intellectual privilege or a class privilege that, oh, there is a real possibility that we could be overhauled and replaced. And there's going to be a scarcity in teaching and research opportunities, which obviously that has a direct impact on our livelihood. And I think that is where the uproar and the panic comes from rather than, oh, students really shouldn't be doing this. This is unethical. It's academic malpractice and et cetera. If students can use AI to produce assessments. And then what next is the AI going to actually replace lecturers and tutors and examiners, supervisors. That's really where the the anxiety is. So my own perception of chat GTP. So initially, I just really wasn't on board with it. I really didn't know much about it until the last four months. And it was something that in the university that I work in, we obviously that's something that came up. And like I said, again, at this point, I wasn't familiar with it. So about four months ago, people like, you know, students using chat GTP, it's this, it was issues surrounding plagiarism. But then I realized that the issues regarding chat GTP plagiarism wise wasn't necessarily to do only with plagiarism and academic integrity, et cetera.  We are replaceable. And we may be replaceable faster than we can actually catch our breath or even blink. So I was okay, like whatever. And then there was, you know, things came up in department meetings and people were like, this needs to be addressed, there needs to be a serious address of this problem. Yes, chat GTP. So we move into 2023. I still don't really get a feel for this AI tool. And it goes on, students. And what's happened is basically students are using chat GTP for assessment purposes. And what's happening is that there's no clear guidelines within university assessment policy that says, this falls into cheating, basically, plagiarism, or any kind of academic malpractice, getting an AI tool to write your essays. So that because that's a gray area, and it's obviously an emerging area, fastly, rapidly, you know, changing in terms of pretty much almost every day, something is new. And the mechanics of how to bring about policy change in education is slow. It's slow, it requires the initial uproar and kind of, you know, unsettling people running around like headless chickens.  And then from there, there needs to be actual, now you can fast track it, of course, but there needs to be research and discussions and everything until something is done, and policy comes into effect. Meanwhile, chat GTP is faster and smarter and more used than ever. So I actually did have a play around with it. And I can't deny that it is something that definitely in the most underrated term will revolutionize the way that we teach and the way that we write, and the way that we assess at higher education institutions. And my colleagues share this sentiment, and actually the person who initially brought this as, you know, oh my God, this is a real problem we need to address, is somebody who now is also on the bandwagon that hang on a second, this tool is actually really good. And it does things that are make our lives easier, really. So bearing that in mind, chat GTP has entered the chat and is not going to leave any time in the infinite future, really.  Oh no, but I'm not going to use it because it may put people out of a job, and it may have like implications that are unethical. People don't think like that. Ethics are pretty much only really meaningful if, in some way or form, the outcome of what you're fighting against will have an impact on your life, honestly. So you cannot, there's no way that you can stop students from using it, and also from an actual education for social justice. If something makes people's lives easier and, you know, it brings some kind of benefit, then why should you stop people from using it, really? And again, this brings me back to some more context. So I started my business in 2008, and it initially started off as a creative and poetry, creative writing and poetry magazine, and it was online. And then cut a long story short, I started doing website design, and from then on, about 2011, that's when GoDaddy came in and were offering domains for like a pound, and then there were, what's the name of the other website? I can't remember, but there was one website where you literally just wicks, I think wicks, yeah, you just sign up 10 pounds a month and you have the templates done. And I remember at that point, that was my business, that was my livelihood. After I finished my masters, I actually just ran my business. I was creating websites for businesses in Nigeria and in the UK. Literally, that was my business, creating, and it was it was cool, because at that time, it cost hundreds or thousands of pounds to have a website made. And especially in Nigeria, in the city that I was doing this, I was the only female who was doing it. I was, you know, a young female who was doing this, so it was really lucrative for me. And I remember because GoDaddy and Wicks kind of came and all, you know, just literally the demand for a website designer dropped. I just diversified and things moved on. And here I am now in 2023 with a completely different business, but all came off the backbone of my skills as, you know, a creative entrepreneur, somebody who enjoyed graphic design, somebody who enjoyed website design, and what do I do now? Obviously, that incorporates into my actual profession. You know, I'm a lecturer, I'm an educator, I teach academic English, I teach dissertation writing, research writing, and that actually is an amalgamation of what my business is. So it really is a case of, literally, chat GTP is here to stay. And we, as whoever we are, researchers, educators, tutors, lecturers, we have to work with it. We have to work with it. And it's not, it's not an us versus them, it's not a we versus chat GTP want to see the back of it. That's very stupid, actually. That's something that it's kind of like a baby thrown a tantrum. You can't get rid of chat GTP. From a English for academic purposes, professional perspective, because obviously that's what I do, I teach English for academic purposes at higher education level. The start of the reform is basically the way we assess things. So it may be that, you know, the way that we give people, we give students work to do to carry out, you know, kind of any kind of research or any assignment. And at the end of it is a written assessment, an essay, a report or whatever. That may have to change in the way that we administer it.  That may have to change. It may have to be a case of, you know, going more on exams, which I don't favor because I personally, I've always loved essay writing. It's something that is a strange thing about me. But as a child, I think from about nine years old, I remember nine, I just really enjoyed, I enjoyed writing before then, that specifically essay writing, I had this interesting essay writing from the age of nine. And I did really well in my essays and any writing projects in school. And that's kind of why I love what I do today, because I really do enjoy reading writing and specifically essay writing, project writing, dissertation writing, all that kind of thing. So that's a shame, because I do like essay writing, I really do enjoy it. And I enjoyed it when I was in my undergraduate too, and the rest of my study. And a colleague of mine who I was speaking to where there were three of us having this conversation. So one colleague was just like, I hated essays, I didn't want to do it. I don't see the point in it anyway. And then my other colleague was like, well, I actually do like essays and I do. And I think for me with essays, apart from the fact that I am just probably nerdy and geeky and I like writing in kind of, you know, formal English and writing about things. I think essay writing and the the skills are embedded with it really just made me into a more confident speaker, confident in my analysis of things and the way I approach things, the way I look at things, the way I challenge things, whether it's at work, whether it's in just normal day to day, if I get, you know, bad customer service on a plane or in a restaurant, I have the confidence based on kind of the way I've been able to debate intellectually within a written paper. I can, you know, use that to make points and back up my points and expand on my points and conclude.  And I think even in personal aspects of my life, which I don't really want to get into, but in terms of like even the way that I would deal in, you know, relationships with family or friends, I do take a very strategic approach that I would in essay writing. And I think that that definitely has improved my quality of life. So I definitely wouldn't be advocating for, you know, essays to not be an assessment method, but also bearing in mind that, you know, technically people do use AI tools to write essays, then that is something that needs rethinking. And I think that is the benefit of being human being human. If we hadn't had adapted to change and evolved over how many thousands or millions of years we've been here, the human race would have been extinct. But it's not. I think it's fair to say the human race hasn't thrived in the way that it does this day in 2023 in the past 100 years, like in the past 100 years has been such a rapid growth of so many things, whether it's industrialization, technology, our health, so many things. So I think I don't want to sound too preachy, but definitely looking at it from one perspective that yes, we are replaceable, but that really is something that you should have been comfortable and aware with. Regardless of having any AI tools, you are replaceable as an employee.  And that is something that you have to address and see how you can diversify your own resources, your own human resources, and also take control of your own human resources and manpower or whatever, you know, you have human labor. And don't give all of that power away to one particular institution who can dispose of you because, yes, chat GTP for sure can spell the end for many different types of careers within education. But even without it, you literally are and always have been replaceable. So based on that, it's not a case of shit, chat, chat, chat. I can't say it, chat, GPT. Yeah, it's not a case of, oh my God, this monster's here and we're doomed. It's a case of it's here. And we need to reevaluate in depth how we commoditize and how we, you know, diversify and make the best of the resources we have as human beings, whether we are writers, researchers, authors, educators, lecturers, tutors, whatever it is. And I think obviously, I think you won't dispute that being comfortable doesn't aid you in growth. And I think this particular issue of chat GPT, making us very uncomfortable is exactly what we needed in a world where everything is dynamically rapidly changing. It's not a time to be comfortable. It's not a time to be comfortable. It's a time to really reevaluate the way that we work, we teach and we learn. So I'm going to leave this for now. This is not a definitive, conclusive chat on the issue. I definitely will revisit it and probably take a more approach, a more writing strategy approach to it because obviously that's the essence for me anyway. That's how it directly affects me. But I definitely, I see opportunities and I see things of just, you know, basically reforming and reevaluating myself as somebody who I've always been, I've never had my finger in one pie. I am fully aware that I am replaceable and I am dismissible by any institution or company. And that is why I have my finger in many pies and I'm able to literally turn my passions and my hobbies and skills into other monetisational platforms, which has benefited me for over 12 years. So like I said, this is a conversation I would like to revisit and continue. Any comments, of course, you're very free. I look forward to hearing what you have to say on the matter. So thank you for listening and goodbye.


Hello and welcome to the new season of the Coaching Manual podcast hosted by me, Danny Mills. Today I'm joined by former Wimbledon, Tottenham Hotspur, Chelsea, Leeds United, Don Castant, AFC, Wimbledon goalkeeper, Neil Sullivan. Neil made over 500 appearances as a professional and had 28 caps for Scotland during his long career. He was also included in the Scotland 1998 World Cup squad in France who opened the tournament against Brazil. Neil is now a goalkeeper coach at the Leeds United Academy. So Neil, absolutely delighted that you've come in. Let's take you back to beginning, not quite beginning of life, but beginning of football. I suppose, you know, again, like every kid playing grassroots football, what got you into football? Well, I mean, really right at the beginning was when school holidays, you used to go to the park and play with your mates. I've got two brothers used to play in the back garden, just football was the only thing to do really. Younger brothers, older brothers? I've got one younger, one older. So what we used to do, we'd play in the gardens, we'd go over to the park and school holidays until it got dark and you had to run back and you didn't miss tea. Just the usual stuff kind of growing up and then as it progresses, you get into playing school football. Then you get Saturday clubs and, you know, it's just the normal kind of routine really. Were you always a goalkeeper? Because that's why I mentioned your brothers. I was thinking, if you've got two older brothers, they'd probably picked on you and made you go in goal.   No, no, we just took interns really. I used to play out on pitch.  And the teams I played for, the better sides, I played in goal, so I kind of stuck with that really. And then that took you through into professional football or elite level. What sort of age did you get picked up for that? Well, it was different. They didn't have academies like they do now when they pick you up under six, under seven and you go through and stay at one club. It was very much a... I played statley football team for my local borough, which was Merton Borough. From there, I played for Sunday football for my local team, which was Oakway Sports, which was another local team. And I paid for a pub team from Reigns Park where I grew up with on a Sunday. So that was interesting when I was kind of 13, 14, 15 playing against football. You had to stand outside afterwards, I take it. I wouldn't allowed in. Yeah, I wouldn't allowed back in. But I played for them. That was interesting. I planned against a load of hungover men. That was quite a good way into football. But what it was where I was playing for Merton Borough, we had quite a good side by people like Graham Stewart was in our team, Jason Cundy was in our team and we got to a few finals and they were played at Plough Lane, which was the old Wimbledon ground. And I just got spotted there as a goalkeeper and from probably 14, 15, 16 I left school and went and done the YTS at Wimbledon. So quite late in terms of this day and age of getting picked up. One of the, we spoke to other players and stuff and obviously the big thing now about is kids overplaying. Like me, you, Jonathan Green that we spoke to recently, there was no such thing as overplaying.  Have we gone a bit too far in terms of overplaying at times? I think the thing is there's so many ways to measure overplaying now and fatigue and you know, I'd have a GPS, everyone's got a GPS, I mean you're not a GPS, you just went over the park run, you got on your bike, went up to the park, Please don't tell me goalkeepers have a GPS on. No, no, thank goodness for that. No, no, I think there is a special one actually, they can tell how many times you hit the floor and all that, but sometimes it can be too far.  So I'd play for my local side, my borough side on a Saturday morning then I'd play another game for school, maybe Saturday afternoon then I'd play Sunday morning for Oakway which was my local club side and then I'd go and play on the pub team. That's brilliant isn't it? So obviously you're now 14, 15, 16 years old, you're at Wimbledon, you go through that process and then obviously you join the Crazy Gang full on. I mean that must have been incredible experience in many ways but quite difficult as well I imagine. It was tough but it was brilliant at the same time. There was always something going on there but it was hard and you had to grow up, I think helping playing in the pub team with a load of hungover men was quite enlightening and then going to Wimbledon and the Crazy Gang as an apprentice and the YTS. It was no different. It was similar, few hangovers actually, but it was enjoyable. You know it was tough, you knew your place as a scholar, as an apprentice, the jobs you had to do, the way you were treated. Dave Besson was there? Dave Besson was a goalkeeper so I was there. The year they won the FA Cup in 1988 was my second year as a scholar so I joined as a pro that year. So 86 to 88 I was not a scholar that was a YTS back then. And obviously you broke into the first team? Quite late. I had one game when I was 21, just played one game, then another one when I was 23. Which to put it in context, I say back in the day we're actually not that old. But for young players to break in before 2021 was quite unusual. You had to be exceptional. I suppose Michael Owen, Robbie Fowler that was scoring a goal. But in general it was always considered that getting into the first team was maybe 22-23 sort of area. Yeah, pretty much. And don't forget you didn't have like an under-21 side or an under-23 side which you do now where you get that progression through that and you get a lot of games. We were playing, if you weren't in the first team on a Saturday you played in reserves on a Wednesday. And that was made up of senior pros who weren't getting a game and young kids who were coming through. So the challenges of the reserve games you were getting were, I would suggest, a bit high quality and a bit tougher because you were playing against seasoned pros. And how good were those goalkeepers that you worked with and how much did you learn from them as a young player? Dave Bessam was obviously there. Hans Sagers was there? Yeah, then Hans Sagers came in and again, I mean it's funny saying now but you know goalkeeping coaches weren't invented back then. You didn't have a specific goalie coach, a full-time goalie coach. So you were just learning off each other and you were watching people and we had a goalie coach come in one day a week on a Monday. His name was Alex Walsh and he was very good. He taught me the technical aspect of goalkeeping before then. You were just literally making out as you go along, you know, if a ball comes in you try to catch it and that was it. And then he came in one day a week. So it's a little bit harder than that. It is a little bit harder but it's fundamentally that's what you're trying to do but you're trying to teach yourself it. So a lot of it was self-taught? Yeah, well it had to be because like you say, you didn't have a full-time goalkeeping coach. And how did it, I mean that era that sort of huge crossover when the back pass was suddenly outlawed. You know now we're talking about sweeper keepers and Edison, you know, bringing it down, chesting it down, volleying it out to wing backs and whatever. Is it now completely different to how it was? And I suppose that must be the biggest change in any position in football. The back pass rule changed goalkeeping forever. Yeah, and it took a lot to get used to. There are keepers now that still aren't used to it, let's be honest. Yeah, it's tough and you know, when you asked about a goalkeeper you say, oh can he catch a ball, what size is it? Now it's how good is it with his feet before they even think about whether he can save the ball. And that's just the way it changed. I mean, I was at Wimbledon as well where even when the back pass was brought in it wasn't, you'd never play it, you'd just lump it as far as you could. There's a bit more to it than that, but you know, that's the way we were. I broke my leg through the first season of the back pass. I got a back pass that I couldn't pick up. Obviously I went and swung through and kicked my leg through and got straight leg and that was it. I broke my leg and that was from probably the early start not being used to the back pass rule. Well, I think used to it. And even as defenders we would tell, don't give it a keeper. Yeah. Unless he's got 10 minutes of time and you can play the perfect ball. Because also the pitches back then. I was just going to say the pitches were horrendous. And you know, I think we all look back on old FA Cup videos, especially that we see a lot of. And you just look at that mud pit right down the centre of the pitch. The goalkeeper was a quagmire. It was just horrendous. To deal with it nowadays is much easier. To deal with what you had to deal with was almost impossible. Yeah, it was tough. And like you say, you wouldn't give it back to the goal. Especially me. You wouldn't get it if you did. It was one touch and that was it. But that was tough to get used to.  But the best ones now are phenomenal. That part of the team and they set attacks up and fantastic. I don't want to give you cold sweats or whatever. But I can't talk about it with one of those without talking about the Beckham goal. I suppose it was the first time. It wasn't the first time it had ever been tried. But it was the first time it had ever really happened.  No, it was. Was it just completely unexpected? Yeah, it was. I mean, it was the end of the game. I think we were too kneeled down that it was literally in the injury time. And we were seeing the game out. And yeah, as soon as it came off his foot, you kind of go, oh, this is going to be close to this. But also realised I was nowhere near it anyway if it was going to go in. But yeah, it was. But I think being at club like Wimbledon helped in many respects. We went and worked on the Monday and obviously I was getting slaughtered. I didn't get a great deal of press. But you know, being at Wimbledon, they just hammered me. And that was it and it helped you get over it. That's what I mean. Because we've seen a lot of similar goals since David Seaman did it. I think it was Naeem, wasn't it? He scored even further out. And actually, he had more opportunity to maybe stop it. And that sort of thing, you even had Roldinho in the World Cup with David Seaman. But they tend to get overlooked a little bit. Is it because yours was sort of like the first big goal on TV? Possibly, yeah. That sort of, unlike I had now, was still highlighting it. Yeah, but it was, you know, in that era it was a Premier League. It was new-ish and you know, it's just on its way up really. And for something like that to happen at that time with that player as well. Because, you know, he just burst onto the scene. He was just on his way. So, you know, there's a lot of things going on with that goal at that time. At least it's not as bad as a Karius in Champions League final. Yeah. What am I playing in the Champions League final? Well, yeah. You go to the World Cup final. But they got away with it, didn't they? And equally asked, but you'd already lost the game many hours. Yeah, yeah. But that's the life of a goalkeeper, isn't it? You then went on to Tottenham, you know, a huge club at the time. The managers you worked under, George Graham, Glenn Hoddle. From what I know of them, I'm assuming they were complete contrasts in how they coached, how they dealt with players and their philosophies. Yeah. I actually really enjoyed playing under George Graham.  And it was still very disciplined in the way you had to act and perform and do your jobs and all that kind of stuff. And obviously going to Spurs with George, which was a massive club. I'd been at Wimbledon for 13 years, left score at 16, left at 29. It was a massive change for me. And I really enjoyed it. I like to know where you stood. I like to know your job. I like to know your role. I found it really good. And I was lucky enough to be player of the year that first year, actually, when George was there. So I kind of flourished a bit with him. And I really enjoyed the time. And then Glenn come on, and again, a completely different way of doing things. We had a new owner, Daniel Livia, just taken over. George left. It was just a different way of doing things when he was buying different players, said he's showing them come in. I mean, even at that stage, did Glenn ever ask you to play up from the back? Or was that ever... Not necessarily with your feet, but throw it out more. It was coming in, yeah. He asked me to drop goal kicks and kicks out your hands into certain areas and take a bit off it instead of just hitting an area that wanted to be more precise, really, which, to be honest, I struggled with. Well, because I played with Glenn for under 21, drew my time under 21 when he was senior manager. And he asked me to do something sort of similar. I wasn't particularly comfortable with it. I played the sweeper role. It wasn't great on the ball, but he gave me two simple jobs, either pass it 10 yards into midfield and just give it to one of those, or ping the diagonal out to the wing back or the winger, because I could do that. And he said, and that's it. He said, that's all I want you to do. And again, so he was trying to evolve things, but he was still playing to my strengths, which worked for me. Yeah. And it was, like you say, it was that time where things were changing the back pass rule, the players that were coming in. There was a new way of just trying to change. He had these definite ideas on football, you know, where he come from, the kind of player he was, you know, he's trying to change it. And, you know, that's what he tried to bring the players in at Spurs that would do that with him. Because Tottenham have always had this great philosophy of actually they play skillful players, technique, Glenn Hoddle, how's the idealists? You know, they epitomise that. Could you tell that was the philosophy at the club and some of the younger players coming through were sort of in that mould? Yeah, I mean, when I was there. Or does it go a bit too far and it's maybe not as... Well, we still had... Emotional as that. Players like... Darren Andon was at the club. We had David Genola at the club. We were fantastic players. But we also had players like...  So it was a different way. And then when Glenn came in, he brought people like Dean Richards, who wanted to kind of play out from the back a bit more Teddy Sherwin and what he knew. So I think he was trying to do it in a more slower way to get his style of playing.  You played in the League Cup final. Yeah, we played against Blackburn, yeah. Yeah, we got beat 2-1, I think it was. Tough to take. Should you have won it? You know, Blackburn were, I guess at that time, a top side. Yeah, they were a good side. From what I remember, the game was quite a close game. I think Andy Cole scored a couple of goals. But we played in the FA Cup semi-final against Arsenal as well, at Old Trafford, which was another close game. So we were doing well. And that was under, I think that was Glenn's first game, actually. I think George Graham might have got us to the semi-final and then Glenn came in as one of his first games. And then we progressed, like you say, the year after we got to another final. But yeah, they were a good side. A lot of good players, a lot of good players in that team. So after, obviously, you've been through Wimbledon, Tottenham, but then probably the best move that you ever had must have been to Leeds. Slightly biased here. Don't take that so seriously. But of course, you came into Leeds at a time when they'd been on a massive downer. And you were competing really with Scott Carson, a young kid coming through that looked probably 35 at the time. You know, and all of them. Well, yeah, and incredible, but you weren't at Leeds that long, but good times there. Yeah, and also you've missed out a year at Chelsea as well. Of course, yeah. Which you missed out after Tottenham. But yeah, I came up to Leeds.  They had to get rid of a lot of players. Yeah, me included. Yeah. And that to start again, really. And I think if it hadn't been like that, I think Scott would have played, because he was an exceptional goalkeeper. He was fantastic.  Because there'd been such a big change. We still had, a chief was still there. The Gary Kelly was still there. There was a couple, but I think they just wanted a bit more experience just to settle things down. You get another player of the year. At Leeds, you know, my first year I did there, yeah. Yeah, yeah. That's how busy I was.  Playoff finals, disappointment of that. Disappointment, yeah. Is that one of the hardest games to lose? The championship, yeah. Yeah, horrible, horrible. Because, you know, you spend all that season trying to get in there and then once you're in there and you get to the final, you know, it takes over your summer and, you know, all the expectation and, to be honest, the way we lost as well was disappointing, you know. It's such a huge game. It's massive. Obviously, I played in the 1998-99, 1998-99, 1998 final. And obviously, Sasser and it saved the penalty. Yeah. Mickey Gray missed. Worst penalty on the planet. Yeah. But remember it. Sasser became a hero, you know, for basically the ball hitting him. Yeah. I mean, the championship playoff is just incredible, isn't it? Yeah. Everything that's wrapped around it. Again, the build-up and, you know, the money that's involved, it would have, it would have changed Leeds' direction, I think. The way, the club they are now is if we would have got up, got into the Premier League with the money and, you know, who knows what might be my, got relegated and come straight back down. But, you know, just having that year in the world could have, could have changed the way or where Leeds are now. And after Leeds, you moved on to Doncaster, had quite a long time there, you know, honestly. Again, promotions, playoffs. Yeah. But a different type of club, different situations compared to what you were used to because you've been at a lot of big clubs and although Leeds were down a couple of divisions, it's still a big club at the time. Doncaster was probably the smallest club that you paid for. Yeah. But still with big ambitions, you know, when we were, I went there, things weren't working out again, new managers and new owners and different ideas and so I just wanted to play really, that's all I wanted to do. And Donnie came in with big ambitions and we was in League One but got promoted and won the Johnson's paint. It's, it's different but the ambitions are still big for Club Light Donnie.  It was similar, kind of similar to Wimbledon really. We were a bit unfashionable. We were, how sweet was that playoff success? Against Leeds. Yeah. It wasn't sweet.  I enjoyed it. I mean, it finished a bit strange but I'd likely, I mean, I'm back there now. I'm sure we'll touch on with the coaching. There's a lot of good people then. But I was a Donnie player. But at that moment, there must have been a little bit of a, I've done it. No, not against Leeds. You're just a nice guy. I'd have been, well, yeah, maybe not against Leeds actually. I had a great time at Leeds but, yeah. It was more the fact of helping, it didn't matter who we were playing. If we could have both gone up great but it wasn't because it was Leeds, it was, because it was Donnie and we'd got into the championship which was quite an achievement really. You're listening to the Coaching Manual podcast hosted by me, Danny Mills.  Was that always your ambition to go into coaching and take it, take it on? To be honest, it's weird because when I was playing, I finished at 43 years old and I had another option for a year's playing so I wasn't really thinking about it. You know what it's like, you think you can play forever, you think you can play forever and you just, and when we were doing that and I got the offer of another year I thought I can put it off another year and play but then the opportunity come to go into Leeds Academy with Richard Naylor who I played with and I thought, you know, it's time, I've done all I need to do and then you start thinking, well, what are you going to do after football? And the opportunity to go to Leeds where I, like I say, enjoyed it I knew the people in there to do coaching which is when you leave school at 16 and you're finished at 43 it's all you know football. So you're a goalkeeper coach now? I'm the goalkeeper coach for the under 18s, yeah. So two things really, is it easy or harder for players to go into coaching because I go, maybe the route you get a little bit of special treatment to get into football but actually are the expectations higher because of what you've done and what people expect from you? I think there's an expectation, yeah. Is the expectation that you will be great instantly? Yeah, yeah and it's not like that. There is a lot to learn. Obviously you know I mean the good thing you can draw on your experiences and you can, you know, I coach goalkeepers so I'd like to think I know Just catch it. Just break it down, that's all it is.  It's literally how you do it. But that's quite interesting because a lot of the coaches that we've spoken to and managers, coaches, whatever you want to call them this down age they've all said just simplify it just keep it simple it's so, it's almost got too complicated in this day and age where everyone's trying to this isn't new, this isn't new, but actually new isn't always better or even good at times. Well new isn't always new, new is just different really. A different name. Yeah, it's just repackaged and instead of being on a piece of paper it's packaged up onto an iPad and a nice fancy computer and shown on the wall. It's how you get your ideas across and for me ultimately my job is as simple as it seems. I'm thinking that a goalkeeper first and foremost is there to stop the ball going in the back of the net and then everything else is obviously important with your feet and everything else like that but I think ultimately that's what you work on. Is it hard for goalkeepers to go into management, coaching of the whole team? Are they still looked at in a different light because of your position when you played it is so specific to what you do? I think of many that have done it and again if you go to any training ground there's the first team and then over in the corner there's the goalies over there. You're almost a different club aren't you, within that club? Yeah and that's fine because you're the only person in that team that can use your hands but you've seen everything from where you are. You've had the same experiences okay you've not technically been out of your box and playing that type of game but you've seen it all. Does that mean goalkeepers can't be as good or do they just not get the opportunity because they get pigeonholed? I think they can I think it's whether they want to or not I mean the first thing I found difficult from going from playing to coaching was standing on the half way line watching a game you know I spent years on the bench mate for 28 years I'm standing watching and I could pick anything out from standing in go I could see everything, I could watch everything I could anticipate the runnies making the boys going to play, I could see everything and then for the first probably six months standing on the half way line just looking into this crowd of players I was just what's going on now? Completely different perspective Completely different, completely different and that might have an impact on on why So now you've got Bielsa he's something like the godfather of coaching, you know Guardiola and all these coaches so how brilliant he is How different is he and well equally how difficult is it to deal with him the fact that he doesn't speak great English I assume But to be honest with the 18s we're not I don't know if you've been to Thorpe Arch recently but the whole place is changing it's very much a first team environment so everything is based around the first team the changing rooms are different where you're allowed to go Will he expect his philosophies to drip down to the 23s 21s and 18s Has he created a club philosophy or is he just going no I'm going to work on the first team and leave my concerns there I think at a moment I think at a moment he's very much first team he's getting that right I mean obviously we're doing well we've got a few players up from the academy into the first team into the first team squad which I think are changing the way they play but I think it's very much first team that's what he's concentrating on because this will be fair if you're a Leeds manager I mean it's different now but you know I think as a manager per say you might get a year, 18 months, 2 years tops, you probably don't have time to put all that effort maybe like Charlie Ferguson, Arsene Wenger, David Moyes did to actually understand every aspect of the football club because by the time you've watched the game you've been sacked and that's the way it is and you know you can't blame them for that you know if the first team is successful or any club you know the club is successful and that that field was down to the academy and obviously the 23s as well you touched on obviously coaching now and how it's changed what's your style of coaching or what would it be even if you were the outfield players because we hear a lot of how different managers coach and their styles and what they want to do in what way I mean extremes, teacup throw a shout or whatever or the silent type that just allows the players to play we've talked about a lot of in the past with other coaches how too many coaches stop the game too often you know are you one just actually let the players take a lot of responsibility or do you are you quite not domineering but pragmatic no this is what I want I think maybe a bit of everything really you know you can't forget where you're brought up and how you're brought up with the discipline side of it and so you try and instill that that's a big thing that's come through from a lot of ex players ex coaches that actually the old school principals of discipline are some of the most important factors and maybe there is a little bit of losing touch with those but they're again those simple things just doing the right thing at the right time being on time turn up with your clean boots with your clean gloves with whatever it might be have we drifted away a little bit from that yeah we had we've got coach Billy Russell who's been around for years and after the game Saturday he actually said this not so much leads but this year or this group of under 18s has had the most that anyone else has ever had they get picked up in the morning they get breakfast, they get GPS they've been coached since over 8 you know all this stuff and sometimes they don't know how to think for themselves unless you're telling them so I'm very much trying to get away from that rather than telling them what to do what to do obviously I guide them and I have my principles and I coach how I think goalkeepers should be coached but I don't stand there and make every decision for them ultimately in those big moments they've got to make their own decisions you can't stand behind the goal and go throw it out there do that, kick it out there there's plenty of fans that do you get plenty of advice from them certainly but you've got to try and get them and I think that's what I'm saying they've been given so much and they've been told so much like I said earlier on over coach so advice to coaches coming through young coaches I'm guessing keep the sessions simple give them guidelines but let them think for themselves yeah it's important I mean you've got to have your own set plays and you've got to have your set patterns and how you play but sometimes the best sessions you get is when you just sling them a ball and step back and watch them and see how they get on like going over to part with your mates you just had a ball and used to play and used to work it out for yourself when it's fun and enjoyable is that is that the biggest thing if sessions are fun enjoyable the sessions better the players work harder so if you can make those sessions yes informative but fun and enjoyable you're going to get a lot more out of it you'll learn more if you're having fun than if someone's just on it and you lose concentration but if it's fun and enjoyable you're bound to whether you think you are or not you'll take more on perfect brilliant so all you coaches out there make sure it's fun make sure the kids enjoy it that's the most important thing so lastly now just a few quickfire questions can be as short as answers as you like best kit you ever played in or worse if you'd rather us any kit back in what was it the early 90s I think goalkeepers especially they try to get as many colours onto the top were they not all green no we went from green to as many colours that are quite some shockers I think after that certain incident that you mentioned earlier on I like dark colours I used to try and blend in I think I had a yellow top on that day and from that then on I always try to wear dark dark strip has no relevance to how good you are as a goalkeeper but incredible how this little psychological things get into you did he know where I was because I had a yellow top on so if I had a black top on would he have known where I was would he have done that if you'd have been green you'd have been hidden exactly back to the old school see there might be a few of these bear in mind you at the crazy crazy game the funniest thing you've seen on a training pitch that you can mention keeping it broadcastable well you played with Ben Fatches so you know what he was like Wimbledon was brilliant going from setting John Artson's suit alight and nearly burning the training ground down everyone's seen the TV programs of that you could end there dragging Sam a man through a massive puddle who was the owner I mean imagine the city lads imagine the man city lads doing that to shake my soul just for the sake of it just because he happened to be there watching a naked player run back to the training ground through Wimbledon common because it was his birthday and been stripped naked probably slightly he'd get arrested if that yeah he probably would that's before mobile phones you could film it worst dressed team mate apart from the naked one at Donny we had a guy called Adam Locke he wasn't the best most underrated team mate that you played with yeah I think there was a Wimbledon we were quite underrated anyway we had a centre half Chris Perry was the centre half I mean to be fair he got a move to Spurs and then was playing next to Sol Campbell so maybe not got a credit but he was horrible to play play against you know all over not the biggest but always on you always nicking the ball just left Wimbledon actually the manager knew hardly played wide right so well you went to Wimbledon you were sort of right at the end of your career yeah I went on loan when they were struggling and again he just needed a bit of experience really but he wasn't quick probably had one trick and when you have people like Marcus Gow and F and a Coo Coo Dean Ellsworth, Robby L they just wanted balls into the box in front of you if you dropped off or do his one trick and whip it in behind he was if you look at his assists I bet they're phenomenal worst game plan and what manager prepared it obviously Neil just screwed his face up so I was expecting something either he's not going to tell me or something very interesting well no I mean how can you well we had Egil Olsen come to Wimbledon the year we got relegated and how we wanted the back four to play it was a bit strange I mean bear in mind most teams played two up front he wanted a centre half to come out of his slot and push on even now rethinking it I can't remember why but all that had used to happen the centre half would come out and the other centre four would bend his run into the big old that's left them and we got beaten we got relegated that year that was a weird one and the other one like you said earlier trying to invent a few things he came from Norway where he had a very successful World Cup I think they might have got to the semi-finals or quarter-finals doing it that way but it just didn't work best trainer Frank Lampard brilliant now he he gave himself the best chance to be the best that he could be on a Saturday he was class worst trainer well can you count if they didn't turn up yes El Hedgejuf just didn't turn up not often enough best player you've played against hmm see that's the tricky one is that as an outfield player that's maybe an easier question as a goalkeeper is it just the centre four yeah I mean my when you're playing against people like honry, Burkamp, Zola York and Cole but I'm guessing that there's not there's not too much you can do to affect them if they're going to go past three defenders and bend it in the top corner you'll make some good player though yeah but that's not your fault there's not a lot you can do to stop them doing that as a defender it's my responsibility to stop them going past me and stop them getting a shot away if they're going to stick it in the top corner as a keeper but the finishing you can tell you're isolated I find that a hard one but I always say York and Cole as a partnership their movement and the way they move was Robbie Fowler yeah the ball dropped to him in the box he scored but I probably say I was lucky enough to play against the Dan for Scotland he'd done a trick on a half-way line and the whole stadium went through he's not bad he was again, looking up the pitch you can see his movement just silly little touches and movements I think that's hard to disagree with is it down to one of the best players you weren't bad but then you compare with people like honry and Zola and Burkamp and decanio proudest moment in football I think I got probably the three the two you touched on the two player of the years with Tottenham and Tottenham and Leeds knowing the whole season's work has gone rewarded, that was very proud and of course the first Scotland captain against the best team ever, Wales but are you in the squad for Brazil? best coach you played under and why? again we touched on it early on I like George Graham because I like the way coming from Wimbledon where you knew exactly what you were doing and it was great fun and it was relaxed going into that disciplined way of playing and what he did and how he wanted you to play it kind of suited me organisation, simplicity discipline I say old school values but they shouldn't be old they're just good values simple as that and last one have you ever used your name to get in anywhere? front of a queue, restaurant probably probably I'm just trying to think of one where John Green was bullied he said every single time I can the Champions League medal comes out I'll use it for anything that's brilliant thanks ever so much Neil for joining us and good luck with coaching and everything else that comes from there thanks for listening to episode 2 of the coaching manual podcast you can keep up to date with the coaching manual on social media follow us on twitter at coachingmanual or on instagram and facebook at the coaching manual go on the website register for an account now for session planning tools high quality coaching content and more essential resources thanks for listening and see you next time


Suspense! Here again to introduce Columbia's program, Suspense. Tonight in one of her rare radio appearances, we bring you one of Hollywood's most idolized personalities, Mr. Laura's Costello. With such noteworthy and distinguished players as Mr. Martin Coslett, Mr. George Zuko and Mr. Ian Wolff, Ms. Costello appears in a story of today, played against the background of the new order in Europe, the story of an oppressed people who use strange and effective methods in dealing with their oppressors and with traitors. The story tonight is called The King's Birthday and was written by Corporal Louis Pelletier, a U.S. and with the performances of the Laura's Costello as the Danish Countess Elsa, of Martin Coslett as the Nazi collider, rightman of George Zuko as Dr. Ericsson and of Ian Wolff as old Peter of Cronwald Castle. We again hope to keep you in suspense. They come to the castle almost every day now, the Gestapo, trying to question me.  Somehow I don't give the right answer. Perhaps it's my advanced age. When they question me about the night of the King's birthday, I get confused. I ramble on in the fashion of old people. Gentlemen, Cronwald Castle is 300 years old. For all those years, Cronwald has been a symbol of Danish liberty. Gentlemen, the sea waves beat against the rocks of Cronwald. The sea is deep. The sea knows everything. Ask her.  Ask her my question. Did you know about those notes? But of course, Herr Lieutenant, everybody in the district knows about them. The note said Count Victor would kill himself on the night of the King's birthday. Did you see the notes? Oh no, Herr Lieutenant.  That I do know. And the note said the exact time, 12 midnight. So, so you know the exact time? Yes, yes, I'm fond of clocks, you see. My father had a clock that told the time with the bird jumping out. The bird whistle, like this.  Yes, Herr Lieutenant. I'll take care of you later. Perhaps I'll have something that will improve your memory.  Yes, Herr Lieutenant. There's nothing to matter with my memory. I could tell them a thing or two if I wanted. I could tell them how it all happened. It began two days before the King's birthday. That was the day the new Nazi Gauleiter Herr Reichmann came to the castle to see the Countess Elsa. I was told to show him to the library. It was cold and gray, and the sea was pounding on the rocks. Very angry, like it always is in November. The new Gauleiter sat by the fireplace and warmed his hands and called for a glass of brandy. And bring some soda, too, please. Yes, Herr Reichmann. How soon did your mistress say she would see me? In a few minutes, Herr Reichmann. You told her it was most urgent. Yes, yes, I told her. She'll be with you soon. I doubt it. Most women's idea of soon is the best part of an hour. In my country, we train our women too. The brandy, Herr Reichmann. Well, thank you. Yes, in Germany, we... Courvoisier, ready to get brandy like this. Count Victor can get many things that are forbidden to his countrymen, Herr Reichmann. Count Victor's cellar is well-stocked. Is it really? Yes, we have meat at the castle. Nobody in Denmark has meat. Only Cronwald Castle. You're lucky. So they say, shall I leave the brandy, sir? But you stay here a minute. Tell me, what's your name? Peter, sir. Ah, yes, Peter. You have been at Cronwald since you were a child, 63 years. Am I correct? Why, yes, how did you... It's my business to know a lot of things, Peter. You don't approve of Count Victor, do you? It's not my place, sir, to... Three days ago in the marketplace, you were heard to make an indiscreet remark concerning Count Victor's collaboration with Berlin. I think a word very close to traitor was used. Was it, sir? What do you think? I think, Herr Reichmann, the fire is in need of some more wood. If you'll excuse me, I'll get some. True, by all means. And Peter? Yes, sir? Tell your mistress that I do not intend to spend all afternoon here. My business is urgent, and I... You may tell the Countess yourself, sir. Herr Reichmann. Excuse me, I was just saying... I'm all right here, Reichmann. Sit down, please. Thank you. Peter told me your business was urgent. I hope I haven't kept you. No, not at all. My business is urgent. But as a new garlighter of this district, I might combine social pleasure with business end. Oh, that's very kind of you. I had hoped that my wife, Frau Reichmann... Oh, of course. He must ask her a call sometime. Yes, I will. Although I never had the pleasure of meeting Count Victor, it would be a great honor if we may call as soon as he returns from Berlin. You certainly, Herr Reichmann. Thank you. And this urgent business? Yes, we come to that. Do you mind if I smoke? Not at all. A good cigar always makes unpleasant things easier to tell. It sounds almost as if you had rehearsed that line on the way to the castle, Herr Reichmann. I did. And since it was ineffective, I'll be blunt, Countess. I'd prefer it. A few days ago, Countess, to be exact, on the day I arrived at Kronwald to begin my duties as garlighter of this district, I found this note on my desk. Read it, please. Count Victor of Kronwald will kill himself on the night of the king's birthday. That note was on my desk in the morning. At noon, I found this one. Read it, please. Count Victor of Kronwald will repudiate his Nazi collaborators. He will choose the night of the king's birthday for his death. I thought at first it was some crank, but the notes kept coming. Then I heard that everybody in the district believed what the note said. In every house and shop and farm, they are saying that Count Victor is going to kill himself. You'll see why I said my business was urgent. Yes, yes, I see. It's not that I have the slightest fear for the Count's safety, but the writer of these notes must be found and treated with severest penalties. You have no fear for my husband's safety? Of course not. Certainly no anonymous letter writer could force a Count to take his own life. I wonder... What do you mean? You wish me to be frank with you? Naturally. You know that my husband is hated by the whole countryside? What of it?  Perhaps.  You think so? If you knew Danish history here, Reichman, you might agree. For hundreds of years, the night of the king's birthday has been a special occasion at Grandvaal. On that night, the castle renews its pledge of loyalty to the king into Denmark's freedom. A very theatrical gesture. Quite. But if anyone wished to remain Count Victor... If someone wished to remain the Count, that he had chosen our glorious Fuhrer for his leader. Yes. The night of the king's birthday would be, shall we say, the psychologically correct time to do it. You reason well, Countess. I know my countrymen. Evidently. I can see how these notes would enslave their imagination. If Count Victor were to take his own life as a public repudiation of his present political bonds, the whole country would be stirred to its death. I see. You seem to view the possibility of your husband's death rather calmly, Countess. Like you, Herr Reichman. I have no fear for his safety. I am only presenting the political possibilities. Quite so. And since you grasp the full significance of the notes, you understand that I must take certain liberties in order to track down the writer. Liberties? Yes. I shall ask your permission to talk with Dr. Ericsson. As you wish. Peter will show you to the doctor's study. However, I assure you... My time is short, Countess. I understand that Dr. Ericsson is one of your country's able psychiatrists. I understand that Dr. Ericsson is an authority on mass suggestion. His health should be invaluable. Dr. Ericsson. Yes, Peter. Show the gentleman in. Now, sit down here, Reichman. Don't be afraid. Herr Reichman. Don't be alarmed about these mice. I'll remove them just as soon as Hermann here gets through the maze. Watch him. He's really quite clever. I've been trying him on liver extract, and... Ah, he made it. Good night, Hermann. Now... off to bed. I've been expecting you, Herr Reichman. Please, sit down. Thank you. You come to see me about the notes, am I right? Yes, you're right, doctor. When I first heard about them, I said to myself, the new go-liter will want my theory concerning the type of mind which would be prompted to write such notes. I'll tell you my theory, Herr Reichman. I don't want your theory, doctor. I want you to answer some questions. Oh, so it's like that. And perhaps you want a sample of my handwriting, too. I'm not a fool, doctor. That's very possible. How long have you been treating, Count Victor, for a certain nervous disorder? Five years. What would you say is his condition now? You've never met Count Victor, have you, Herr Reichman? No. When you talk with him, you'll see no outfit sign of his maledict. Manifests itself only during periods of despondency. In the last few years, I am happy to say that these periods have been infrequent. Count Victor depends a good deal on you, doesn't he, doctor? Perhaps I've almost cured him. In return, he's given me this laboratory and money for my experiments. But you do have a great deal of influence on his mental processes. Yes, Herr Reichman. I do. In fact, if I decided to, shall we say, liquidate Count Victor, I would have written the notes exactly as the people say they are written. Like all nervous people, the Count would be highly susceptible to such mental attack. That's what you wanted me to say, isn't it? Yes. Then where we stand? Almost. One thing more I'll ask you, doctor. Count Victor had a brother who left Kronbach in Denmark and was occupied by our troops. That brother, Christian, is now known to be working with the Danish underground. Formerly, he was one of your students at the university. Is that right? Christian was one of my most brilliant students. Do you know where he is now? No, I don't. And neither does your guest staffer. The only thing we share in common.  I find it the best form of deception. Do you think it wise to try to deceive the lawful government of your country? Lawful government? You have a quaint sense of humor, Herr Reichman. You may not find it so quaint if Count Victor ever removes his protection from you. He won't. When you've informed him of his impending suicide, as I presume you will, you'll see he'll need me more than ever. You do intend to show the notes to the Count, don't you? Yes. I will present myself to his excellency tonight on his return from Berlin. His reactions to the notes will be most interesting. Would it inconvenience you if I would be present on the occasion? Oh, not at all, doctor. I'd be delighted. Your own reactions should be most interesting, too. Dad? That's what the people think, eh? They think they can kill me with words? They can't do that to me, can they, doctor? Easy, Count Victor. Easy. Count Victor will kill himself on the night of the king's birthday. Because of his great shame here, I'll great shame them all right. They'll see that... A little of the brandy, please. Yes, of course, Count Victor.  Who's upset? The whole thing is completely nonsensical, completely. Of course it is. Ask Herr Reichman. His police have likely to caught the writer of the notes, haven't they, Herr Reichman? Practically, doctor. You have nothing to worry about, Count Victor. I need a sedative. Certainly, Count Victor. I'll show them. I'll give them a dinner here on the night of the king's birthday. Everyone will hear about it. They'll see who's afraid. I'll give a dinner. Herr Reichman. Will you be my guest at dinner? With pleasure, Count Victor. I'll light up this whole castle like a Christmas tree. And, Elsa, you'll wear that gown you wore at the palace in your jewels.  You'll wear all your jewels. Yes, Victor. Kill me with words, eh? It's words there after I'll give them words. Herr Reichman, I'll make a statement on the night of the king's birthday. I'll stuff words down the people's throat. Yes. And there's someone in particular who'll read what I have to say. My brother Christian. I want him especially to read it. Herr Reichman. Have you ever seen my brother? No, Count Victor. His picture was in that empty frame up there next to mine. I destroyed his picture. Victor, you're getting excited. Dr. Erickson. Yes, you're right, Elsa. Sometimes the strain of my work is too much. Dr. Erickson, you'll... you'll talk to me for a while before I go to bed, won't you? Of course. Talk to you, Count Victor? Yes. The doctor has a way of calming my nerves. It's slightly hypnotic, isn't it, Doctor? You might call it that, Count Victor. Count Victor, I'd strongly advise... No, no, it's the only thing that helps me. I just go quietly to sleep while the doctor talks. But, Count Victor... Good night, Herr Reichman. I'll expect you here for dinner on the night of the king's birthday. Of course, Count Victor. Elsa? Yes, Victor. They can't hurt me with words, can they? No, Victor. They can't hurt me if I don't listen, can they?   I won't listen. I won't listen. I won't listen. I won't listen. I won't listen. Yes, Lieutenant? Well, you were out to lunch. You needn't tell me. It's another note. Yes, Herr Gauletter. Where did you find it this time? I... I hesitated to... Speak up! Speak up! I found it, Herr Gauletter, in the pocket of my own tunic when I was about to go on duty. Never mind the details. I found one of them under my pillow this morning. Count Victor called me and said there was one delivered with this morning paper. The farmer came in here at eight o'clock. He found one nailed to his door. Right on the desk out to stop. Yes, Herr Gauletter. Just as our furor says, if you tell a lie often enough, everybody believes it. That's true, Herr Gauletter. Is it? Well, as the Gauletter says...  Oh, no, Herr Gauletter. Rather do I. But the Countess was right about one thing. If he did kill himself after all these notes, the effect on the people would be electrifying. But you just said that... I'm talking about effects, Lieutenant. From what I've seen of the Count, he is too much of a coward to take his own life. But if someone else came and made it look like suicide... Yes, yes, it could be done. But how? How? I don't know. There will be four of us at dinner. I have ordered 50 guards to patrol the grounds. Four guards will be stationed in the dining room while we eat. No one can get near the Count. It's impossible to kill him. But in this strange country, you can't even trust the impossible. They say the castle is guarded tonight. 50 soldiers. They say the Count locked himself in his room all day writing a message to the people they say. They say the Gauletter has five Gestapo men at the castle besides the soldiers. One Gestapo man is watching the food for poison. Wait a minute, you. Taste that wine before you bring it into the dining room. What did you say, sir? I said taste that wine. Taste it? Why, of course. Ah, it's very good, sir. Did you doubt its quality? Don't be insolent. All right, let me take it in. Thank you, sir. And if there's any left after that rule... Oh, I'll take care of you, sir. Ah, more wine. Good boy, Peter, sell it right here. We'll drink another toast to the king. Oh, Victor, I think we've drunk enough time. Oh, nonsense. This is the king's birthday dinner. We've got to drink to the king. Oh, Peter. Yes, sir? Did they make you taste that wine before you brought it in? Yes, doctor, they did. What's this? What's this about tasting wine? A simple precaution of mine, contactor. I hope you don't mind. Mine? No, no, I don't mind, but you don't think that... Now, Victor, don't get upset. Oh, else if the lover hadn't stopped repeating that inane phrase... and saying that all through dinner, I'm not upset, not upset. I... just want to know what's going on. What have I got to be upset about? I, uh... you're more nervous than I am. I can understand the countess's feeling if this is the first dinner I've ever had with four soldiers observing my digestive processes.  I must insist, doctor, that the soldiers remain. Well, at least ask them to sit down. The fritter. Yes, Herr Gauleiter. Your men may be seated. Thank you, Herr Gauleiter. Yes, and Peter. Peter, go get some wine for the soldiers. Yes, sir. Yes. Everyone will have more wine, Peter, where we're going to toast the king. They... What time is it, doctor? Five minutes to twelve, Count Victor. I'm still alive. Peter, it's five minutes to twelve, and I'm still alive. Go get the wine, Peter. Yes, sir. You know... Peter tells me everything they say down at the village. The people say I have five minutes to live. So Peter tells you the village gossip. Oh, yes. He knows everything. Peter, who discovered most of the notes and brought them to me. He brought you the note? Oh, yes, and the last one said the... Now, what did it say? Victor, can't we talk about something else? Fine. Ask the doctor. He and I discuss it for hours. Or the doctor told me about some sect over in the West Indies that disposes of an enemy by simply writing the victim's name on a piece of paper and sending it to him. Same sort of nonsense being tried on me. Isn't that your theory, doctor? Dr. Erikson, in view of the Count's nervous condition, don't you think... Herr Karlreicher, my private life is my own affair. Then you work for the Reich, Count Victor. You have no private life. I repeat, Dr. Erikson, in view of the Count's nervous disorder... As the Count's personal position, I prescribe my own remedies to know the truth about our gold practices or the best way to guard against them. Surely you don't think that... In high it is, Herr Reichmann. I saw a man die after receiving a note with his name on it. I don't explain it, I tell you a fact. You see, it's possible. It's a fact. I could be murdered with pen and ink. It could be done in exactly three minutes of my watch's right. Yes, three minutes to live. Where's Peter with that line? Victor, if you will excuse me, I have a headache. You stay here, Elsa. No one leaves this room till midnight. Yes, Sir Gallardo. Lock the door. Hold all the windows. Yes, Sir Gallardo. Tune season. Yes, that's right. Hold everything. They won't come in here after me. They won't touch me. Victor, you're being absurd. I ask you... Countess, I think it best to comply with Count Victor's wishes. Humor me, my dear. Humor me. You'd never forgive yourself if you treated me unkindly during the last two minutes of my life. Especially since you wished me dead so many times. Victor. It's the truth, isn't it? Two minutes to live, Doctor. This is a good time to hear Elsa's confession. I may say a word. You may not. Elsa, it's the truth, isn't it? Isn't it? Yes, Victor. It's the truth. I wish you were dead.     No, no, no. Let her finish her gold, I tell her. Go on, Elsa. I despise you as a man.  Even before the Nazis came, you were planning to sell us out. All that Cronvold has fought for down through the years. The Dane should be a proud and free people.  I wish you were dead, Victor. I wish your soul were rotting in the grave that's waiting for all these mad men of Europe. Doctor, listen. Five o'clock. May God grant wisdom to our king and freedom to our people. May Cronvold always keep the faith. Who turned out the lights? Who turned out the lights? Gepriter. I hear a door opening. No, Herr Gauleiter. My hand is under the door. It is not moving. Yes? Gepriter. Come, Victor, up from there. I hear you. Who is speaking? Victor, this is your time. Are you ready? I am ready.  But your name will live on. The body was washed out to sea. But yesterday, on the rocks, they found the Count's wristwatch and a handkerchief with the initial D on it. They'll never find the body. Say what you will. Count Victor was a brave man to take his own life. Yes. He showed those Nazis that Dane could die for honor.  They say someone forced the Count to kill himself. How could you force them? That's what the Nazis say. And listen, they've arrested old Peter. They're trying to make old Peter talk. Peter won't talk. But if he did, I bet he could tell them a thing or two. Yes, I could tell them a thing or two. I could tell them why they'll never find Count Victor's body. You know why? Because Count Victor didn't jump out of the window. How could he? Count Victor was dead six days before the king's birthday. I didn't kill him. He was shot through the head by his own brother, Christian, the night he came home unexpectedly from Berlin, six days before the king's birthday. Yes, I worked with the underground and so did the Countess and Dr. Ericsson. That's why Christian came here to see us. When the Count returned unexpectedly, Christian decided to try to reason with him. They quarreled and, well, Christian eliminated the slimmest traitor then Mark has ever known. It was then that Dr. Ericsson got the idea for the notes. Christian, we've got to try it. Christian Eugoleta has never seen Count Victor. You'll pose as the Count and we'll stage your suicide. The moral effect on the people will be tremendous. Christian agreed and we started sending the notes. The rest was easy. We all played our parts and Dr. Ericsson coached us on the exact thing to do at 12 midnight. At the last look of 12, Peter will turn out the lights from downstairs. You've got that, Peter? Yes, Doctor. Then what do you do? I go through the passageway that leads to the hidden door in the dining room fireplace. I open the door and call out, Count Victor, this is your time. Are you ready? And you, Christian? I say, I am ready. I call out, don't do it, Victor. Don't do it. Then I bake one of the windows. And you, Christian? I go through the fireplace door and disappear. Yes. And Count Victor of Cronvalve has died for his country. Well, that's how it was done. We planned it well, even to put in Count Victor's wristwatch and handkerchief on the rock where the Nazis would find them. Presently, the galiter will question me some more. But soon, soon there will be a note on his desk and I can hear him saying, Lieutenant, Lieutenant. How did this note get on my desk? A note? I don't know, galiter. What does it say? It says, it says, remember the night of the king's birthday. Your turn is next, galiter. Your turn is next. And so closes the king's birthday starring Dolores Castello with Martin Castle like George Zuko and Ian Wolfe. Tonight's tale of suspense. The producer of these broadcasts is William Spear who with Ted Bliss, director, Lud Glaskin and Lucian Marowick, conductor and composer and Corporal Louis Pelletier, radio author, collaborated on tonight's suspense.  Suspense will be heard at a new time, Thursdays at 10.30 Eastern wartime and 7.30 Pacific wartime. Perhaps you will want to note this down. The new time for suspense will be Thursdays beginning next Thursday at 10.30 Eastern wartime and 7.30 Pacific wartime. Our play next Thursday will be The Singing Walls based on a story by Cornell Woolbridge. This is CBS, the Columbia Broadcasting System.


I got off to a better start with the work of getting off to a better start. Spranton is a good team and they did a lot of things that we need to work on and kind of showed tonight. We had a fight a little bit. We were down for a little bit. We dropped our heads a little bit, which we cannot do next week. This regular season is over. We're over and over now. All the things that we did during the regular season, out the window, we've got to step up because it's winter going on. I do think the fact of health, we have to be together whether we're on the court or off the court. We all started getting quiet when they were ranking plays and the balls were dropping. We weren't as intense as we should have been. We had one block in the first two sets and all of a sudden by the end we had, I believe, it was seven. That kind of intensity. So, I think we did learn from that tonight.


So, we just came up with an equation for the thermal efficiency of the auto cycle and we said that it could be expressed in a compact manner in terms of the compression ratio and the ratio of specific heats. Now, typical spark ignition engines, sometimes you'll see that referred to as SI for spark ignition, they have compression ratios that range from about 6 to 12. And if you look up information on an engine, sometimes you'll see them expressing it in the following manner, 6 to 1 and 12 to 1. So, if we're looking at a ratio of specific heats for air of 1.4, we can find that with the 6 to 1 compression ratio, r is equal to 6 and then the thermal efficiency for an auto cycle would be about 51 percent. And if we have a 12 to 1 compression ratio, the thermal efficiency for the auto cycle. Now, remember that this is an ideal auto cycle is 0.6 2 9 9, which sounds great. I mean, we're talking 51 to 62 63 percent. In reality, however, nature comes in and plays some tricks on us and prevents us from being able to have this idealized scenario. And in reality, real SI engines have lower thermal efficiencies. So, typically, in reality, we're somewhere between 20 percent to 30 percent, depending upon the design. And this would be for auto. It'd be more in that kind of range is what you would normally find with an engine. So, what we're going to do now, let's take a listen to a real world engine that operates under the auto cycle. And I'm sure many of you have heard this before and so consequently may not be that novel. However, it'll be interesting to compare this to the diesel cycle or the compression ignition when we hear that in the next little lecture component. So, let's take a listen to the auto cycle now. Auto cycle. Let's I see, oops, sorry, internal combustion spark ignition engine. So, let's listen to it and that will give you an indication. Well, that beautiful piece of engineering that you just heard was my BMW. It's a 525i Touring and it has an inline 6 engine and it is that particular car is a little bit of vintage now. It's from 1991, I believe, is the year on it. The one thing that we can say about any kind of engine when we look at our thermal efficiency is that you naturally think that if you go to higher compression ratios, you will have higher thermal efficiency. And I should make a comment about that. So, in theory would tell us that the higher the compression ratio is, the higher the thermal efficiency is. However, what happens is we start running into some problems as you increase the compression ratio, you start encountering what is called combustion knock. And what this is, it's where you start to have combustion due to the high temperatures and pressures before the spark even goes off, sometimes called spontaneous combustion or auto ignition. And the reason why we call it knock is because you'll hear a sharp metallic knock in the engine if you listen to it. Luckily, the 525i that we listened to a moment ago is operating properly and so consequently you did not hear any knock in the engine. All you heard was fine engineering, German engineering coming through and talking to us. So anyways, that concludes our cover of the auto cycle. What we'll do next is we'll venture into the next form of internal combustion engine that we will look at. And this is one of compression ignition, not spark ignition like we just looked at.


Hawker's just eating a mouse. Do you have a problem with that? Yeah. Okay, but what can you do? It's like if there was a giant hawk coming and eating us, I would still have a problem with it. What can I do about it? I don't know. But I know what you can do. You can be vegan. But how could that stop the... Humans are violating human rights right now, yeah? There's war crimes happening right now, yeah? How do I stop it? There's nothing that you can do on this. The least I can do is not participate in it, yeah? The least I can do is not violate human rights, yeah? The least you can do is not violate animal rights. You can't stop all animal rights violations yourself. But why does that give you the right to go and violate animal rights through your lifestyle? So I can't control human rights violations happening. No. But I can control what I do. So why would you say, hey, man, there's a hawk.  Do you think that's all right? Obviously not for the mouse. It's not all right. But I can't f***ing stop it. But that doesn't mean I'm going to go kill the mouse myself. My question to you is why does that mean you shouldn't be vegan?