New York City, it's your mayor Eric Adams. Welcome to the Gist of Dundcast. Let's get to it. When you hear the word hog, you think about someone holding things to themselves, not willing to share. But I'm here today with just an amazing New Yorker, Deborah Colt-Nigsburger. And she is from the thrifty hog. I was out in the street one Sunday, looking at how we were going to transform Broadway and you were standing off to the side and we started chatting. And you told me about your thrift shop. And I was just so moved, I walked around the block and I was able to go inside and actually I purchased a nice tire worth the other day. Yes, you did. You did, you did. Tell us the whole journey, you know, because one does not find a African American model, German last name, now in a thrift shop. Born in Jamaica. Born in Jamaica. You know, just a real New York story. And I was just so impressed and I enjoyed the conversation we had and just the whole vision. You're more than just a thrift shop. So take us back to the origin of how did you end up off Broadway in an area where you would probably not believe you would have in a woman of Jamaican ancestry with a thrift shop in a neighborhood. So give us, take us on this journey. Okay, so first of all, it's so amazing to be here. Thank you for having me. My journey has been a journey indeed. I came here as a child from Jamaica. My parents came and then they did the usual, you know, immigrant story where they sponsored my brother and I and we came up. I lived in the Bronx and grew up in the Bronx and I had a very special childhood. My parents were always very much into community service and my brother's mandate in mind was always to go help that person or give back or whatever. And at one point in my life, I was kind of always mad at my dad because we would back in the seventies, it snowed every day in the winter, right? So we would be my mom worked at NYU and we would have to go down and get her from work. He'd pick us up from school and we would go down and you can be sure that there would be a broken down car on the side of the road and that my dad stuck in the snow, can't go anywhere. And my dad would be the only motorist stopping to dig them out or help them. So I was always like, can we go home? I'm hungry. And in spite of all that, it's just interesting how I became my parents because I saw it so much. I lived it so much. So they embodied it, you know? So I went to NYU and during my late teens and early twenties, I modeled. So I loved the fashion business. Well, I dreamed of doing forever, except I also loved languages. So I majored in foreign languages at NYU and my goal was to work at the UN and be a diplomatic translator. Graduated college. What was your major, by the way? My major was romance language. So I majored in languages. Yeah, I majored in French and Italian and minored in German. I can see French and Italian in a romance language, not German. No, it's not. So that was my minor. My minor was German and I started at the UN but I really just didn't love it. I went back to fashion because I really loved it so much. So I worked my way up and I worked in a lot of showrooms. I did a lot of fit modeling and then... What's foot modeling? It's like fit, yeah. So every garment that's made basically is made on something or someone, a shape or mannequin. And so you call fit models and a lot of big designers, they have a muse. So they use that person as the person they used to measure what they're going to, you know, how they're gonna fit that garment. And I loved it but I especially learned so much about fashion and doing it that I was just really taken away by it. So I started working as, you know, in sales, I modeled for stores. They would hire me to come in for a weekend and just wear whatever was in the store. And then I started working. I really loved like the exchange between, you know, the customers of myself and I innately somehow knew, and I think it's probably from all the fit modeling, what things should look like on a woman and how it should be worn.  But you were modeling at a time when there weren't many African-American models. Oh, absolutely. I mean, the business has changed and still not enough.  But I had an amazing mentor, Beth Ann Hardison.  Love it. So did that. And then kept working in retail, loved it so much. Eventually became a partner in a store. Not the same, not the same store. No, I moved, I kept moving around. I kept going from store to store just demanding more money from my talent. And until I finally got to the point where my partners were like, okay, you probably should branch out on your own because we can't afford to keep paying you because you make too much money. And so I literally under just a very short period of time realized that I had no way to grow anymore in that business and I needed my own thing. And of course I didn't have that my own thing money.  Interesting. Now was your mom an entrepreneur? My mom worked at NYU as a nurse's aide. She had a little boutique in the basement of our apartment in our house in the Bronx. She, you know, you could call my mom for anything and she would do it. My dad was the same. He was like the super when he wasn't the super. He was electrical engineer at Marbell. You know, so I kind of grew up in this kind of funky, everybody was trying to do something. Mom had a boutique though. It was a room in the basement. Okay. But I'm saying she had the idea. Yeah, she had the, right, right. So she put it to see.  You know, I always see it as a karate kid moment, you know, in the scene in the movie where he thought he was learning how to wash the car, but he was actually learning karate. We've reflect on some of the things our parents did. And it was annoying at the time, but little did it, did we know that it was going to shape our character. So that little boutique in the basement has created a large boutique now for you. That's right. That's right. And she used to, all her church sisters would say, you know, have a wedding coming up and she would go down to Orchard Street and pick out the dresses and they would come to the basement. It was just, it made sense to me. She had seven jobs. We were immigrants, that's what you did. You didn't have one job. I still have a hard time today having one job. But think about that work ethic. Yeah, it's really solid work. It's really solid work ethic, like no other. Were they home owners? When we first got here, we lived in the Bronx 170th and Grand Concourse. And then my parents saved up and finally bought a home in the Gunhill Road area. And, you know, the bank owned that home, but we were okay, the mortgage was paid, whatever. And I was going to school, I got into Cardinals, Feldman High School, so my parents moved to a place that was closer so I could walk back and forth to school.  It's amazing. I find that with Southerners and those who come from the Caribbean, South America and other immigrant groups, there's this real desire of home ownership. Because my mom and dad came from the South and my mom, just even when she was renting in a terrible environment in Brownsville, she always was focused. Her North Star was, we will buy a small house, no matter how small it was, it would be hers. And she really, she planted that seed in me, son, you have to own your own. Yeah, yeah, yeah. I think it's, you know, the Jefferson's moving on up situation. But I think when, for these immigrants, as you stated, that's a moment of I've arrived. You know, that checks that box for them. And they hand that on to their kids. As they're showing us what you should want and they want us to not be able to get a mortgage for it, they want us to buy it, you know? So they'll say, you know, we got the mortgage and we're gonna pay this down, but you need to find a hand to buy this house. So I had a lovely childhood and I traveled, studied abroad in France. I speak French, German and Italian. I love cultures. I love all things that are just like, culturally different, interesting.  And so I believe, and I was taught that everything in your life that seems negative is only a moment. Well said, well said. Yeah, you just need to not own it. Right, right, right. You need to acknowledge that it's a moment and keep on moving. Right, and you know what I found? That it's a lesson. Absolutely. Mommy used to say that you will find yourself in dark places. You determine if it's a burial or a planting. I love it. I love it. You know that? I love that, yeah. That moment, you can't own it, learn your lesson and move from it, grow from it. That's a thousand percent true. Yes, yes. And so my brother and I just grew up, you know, knowing that we had to go do something that my parents hadn't done, neither of my parents went to high school.  And so I did and I had a really great education at NYU, lived in Paris for a semester and a summer, traveled a lot, just really was like, you know, whoa, this whole world out here, it's so amazing. Isn't that something? That's why travel is so important, you know? Yeah, everybody used to need their back yard. Exposing our young people to the global atmosphere, so much else is out there. And my parents had never traveled. My mother used to say, where are you going now? Whose child are you? She would say to me. I was like, I'm going to Spain with my friends, I'm doing whatever. And I learned so much from the exterior. It really took what my parents had, like instilled in me, like really instilled in me. And Jamaican people, when they instilled, they instilled. It's a strap that's instilled, something is instilling it, but it's being instilled. So when it came time to make this decision about my business, it was like, okay, you're going to do it, but I couldn't do it without an angel. I had my mom, of course I approached her about mom. Do you have any money? The answer, of course, I knew was no, which was a real no, she didn't have any money. But she said, you know, I'm going to take tomorrow off and I'm going to go to Chase Bank and see what I can get from the house. Wow. She could get $29,500. I needed $200,000. Wow. So I kind of called up my friend who had planted this dream in my head and I said, John, it's not going to work. And he said, why? I said, because I've got not even $30,000, we need $200. And he said, hold on, tell your mom to get that money. And so I said, okay, fine, I got the money. And he said, I'm going to get your contractors to build your store and not charge you anything for a year. I'm going to get you set up for a year. I know you're going to be successful and you can pay everybody back at that point. And he literally did that, John Farrell, my angel. Wow, what a guy. You all have angels. Yes, we do, we do, we do. You need to acknowledge the existence. Yeah. And so they built me a store on 23rd Street between 5th and 6th, 19 years, 23rd. And I was there for 23 years. And yeah, I opened and the week after opening, I used that $29,500 to buy whatever merchandise I could. And the funny thing was like, I couldn't keep merchandise. So I kept running to the Garmin Center and buying more. And it was so funny. It was selling out. Is that why you couldn't keep it? Oh yeah, the merchandise was just turning over like mad. Wow. Yeah, it was instantly success. What was it? So the magic was, I think it was a trifecta. I think that I innately knew what I knew. So I knew what clothes should look like on women. And women loved that. They didn't have to work to figure out how to look great. I did the work. One, two, I'm a salesperson. Like I know how to sell, but not just to sell you, but to help you see what you should buy and why you should buy. Got it, got it. Which I think is different than to sell. So you put all of those skills you had previously into your first shop. Yeah, and I just was like, dear in headlights, oh my God, we have no more of this, we got to get more of that. And I also know that, look, the lack of pressure where I didn't really have a nut to crack at the end of the month for a minute. I had a year. Right. And so I just felt free. I felt like I could do it when I did. Because I also knew. Who was your, was the landlord also understanding? Oh yeah. So this man, John Farrell, was the managing agent for the 250th Avenue building, which was at the time of Hemsley Building. So this was not just any real estate. No, no, no. But that space had been boarded up for three years. It had been a radio shack and it was boarded up. And he's like, some money better than no money, let's get you going and I know you're going to do this. And he knew me for a long time. We've been friends. What year is that? What year? That was 1989. OK. So on September 5th, 1989, I opened that store. Four days after my birthday. Hey, and mine is the 22nd I found out that we're like regular people. I'm so glad that my mom, there was no world in which she wasn't going to do whatever she could because we knew that failure was not an option. So she knew like she was not throwing money into some rabbit hole dark well. And so within a year, I paid off the contract. I said, paid back my mom and I was gone. And I just literally, so I started to travel. So I was selling goods that I thought I could sell. And then people would always say to me, but what are you wearing? And what I wore was a class above what I sold because the customer was there, but I hadn't really discerned like how much money they would spend. Like I would save up two week salary and buy a leather jacket. You know, and I got that from my mom, too. She was like, buy better, buy less. But I thought my customer would want to be able to, you know, buy a pair of pants or forty dollars. I bought pants that are hundred and forty dollars. And they were like, no, but I want yours.  So I started, you know, going to France and importing goods and bringing back. I went to I would go to France, Italy, Madrid, Amsterdam, Dusseldorf, I would go to the shows in all of these cities in like a four and a half day. Wow. Or a win or to myself with the goal of purchasing. Yeah. Yeah. OK. Purchasing. Finding brands that were things that I would wear purchasing. And, you know, learning the business as I went because I didn't have any experience in this. So it was like, how much do I buy and how do I buy goods abroad and import them and do whatever. But people were so kind and hopeful along the way. I literally learned as I went along. And that's why I tell people all the time, you know what? The kindness of strangers matters like I thrived on that, you know, but everybody wants to get on a boat that's floating. Right. I wasn't thinking. So clearly that was, you know, for my numbers, they were like, all right, you're going to do well. And that means we're going to do well. Right. So people invested, you know, they were happy to come back. And I I did that for a lot of years and in 1994. Total transparency. I'm a complete addict to Stevie Wonder. I take Stevie intravenously. I take him anywhere I can get him. His message is my life story. And so I, you know, I would be one of those crazy people who would sleep out on the sidewalks when Stevie was playing and get my tickets with the scalpers and be at every night. So in 94, I go to this contract series, conversation piece. And there's a song. Take the time out. Take the time out to love someone.  And that song, Seven Nights just played in my head. I was third row center dead on like, OK, Stevie, I know this is meant for me to do some action here because I diluted myself that, you know, Stevie Wonder wrote song so I can go do things. And so I decided I was going to look for something to do in my neighborhood that would give back. And so you were you were inspired by the song a thousand percent to say, OK, I'm going to do something in my neighborhood that I can give back. Yeah, I wanted my business to not only take from the neighborhood. I wanted it to also give back to the neighborhood. And at the time, the neighborhood was really in bad shape. I mean Madison Square Park was drug infested. It was really, you know, in bad, bad shape. And I lived up the street on Madison between 32nd and 33rd. And across from an Irish bar where all kinds of things went on. You know, people don't understand that Madison Avenue was. Right, right. They're like, what Madison Avenue? Like, yeah, I was there. I lived it and I would go down. And I have two boys that are now 30 and 28. And I would take, you know, my kids to that park. That was my park was my only park that I could access with my boys. But you would go in there in the mornings, push them to the swings, a couple of get out of dodge really quickly. And one day I stumbled across this young woman, she was 19 and she had a three year old and they were sleeping in a box in that park. Wow. Wow. Moment of change. So three things happened. Stevie song, the woman in the park. And also when my oldest son was a baby, I met Bobby Brown just before she blew up and became Bobby Brown. We were on vacation at the same resort in Florida, started talking. She was like, yeah, I'm a makeup artist. It's like, yeah, I'm a stylist. I have a store in New York. So we just got to talking and she said, you know, when I come back, I'm going to come visit your store and I'm a makeup artist and I'm hoping that something is going to break for me soon. Trust cut to six months later that she's like in Bergdorf Goodman. I was like, OK, guess you bet that. And she was my very first big supporter. She was the very first person I remember when I did my first fundraiser in my store, which was a fire hazard. A hundred and fifty people squeezed into a store. Oh, my God. And she gave me an auction basket that was worth, I think, a hundred dollars. And I auctioned it for three hundred dollars.  So I figured out that with Bobby's Bobby invited me actually up the block. Now, imagine this. I live with 32nd. My store is at 23rd and at 28th Street between Madison and 5th, there's a shelter of which I know nothing. And and I don't know of shelter. Like that's never a word that was ever in my vocabulary. I never heard it. There is no world in which anybody in my family or any family that I knew or grew up with would end up on the street. Isn't that something there's cousins? There's there's somewhere you go, but it's not on the street. Right. So that was such a shock to me. I went with Bobby. I did an event at the shelter where I was talking to the moms about how to put themselves together on the street. And she was literally giving them product, making them up, giving them product so they could look and feel good about themselves. Is that what the fundraiser was for? Well, once I had that experience, I realized that this was in my backyard and I could do something else. So I decided that that Christmas, at first Christmas, I spoke to the director and I asked her what were their plans for Christmas. There were 135 kids and their 90 plus moms living in that shelter. And she said, well, we don't, you know, Christmas, there's no budget. This is a shelter to keep them safe and whatever. It was run by the Red Cross. It was called FRC Family Respirate Center. And so that was their priority. But for me, I was like, but there are kids here and there's no budget for Christmas. So that first Christmas, I said, OK, I'm going to, you know, buy things. I'm going to use my profit from my store and I'm going to buy each child gifts for Christmas. So I did that. I did it for Christmas. It was an amazing experience just watching the kids be that happy. I did it for Easter. That Easter, I was working with Ivana Trump on a project, appraisal project for her stuff. And she was selling a lot of jewelry on QVC and I approached her and I said, listen, can you give me some product for the moms as a gift as I give the children, you know, Easter baskets? And she did. And so I distributed that. And then I realized that I really, the money that I was raising, I wanted to just give it to the Red Cross to do exactly that. But they were very transparent and they said, we can't guarantee you that this dollars will go here because we have so many priorities. So that's what started Hearts of Gold. I thought, OK, that I'm going to do it myself and spend the money how I want it to be spent and do the things that I want to do. So Hearts of Gold was born and out of that, you know, just every year celebrating everything I celebrated in my family, whether it was Mother's Day or Valentine's Day or Easter, all of those holidays out where we felt like we had community and they didn't. So we brought that to the shelter and then I started to fundraise on a larger scale just because everybody found out and people were like, can you help us with our shelter and our shelters? And we currently have, we use the phrase adopt the shelters. So we have like 12 adopted shelters that we support. Our programming has grown. It's really a lot about I believe in education. I know it makes all the difference. I've seen it in my own life and in my own family.  My two boys went to one to Yale, one to Middlebury College. And it's like you keep ticking up, right? You keep moving because that's what we were told you're supposed to do. But you weren't even further. Not only did you sell, you know, items in the store, but you even trained mothers who were from the shelters to actually work in the store. Like I met a young lady who was in the store. What did that concept come from? So I owned the boutique Noir et Blanc, which was my French boutique, which I opened in September. Then 28 years. So 28 years ago, I started Hearts of Gold, the charity. And in 2008, when things started to go to the South financially, I thought, how else can I raise money? What's a tried and true way to raise money for this charity to keep us afloat? And I just said, well, do what you know.  So I decided to open a thrift store. And all of my customers were happy to donate all the things they didn't want anymore. So I started the thrift store. And then a few years later, I thought, huh, this can work. Now, why don't I help the moms get some job training, some work? Because they need they need to show that they are employed for 90 days before they can qualify for a voucher for housing. And but they don't have the 90 days because they it's a it's a vicious cycle. Right. A mom gets up in the morning, her baby is six. She can't go to work. How many times can you call your job? You know what I mean? They can call us every day. They will still have a job. So they call and something is going on. They have to rush off to school. We still we employ staff to support so that the moms can do what they need to do. And so the concept of the thrifty hog is I didn't want to call the store the hearts of gold thrift store because it was so boring. So I thought, what am I going to call this? I wanted people to know it was thrift. I wanted the hearts of gold element in there. So one night, like I do very often, wake up in the middle of the night with a thought and I thought, huh, hog, hearts of gold, hug piggyback. Money goes in and money goes out. So I had this whole vision in my head. And so that's where the name that thrifty hog came from.  We hire their adult children. We give them job experience. We train them, we cross train them as well as in the thrift store so that their experience is not like, you know, in a broken up. That's amazing. Where have the employees, those who were in homeless shelters? What are those success stories? Where have they gone from there? I'm sure someone went on to college. Someone went on to their own business. I'm sure you have many. But just give me, give me one. I'll give you a story. Okay, I'm going to talk to you about Laura. So Laura, I met Laura when she was 20. She was living in the shelter. She was pregnant with her third child. She came out of super domestic violence in Brooklyn and she was running away, you know, from this whole situation. Ended up in the shelter. I meet her when Jonathan, her second child, is it's his birthday. And he was just turning one. So we did birthday parties, of course. And I meet Jonathan a few months after meeting Jonathan.  And just like craziness.  Laura was, of course, distraught. She's pregnant. She's seven months pregnant. And I helped her basically, I had to help her get her head enough together to deal with Jonathan, three, four-year-old Ben and get through this pregnancy and deliver a child, a pregnancy that she had been abused during so we didn't know what she was going to give birth to. So I took Laura from that point, literally, to getting her to the delivery room, being in the delivery room, her giving birth to a baby that did not look like he was making it for quite a few minutes. Then my husband and I, taking this baby to church and being Godparents, because we were afraid something might happen to getting her situated out of shelter, back to school, nursing school, nursing degree, you know, off married now, living in Florida, cereal, cereal. I said, are you sure you're not an immigrant? And she has five jobs. But she's so and she will tell you today, yesterday and tomorrow that the only reason she is anything is because of me in the hearts of gold. Her own mother, when she was pregnant and getting in that car in labor, her mother said, I'm not going with you. You figure it out. And she came to me to take her to the hospital. So there were so many stories of lives changed, of watching her kids now excel in school and her just instilling in them that you could be everything, you know? Right, right. And so that's just one of the stories. And so many moms have, you know, you're watching children break the cycle because they're going to college. And though they're, you know, it's a beautiful thing to just understand that you have this little power and can do so much. Like, you can impact people's lives. It's really special. And you know, the angel bless you and you continue to bless so many people over and over again. I really encourage people to go to your shop. The Drifty Hog. We are in Bad Iron Nomad on West 25th Street. Give us the address again. It's 11 West 25th Street is a Drifty Hog. And my French boutique called Noir et Blanc, which is black and white and French, is at 7 West 25th Street. And we're right there. But we are moving on the same block and down. And we're going, we're scaling up a little bit. People can see what you've done with those who were formerly homeless or who are homeless. How you have just really expanded your role of helping people. We cannot thank you enough. Again, we're joined with Debra Nixburger. Yeah, you got that, Debra. Yeah, awesome. Love it. She is just an amazing New Yorker. And I was thrilled when I met you. And now you go in my book as the fantastic New Yorkers that I've met. Thank you so much. Thank you so, so much for having me. What a special treat. Thank you so much, man. And this is the information I wanted to share today. I hope to see you for another episode of Get Stuff Done Cash.


Shiral hydrogen-bond organic inorganic frameworks, HOIFs, are synthesized via biomimicking self-assembly from amino acids to proteins, exhibiting remarkable chiroctical activity including untouched shiral fluorescence and enantiodeiscrimination of shiral aliphatic substrates. The disassembled HOIFs can be facially regenerated and self-purified via a protic solvent-induced reassembly, leading to at least three consecutive cycles without losing in antioselectivity. The underlying mechanism of chirality bias is decoded by experimental isothermal titration calorimetry and theoretical simulation. This article was authored by Zhang Wei, Yulong Duan, Yunling Geo, and others.


Hey everybody, in this video today, I'm going to take you through tools, resources and links that our designers here at AJ and SmartUse to stay on top of their game and stay inspired. I'm Brittany, and in this video today, I'm going to take you through a whole bunch of resources that our designers here at AJ and SmartUse to stay inspired, to stay fresh and just basically stay on top of the industry standard.  We're going to talk about them. I mean, I'll do most of the talking just because this is kind of the way that video works. But we'd love if you have anything to say about what we're showing or if you have links to share of your own, please drop those in the comments because we'd love to know what you're using to stay inspired to make sure that you're like in design. So now let's just dive into the resources. I'm going to take you into my computer. I love to do that. So here, I mean, this is kind of an obvious one if you've been designing for a while, you probably know about it, but Dribble with two, I almost said two, with three bees, sorry. Dribble with three bees is a fantastic platform where basically any designer can post their work. But what's really great about it is it does actually filter things for you. So you can actually look at based on designers, you can look at trending designers, see what's going on there, what people are talking about, and it kind of goes based on like followers, up both those kinds of things. Also, you can look at just popular designers. So if you want to know like all around, you know, what what people like are actually liking on the platform, that's super easy to see.  Oh, she's in the Envision one. That's nice. We like her a lot. Anyway, she has a book, maybe we can put the book up there. She's a really great book. Okay, cool. So this is obviously it's very visually pleasing, really nice. If you're feeling a little bit drab and you just need a little shake up, this is a great place because there's just thousands and thousands of designers on here. So Dribble, obviously a great one. The next one also a bit obvious, but Behance is another one. This is a little bit more curated. So you have a really like beautiful, but also like a really good variety of different types of designs. So if you're looking for like a bit of inspiration in like a wider sense or a broader sense, this is a great place. So you can actually look at curated galleries. Let's check those out based on basically what you're looking for. Graphic design, photography, illustration, interaction. That's super nice to be able to see. They also have a range of creative tools. So you can actually look at those and what people are using those for. So that's actually really super helpful if you're into a certain tool to be able to see what people are doing with that tool is pretty great. There's also, of course, the best of just kind of where you land on immediately, but it's like beautiful things. Jim Mondo. This is a Berlin startup. That's cool. Just random. Neat. Oh, Postmates. Oh, great. Who loves Postmates? Great little service. Anyway, really nice stuff on there. And I really love the way that they've actually curated it for you. Okay, next up, this is kind of wild, but check this out. This is fantasy.co. It's actually an agency, if I've gotten that right. It's like just being on this website just kind of blows your mind. It's all just beautiful and just floating around it here. Let's turn that sound on actually a little bit. Yeah, it's pretty intense. Is it too much? I kind of like it, but you can check out their work basically based on if you are looking interested in web or apps or like the actual product. This is just, I feel like this is just a beautifully inspirational website in general, but really super nice. Highly recommend checking that out. Should mention also obviously all the links to these resources, to these inspirational resources are going to be in the comments or in the description, so you can obviously find them all there. Okay, next up, we're going to check out here, Muesli. This is one of our favorites. It's actually by Envision, but it is so nice. I'm just going to get rid of those cookies. Those cookie pop-ups are just really getting me, I'll tell you. But here's, they also have just the collections you can check out. You don't actually have to install Muesli, but it's super nice and a little bit more fun, right? It's like a little bit more dynamic. I really like the style that they kind of seem to attract. And there's also obviously Muesli has amazing blog articles. We've been also published in Muesli a couple of times. I don't see any of our posts here, but I do think they're buried in here somewhere. But it's just, it's such a great blog and sort of hub for inspirational content, whether you want it actual visual or you want to read up about product strategy, about UI, what's hot in UX, all those kinds of things, you're going to find them all here. So Muesli, if you don't already know about it, it's definitely worth checking out. Okay, next one is awards. I wonder if people say it like that or if they maybe just say awards.  You can actually find agencies based on where you are. They've automatically chosen Germany, but let's see what's going on in the UK. So this is a bit of a, yeah, that's nice. And you can have them all laid out there for you. That's really cool. They've done it well. They've done it well. Oh, you can look based on the category of what you're looking for. So app, art direction, interactive, graphic design, even social media is in there. Social media agencies. What you can also do on this site, which is kind of nice, is you can actually just look at winners, nominees, collections. I mean, if you're looking to win a design award, I guess it might be kind of nice to see what the winners are looking like, what they're actually putting out there will help you help your chances probably. But collections, let's check that out, because that's kind of cool. Oh, this is great. So you can look up menu inspiration. You can look up best of navigation if you're looking to, yeah, transitions, fonts. So definitely make sure you hit collections when you're on the awards.com. Awards. Good. Okay, now I'm actually going to move on quite quickly to a few people on Twitter that you should be following. So this first guy is Artyom Deschensky. He actually wrote a book. Let's check that out. But our designers really like him because he's kind of has a lot of product knowledge. So you can actually, it's, oh, number one new releases on in UX, in UX on Amazon. But that's cool. Solving product, product design exercises. That's really cool. So you can actually find his book there. But he also has, he's very, very active on Twitter and has a lot of kind of like nice deep insights. Where did he work before? So he is previously worked at WeWork and he's the creator of sketchkeys.com, which actually we should check that out. Let's pop that open. Oh, cool. So you can get stickers for your keyboard. That's really cool. Bravo, Artyom. We're all discovering this together. It's really nice. Okay, next one is Meng Tou. This guy is really cool. He's got a lot of really nice looking designs, super active on Twitter, on the daily on Twitter. But this guy's cool. He, he's based in Montreal, designcode.io is where he's directing us. So there's courses in here. You can actually just download, oh, nice, $9 per month. And you can get access to 19 different courses in the range of design, animation. Oh, this is great. Figma, FramerX, perfect, perfect, perfect. This is really cool. So another really interesting guy to be following on Twitter. Okay, this next designer, I'm really excited about her. Her name is Lisa Hannah Walt. And she is actually the, the animator, the designer of Bojack Horseman, as well as this Tuka and Birdie, which I haven't watched yet, but I've heard is quite funny. But let's be honest, Bojack Horseman kind of takes the cake. It's a very funny show. So this is kind of just really cool. She is very, has a lot like, there's a lot of beauty in her designs. It's all very fun and lively. So she's a really fun one to follow as well. Next up, we have Irene Oh. She is actually formerly from Google, Yahoo and Udacity, former boss of design. So she used to be the head of design at those places. She's also a yoga teacher, but based in Palo Alto, so she's in Silicon Valley, which is really cool. And she is quite active as well, and a little bit more kind of, I think more on the product strategy side, since she's kind of a little bit higher up in the old food chain. But she's another person you should definitely be following on Twitter. And last Twitter recommendation is Dan Maul. He seems like a very funny guy. He's the founder of Super Friendly Co, and co-founder of Superbooked. And he's also written a book called Pricing Design. That's kind of his sort of big thing is like, how do you actually price your design as a freelancer, even when you're doing really, really big projects? He kind of talks a lot about that. He seems kind of like a bit of a goofball, which, you know, is good. That's always good. He says, trying to impress the ladies is his profile description. It's not the best. You can do better, Dan. I know you can. All right. So, but yeah, he's super active, and has a lot to say about it. And it's cool that he's giving really like kind of tangible tips and advice, which is what we love here at AJ & Smart. Okay, let's move on to Instagram. We've got a lot of really cool Instagram profiles to show you guys. The first one is GIF UX. Yeah. So, this is just, it's just so clean and nice and simple. It happens daily, and it's all about UX and UI. I mean, I don't really need to say more. It's gorgeous. It's just nice to have these kind of in your feed as a nice little reminder every time you're scrolling that you get sort of these glimpses of things that can kind of try to inspire you and keep you sort of in the know. UX bites is another good one. This is really cool, actually. We are somewhat friendly on Instagram with these guys, and they only started their Instagram three months ago. So, this makes me feel really sad about myself because they surpassed us in followers, but they are doing something a little bit different. They're focusing a lot on kind of like UX and like definitions of UX and UI and really kind of getting into the nitty gritty of how it works. They're also talking a lot about like web design. So, they're talking here, this is really cool. So, it's like why people abandon at the checkout process. So, they talk a lot about client acquisition and that kind of thing in terms of design, which is really helpful if you're, you know, wanting to have a real impact at work. The next one is Remotion, and this is a digital product agency, actually, and they are working with Mozilla, Netflix, and Salesforce. Hello! So, there's someone to follow, obviously. Anyway, so, this is cool. They're like super active on Instagram, and it's very pretty. It's way prettier than our Instagram, but our Instagram, we're not trying to be pretty. I'm getting a little defensive here. I'm getting defensive and it's weird. Okay, the next one up here is the design tip. This is actually, oh, I actually really loved this video. They're posting stuff daily as well, but this is really cool. Let's check out. This is their most recent one. What do they do? Oh, oh, that is, that is cool. That's cool. So, 3D glasses. Okay, so, this is like, I would say these guys are definitely doing a little bit more kind of, kind of like tech forward design. You know, they're kind of playing a lot with different, different formats, which is kind of fun to see as well. Good for the old inspiration front. Okay, then we have UI design patterns. So, this is actually daily UI and UX inspiration, but with a focus on UI. So, really beautiful looking stuff. I mean, yeah, what, this is a video. Is that a burger? My God. It almost looks like you wouldn't want to eat it. It's like, would you want to eat that? I don't know. But it looks nice. But yeah, like some super kind of nice stuff and a nice wide variety of things so that you can actually, you know, if you're looking for something a little bit more poppy, a little bit more sporty, you have that kind of to inspire you. And then if you're looking for something super like simplistic and kind of more monotone, you have that as well, which is pretty nice. Okay, next up here, we have My Interface. But basically, they're focused on web and mobile interfaces. So, if you're working in that, which you probably are, let's be honest, you probably are. Web and mobile, it's crazy. Yeah, but they have a nice variety as well. Ooh, like that. Pineapple. Pineapples are making it come back, aren't they? Really good. Yeah. Okay, next up and last of our Instagram is UI.designs. This is a nice one too. Yeah, you can actually get featured here if you have a really nice Instagram profile. Unlike ours. But this is really nice. Everything's super sleek and streamlined though. Nothing super poppy. So yeah, it's nice to follow a variety of people so you're getting a little bit of everything. But that's a really nice profile as well. Also, it's all video. So basically, you're actually seeing what the website actually looks like as it's moving. Ooh, that's nice. You also have this so they can see actually what it is like moving through the app. Yeah, that's nice too. Nice and sleek. Very cool. So definitely follow them. So, I hope you actually found this helpful. I know that was a lot of links to throw at you. Out of all of those, there's got to be like one that you like. Just kidding, there's probably more hopefully. But these are the kinds of things that we're always kind of looking for. We're always looking to to make sure we're staying ahead of the curve. We're staying a little bit fresh. We know what's going on in the design world. It's a very fast changing world. Everything's sort of moving very quickly. So it is important that you have a kind of a variety of places where you're getting your inspiration and your information. Thank you so much for watching. If you liked this video and you'd like to see more videos similar to it, please subscribe. You could also like this video. That would just help me and Callum who is editing and filming this just feel really good about ourselves. So other things you can do if you want to follow us in other places. I know I didn't talk very highly about our Instagram profile, but actually it's really great. It's really great. It's fun. It's very authentic. We show you actually like behind the scenes of how our agency runs. So you should definitely follow us there. Also, we have a really great podcast weekly. It comes out on Mondays. In case you're wondering what it's called, it's called Product Breakfast Club. It is featuring Jonathan Courtney who is our CEO and Jake Knapp who is the author of Sprint and they're talking all things product, strategy, UX, UI, like big picture, small picture, everything. Thanks again for watching you guys and thank you for your patience and I hope you found this helpful. See you next time. I'm going to show you a lot of resources that we use here in our agency in, you know, ahead of the game and make sure that they're always up to snuff with the most current, cool, trendy. What's another word Callum? Hi, I'm Brittany and in this video today, I'm going to walk you through a whole bunch. I don't even know how many resources I have up here in my computer.


Suspense! Radio's outstanding theatre of thrills bring you an hour of full 60 minutes of suspense. Directed by Anton M. Lida and produced by Robert Montgomery. Tonight, two great suspense dramas. John Collier's Wet Saturday and W. F. Harvey's August Heat. Performed by two distinguished cast of radio actors. Two complete stories joined in one hour of suspense. This is Robert Montgomery with a forecast. A weather forecast. If you doubt my qualifications as a meteorologist, I don't blame you. I have none. But I do have more specific information than the chap in Walt Mason's poem, The Statesman. Perhaps you remember, The Statesman throws his shoulders back and straightens out his tie and says, my friends, unless it rains, the weather will be dry. Yes, I can do much better than that. Even with the same elements, rain and dry weather, I can improve on that forecast. For the next hour, I predict rain, followed by a sudden hot spell. Further, and you can check me on this, I predict that the rain will fall in the first half of the hour and that the second half will be given over exclusively to heat. I guess you could say I predict weather in two acts. Unusual weather too. A unique combination of Wet Saturday and August Heat. Each of these dramas is set in England. Each is complete in itself. And each is conditioned by its own weather and by its own suspense. Because these plays exemplify two classic studies in radio suspense drama, we have selected established radio stars to interpret them. Dennis Hoey as Mr. Princey in Wet Saturday and Barry Kroger as James Clarence Withencroft in August Heat, with supporting casts of distinguished radio players. Next week, when we present the suspense version of the screen drama, Night Must Fall, we shall feature a cast of motion picture actors. As Danny, I will be joined by Dame May Whitty in her original role of Mrs. Bramson, together with Heather Angel and Richard Ney. But now to the first half of our show and my prediction for rain. With the performance of Dennis Hoey as Mr. Princey and with John Collier's English classic Wet Saturday, we again hope to keep you in suspense. On this rainy afternoon, we should like you to meet the Princey family and their visitor. They are of course at home. Mrs. Princey, daughter Millicent, George, the son-in-air, sprawled on a couch, and finally Mr. Princey, biting on a dry pipe. Their living room is dull and overstuffed. Rain beats at the windows. They are any middle-class family at home on a wet day, except for one small item.  They look like the feet of a curate. There is a tenseness in the room. The air is charged with excitement. But the feet are very still. Don't keep staring at them. Listen to me, all of you. Don't you see, they'd hang her. That's what they do, they'd hang her. Oh, Fred, it's too old. Oh, fully, it's catastrophic. A supposedly sweet, gentle, intelligent girl. Respected, loved by the whole village doing a thing like this. Think of the publicity, the disgrace. You think I'm going to resign from the bench? The best way? Sell out, live in some foggy hotel abroad? Oh, no. No, I will.  Any more than you have been, the Governor. Be quiet. You'd be so bad if it were you, George. Everybody in the village knows you're not responsible. George, get off that couch. Sit up on your spine. There might be a little use here, if you could think of it. Oh, but I say, Governor, this isn't my funeral.  As long as I can remember, George, you've been a trial and a tribulation to me. Oh, I can't stand it. I can't stand it. You've got to stand it, my dear. Keep that hysterical note out of your voice. Do you hear? Yes. We, uh, we are talking about the weather. Now, George. Hmm? George, if he fell down the old well, say, striking his head several times, what about him? I really don't know, Governor, what about him?  I'm asking you to think. Hmm. He'd have had to hit the side several times, 30 or 40 feet. And at all the correct angles. No, I'm afraid. I'm afraid not. We'll have to go over it all again, Millicent. Oh, no, Father. No, I couldn't. Millicent, we must go over it all again. You're torturing me. You'll face facts, mate. With him lying there, I know you're pretending it's a picnic. They might hand you, Millicent. Oh, stop that shaking. Stop it here. You must stop it. You must keep your voice quiet, Millicent. Millicent. We are talking of the weather. Now, we will proceed. I can't. Oh, should have thought of that, Millicent. I'm not moving. Set up, George, and stop shuffling your feet. Now, Millicent, look at me. Answer me truthfully. You hear? Answer me. You were on the crookie court. Yes. You... Who knew you were in love with this Richard Gilt? Oh, the whole village knows. They've been sniggering about at the pub for three years.  Millicent, we continue. You were on the crookie court. Yes. You were putting the crookie set in its box. Yes. It was starting to rain.  The box was there. You heard someone enter the garden gate and come across the yard? Yes. Could you see who it was? Not at first. I was going into the sun porch. I threw down all the mallets, but the red one turned around. It was with us? Yes. So you called him? Yes. Loudly? Did you call him loudly? Could anyone have heard? No, Father, I'm sure not. I didn't really call him. I just spoke his name. He saw me when I went to the door. He just waved his hand and came over. How can I find out whether there was anyone about whether he could have been seen? I'm sure not, Father. I'm quite sure. Right. So you went onto the sun porch. Yes. It was raining hard then. What did he say? He said, hello, Millicent. An excuse is coming in the back way, but it said I had to walk over to Leiston. Yes? And he said, passing the park, he had seen the house and suddenly thought of me. And he thought he'd just look in for a minute. He had something he wanted to tell me. Your arm? He said he was so happy. And he wanted me to share it. He'd heard from the bishop that he was to have a big bridge. And it wasn't only that. It meant that he could marry. And he began to stutter and get all confused. And of course I thought he meant me. Don't tell me what you thought. Tell me exactly what he said and nothing else. Well, well... Oh, stop crying. It's a luxury. You can no longer afford. Tell me what happened. He said it's a... No. He said it's Ella, Fragdon Davis. And then he went to go. And then? I went mad. He turned his back. I had the red mallet of the croquet set in my hand. I'd forgotten to drop it when he came in. I... I... I went... Did you shout or scream? I mean as you hit him. No. No, I'm sure I didn't. Did he?  No, Father. And then? I threw it down. I came straight in here. I went to look for Mother. That's all. Oh, my poor baby. And you're sure no one else was about? No, no one. No. Leave the child alone, Fred. Oh, not such a child, mate. Oh, Lily, I had no idea. Keep quiet, I'm thinking. You see, George, he probably told people he was going to Leiston. Certainly no one knows he came here. But he didn't decide until he crossed the park. He might have been attacked in the woods. He must consider every detail.  Don't, Father, don't.  Who would want to kill with us? Who'd kill with us? When I would. With pleasure. How'd you do, Mrs. Pincey? Captain Smollett. Captain Smollett? Well, well. Oh, sit down, pay. Mustn't get up for me, Mrs. Pincey.  My word. Just being neighborly on a bad day. I wanted to ask you about those dahlia bulbs, Pincey. Took a shortcut on account of the rain. Walked right in. Knew you wouldn't mind. He hurt you, Father. Hey, dear, we can all have our little jokes. Don't pretend to be shot. Now, this way, Smollett. This chair facing the fireplace. Sit down, Mother. Oh, just, uh, just breaking the curtains on the sun porch, dear. It looks so gloomy out there. Might as well shut the rain out. No. We were just talking about a little theoretical parson-killing, Smollett. Young people these days like thrillers. Parson aside. Justifiable parson aside. Have you heard about Ella Bragdon Davis? I shall be most properly laughed at. Why? Um, where should you be laughed at, Smollett? Oh. Had her shot in that direction myself. Yes. She half said yes, too. Haven't you heard? She told most people.  Too bad. Oh, well. A fortune of war, you know. Yes. A fortune of war. Odd how it happens, isn't it? Sit down, Smollett. Mother Millicent, console Captain Smollett with your best life conversation. Dorje and I have something to look at outside. This rain will bear very bad.  All right, sir. Come on, sir. Press your lead red, sir. Oh, no, no. Come on, Dorje. Just make yourself at home, Smollett. Make yourself at home. Uh, a cigarette, Captain Smollett? Oh, thank you. Thank you. It's a nasty dude. They're going out. It's, uh, something about the old well. Uh, just off the sun porch door, you know. This, uh, terrible, sudden weather seemed to have loosened some of the stones. Too bad. Too bad. Spoils the tennis and croquette. I mean, a day like this. Wasn't it? You know. Yes, it does. She was practicing out on the croquet quite earlier. But, uh, do pull your chair near the fire, Captain. It was so damp, we thought it would be cozy to light it. Oh, thank you. I'm quite comfortable. I hope you don't feel too bad about Ella Bragg and Davis. Well, can't always win, you know. Can't understand, though, what you women see in these bloodless clerics. Oh, I always thought Mr. Withers was... is a very charming man. Oh, yes, quite agree. But why should anyone want to marry him? You wouldn't want to marry him, would you, Minne? Not now. That is, I, I use... Oh, no, no, of course not. Smollett? Yes? Well, then say. Oh, good Lord, then.  Yes, I do. Oh, don't mind this old double barrel shotgun. I've been working on it. Smollett, um, may I have your attention for a minute? There's something on the sun porch I'd like to show you. Um, yes. Of course. Smollett. George and I went out to see if we could shoot some rats, which would be driven out of the old well with the high water. I'm afraid they might get into the house from now. Now, uh, you must listen to me very carefully. Very carefully. For you will be shot by accident. Um, I'm sorry. What's gotten into him?  You also heard Millicent make a comment, an unguarded comment. Well, um, what's on it? Very little. Unless you were to hear that Withers had met a violent in this afternoon. And that, my dear Smollett, is what you are going to hear. What? Withers? Then? Yes. Well, um, who, um, who killed him? Uh, Millicent. Well, no. Yes, it's a mess. And of course, you would have remembered. And, um, guessed. Maybe. There's, as I suppose I shouldn't. Therefore you constitute a problem. Why did she kill him?  She deluded herself that he was in love with her. Good heavens. Minnie? Yes, of course I see. He told her about the Davis girl. Ella Brandon Davis. I understand. I have no wish as you will comprehend that you should be proved either a lunatic or a murderous. I would hardly go on living here after that. Besides, I'm, uh, I'm rather fond of Minnie. Um, correct. On the other hand, you know about it. Yes, I see. That, um, makes me a problem. Mm-hmm. You're, um, wondering if I could keep my mouth shut if I promised. I'm wondering if I could believe you. But, um, if I promised, if things went smoothly, yes. But not if there was any sort of suspicion, any questioning. You would be afraid of being an accessory. Uh, I don't know. I don't. What are we going to do? Well, I can't see anything else.  I regard that as a better risk than the other. It could be an accident, you know, or you and withers could both disappear. There are possibilities in that. Oh, see, here, you can't... I can! But there may be a way out. There is, Smollett. You gave it to me yourself. All right. I did. Mm-hmm. You said you would kill withers. You have a motive. Oh, look here, I was joking. Listen, Smollett, I can't trust you. You must trust me.  I mean that. You can choose between dying and living. Oh, gone. There's the old well just outside the sun's porch door. That's what I'm going to put withers. No one outside knows he's come up here this afternoon. No one will ever look in there for him unless you tell them now. You must give me evidence that you have murdered withers. I murdered him. Why do you want that? So that I should be dead sure that you will never open your lips on the subject. Oh, see. What evidence? George, hit him in the face. Oh, George! Captain, you should be more careful. Look what your teeth did to my knuckle. And game, George. Oh, I can't stand this. Father, how can you? I'm sorry, Smollett, but there must be traces of a struggle between you and withers. Then it will not be altogether safe for you to go to the police. George, get the crook a minute. Take your handkerchief to it. There it is on the sun porch front. There, Captain. There's your weapon. As I told you, Smollett.  I shall shoot you if you don't. Yes, but good Lord, you can't... Oh, all right. That's it. Now, deposit it at the side of the house, outside. Out of the rain, of course. Wait, George. First you'd better pull a few hairs out of his head and put them under the nails of withers' right hand. Sorry to mess up your hair, Captain.  That's all we need. Enough, Mr. Withers. I'll be right with you. Smollett, you may turn round. Withers is just there in the sun porch. Draw back the curtain. Good Lord. Yes, Missy. Now, you, Smollett, you've just got to drag him through the door and dump him in the old well. Just behind the door, Captain. I won't touch it. All right, stand aside. I'll raise your at any place where I want this shop to go. Only one place. Keep quiet. Keep out of this. My name is not too sure. Wait a minute. That's better, Smollett. Much better. Go on now. Go ahead. You have to take him outside. By the shoulders, I'll do that. Keep quiet, George. Go on, Smollett. Go on. You've seen a dead man before. Drag him. Drag him. I'll tell you how. Just hold the gun here to make sure everything goes all right. Come away from the window, dear. Don't look. Father is a very resourceful man. I'm sure of what he's doing. But, sir, Captain, I can't stand it. Oh, you must have questioned your dear father. You can still add it. There's enough trouble around here without your blubbering. Don't you call me blubbering, George Brunsey. Everything is perfect this evening. Remember, no one knows that withers came here. Everyone thinks he walked over to Leicester. That's five miles of country to search. They'll never look in our well. Do you see how safe it is? I guess so. Good heavens, Ben. You're dripping wet. Why didn't you slip on your raincoat? Tea, Betty, my dear? Injust a minute, dear. I'll bring it to you. Exactly what you need, Smollett, a cup of tea. Best thing in the world, a water for cold. Sit down, won't you? Sit down. Don't mind getting the chair wet. Thank you. Cigarette? Help yourself. I stick to my pipe. Funny how you get attached to them. Oh, yes, Bridget.  You're on the table. I say, Captain, you've cut your leg. I just marked it. Why, how dreadful. Here, Bridget. Here. Give the Captain this cup. No, thank you. I'll be running along if you don't mind. Why, Captain Smollett, without any tea? If you don't mind, Mrs. Brunsey, if I could just have my raincoat... Oh, I'll get it for you, Captain. This is very distressing, Smollett. Very, as well. I'll be all right. Here you are, sir. Let me help you. Thank you, young man. There.  Walk his drive. Let me hold the door for you, Captain. And don't worry, old fellow. Don't worry at all. No, I won't. Nothing serious, I imagine. A little rest and you'll be as bright as rain. By the way, Millicent, you're not looking any too well. Oh, not well at all. I'm sure it was the croaky court. Being outdoors and weather like this is simply foolhardy. Oh, the major's right, Milly. You saw what happened to Captain Smollett. Come along, dear. I shall give you a hot foot bath and put you to bed a couple of days in bed. Get plenty of rest, Millicent. And don't worry about a thing. I'll fix the vest you up. I guess I'll have a little rest, too. It's a fine afternoon for a man. Indeed it is, son. Indeed it is. But enjoy yourselves. See you later. See you all later. Your number, please. Would you give me the police station? The police station? Right away, sir. Please, headquarters sergeant Yancey speaking. Oh, hello, sergeant. This is Princey of Abbots Road. I believe you know me. Indeed I do, Mr. Princey. Um, sergeant, a rather horrible thing has just occurred. Quite extraordinary. Murder, in fact. Murder? I'm afraid it looks rather bad for... well, for a close friend of ours. Unfortunately. We saw him do it. I, uh... I think you'd better send someone over right away. Our man should be there. I beg your pardon. I say our man should be there now. Constable Martin.  I just rang him. Seems Captain Smollett was with him. Captain... Smollett? He reported some rather queer goings on at your place, but I certainly didn't understand it was murder. Now, uh, just don't touch anything, Mr. Princey. And don't worry. Don't worry at all. No. I, I won't, sergeant. Thank you. Right here. Stop shouting. We have some visitors, governor. Yes, I can see that. Well, Constable... Good afternoon. Mr. Princey.  Coming back like this. Here, here to reenact the crime? Only the one against me, Princey. The one against the curate, I'll leave to you, people. Extraordinary sense of humor. Mr. Princey. I just had a look at what's in your well. Not a pretty sight there. Not pretty at all. Yes, Constable. Captain Smollett was thorough, if nothing else. You saw him when he did it, sir? Out in the back? Quite. We were just returning from a walk. Smollett evidently had been laying for the curate, hiding out there in those bushes by the road, I imagine. He was never inside this house? No, never, never, no. And you say, Captain? I say that while I was inside this house, a guest to the family, I was coerced into dragging the curate's body outside and dumping it into the well. Well, there we are. No, not entirely, Constable. I'll just remove my raincoat and, um, demonstrate how damp I got my clothes when I went outside without it. It's interesting, isn't it? Quite. He undoubtedly removed his coat at some point between here and your purse. I might as well tell you that his weapon, a red croquet mallet, is out by the side of the house. I shouldn't be at all surprised, but you might find his fingerprints all over it. All over the end of the mallet, Constable. The end that mashed wither's head. Not the end I'd have to grasp in order to do the mashing. Governor... That's a decent try, Smollett, but it won't work. There must be other evidences, Constable. You undoubtedly find them when you examine the body. He means my hair under wither's fingernails. Well, sir, you know, I happen to notice something when young George's there opened the door for me. If you'll look carefully, I believe you'll find a few of my precious hairs under his nails, too. What do you charge a suggest?  Constable, this is not a waste of time. So far as violence struggle between Smollett and withers his concerns, Smollett's face speaks for itself quite eloquently, I believe. Oh, yes, but no more eloquently than your son's knuckle. As you see, Constable, look here. A fresh abrasion. He did that on my teeth. Or, uh... did he? What? I say, or did he? You know, he might have done that on wither's teeth. Ha-ha! Ha-ha! See, I see what you mean. But I didn't, Governor, he said that I... Keep still, you nitwit. Let me think. Let me think. As a matter of fact, George, the more I think of it, the more I'm convinced it was your voice I heard. Quite a vigorous quarrel, something about the curate jolting your sister. Don't be ridiculous, Smollett. Very well, Prince Ian. If he didn't do it, who did? That's what I'd like to know. How about it, Mr. Prince Ian? That... that is a sticker, all right. George, my boy, it looks like you're elected. Elected? What do you mean, I didn't do it?  I won't. I'm not going to take the blame for her. Millie did it. She did it with that mallet I saw. You can prove that. Well, yes, her fingerprints on the mallet, on the handle. Why, George, don't you remember when you made me touch the mallet? When you picked it up with your handkerchief? George, I'm sure you wiped that handle clean. Oh, well, yes. I could hardly expect you to remember that you can't even remember killing the carrot. Governor... I told you to keep still, George. I'm thinking. Governor, you're not going to stand there and let him say that. As long as I can remember, George, you've been a trial and a tribulation to me. You shouldn't have done it, George. You really shouldn't have done it. Now, let's all have a cup of tea. Nothing like it in weather like this. It's wet Saturday, the first of two half-hour stories combining dramatic weather and dramatic suspense. Our thanks to Dennis Hoey for an excellent performance and to Harold Medford, who adapted John Collier's story. True to our prediction, we will return in a moment with August Heat, a second study in suspense. This is CBS, the Columbia Broadcasting System. And now, back to our Hollywood soundstage and to our producer, Mr. Robert Montgomery. The rains of wet Saturday are gone. In their stead, a blazing sun burns down on the damp earth of the English countryside, steaming the atmosphere with a heat that's humid and smothering, like a tight outer garment, like a shroud which cannot be loosed and cast aside. Such a heat weighs upon your entire being and saps from you the last strength of hope and freedom. This is the setting for the companion piece to our first drama, Wet Saturday. This, then, is August Heat, the second of two suspense dramas complete in this hour. And now with the performance of Barry Kroger as James Clarence Withencroft and the reappearance of Dennis Hoey as the man, and with W. F. Harvey's August Heat, we promise a narrative well-calculated to keep you in suspense. Fennestown Road, Clapham, August 20, 1947. I have had what I believe to be the most remarkable day in my life. But the events are still fresh and I wish to put them down as clearly as possible. Let me say at the outset that my name is James Clarence Withencroft. You must remember that in order to have the full implication of my story. James Clarence Withencroft. I'm 35 years old in perfect health, never having known a day's illness. By profession, I'm an artist, not a very successful one, but I earn enough money by my black and white work to satisfy my necessary wants. My only near relative, sister, died five years ago so that there is no one in particular to whom I address this manuscript. Only you who might by chance read it someday. For because of the peculiar circumstance about which you will soon hear, I have the strong premonition that I shall never live to tell anyone about it. I breakfasted this morning at nine, at the usual time. It was no different from any other morning, and after glancing through the morning paper, I lighted my pipe and proceeded to let my mind wander in the hope that I might chance upon some subject for my pencil. The room, though door and window were open, was oppressively hot, and I just made up my mind that the coolest and most comfortable place in the neighborhood would be the deep end of the public swimming bath when I was suddenly shaken. A feeling swept over me such as I'd never experienced before. I attempted to rise to my feet. Then my heart seemed as though I'd suddenly been fastened to my chair. My hand went out in an effort to brace myself, and then, before I knew what I was doing, my pencil was in my hand and I began to draw. It was as though someone had taken my hand and was moving it across the paper swiftly in bold strokes. Then I seemed to take over, and my hand, under its own power, began to draw. So intent was I on the sketch which began to appear before me. I soon forgot the oppressive heat, the roughness of the table. Everything was forgotten, this frantic feeling. The sketch must be finished as soon as possible. No idea how long I worked until I heard the clock of St. Jude's in the distance. It was four o'clock, and I'd started just after breakfast. Now for the first time since I'd begun, I actually seemed to see what I'd been sketching. I was surprised. The final result was I felt sure the best thing I had ever done. It showed a criminal in the dock, immediately after the judge had pronounced sentence. The man was fat, enormously fat. The flesh hung and rolled about his chin. It creased his huge, stumpy neck. He was clean shaven, perhaps I should say a few days before he must have been clean shaven, and he was almost bald. He stood there before the judge, his short, clumsy fingers clasping the rail, looking straight in front of him. The feeling that his expression conveyed was not so much one of horror as of utter, absolute collapse. There seemed nothing in the man strong enough to sustain that mountain of flesh. And then I saw that the sketch was not complete. For the man's other hand seemed to be clutching an instrument of some kind of weapon, but it had not been completed. I had made this sketch, yet I had no recollection of what I had intended the man to carry in his other hand. I took my pencil again, and I attempted to fill in the fuzzy outline. It was useless. It was as though my fingers had suddenly turned to lead. I sat down. I felt the moisture slowly forming on my forehead, and I was conscious of the oppressive heat again. And then I knew that there would be no finishing of the sketch. In any rate, not for the moment. So, I rolled up the sketch, and without quite knowing why, I placed it in a pocket. In spite of my peculiar inspiration, I was filled with the rare sense of happiness which the knowledge of a good thing well done gives. I believe that I set out with the idea of calling upon Trenton, for I remember walking along Litton Street and turning to the right along Gilchrist Road, the bottom of the hill where the men were at work on the new tram lines. From there onward, I have only the vaguest recollection of where I went. Through parks, along crowded streets, always fully conscious of the awful heat, came up from the dusty asphalt pavement as an almost palpable wave. And I remember too the hollow sound of my footsteps as I moved along. Although walking aimlessly, I somehow knew that there was a goal, something to which I was drawn. I longed for the thunder promised by the great banks of copper-colored clouds that hung low over the western sky. I must have walked five or six miles. I really no idea how far I walked. When a small boy roused me from my reverie, twenty minutes to seven, yes, when he left me, I began to take stock of my bearings. I found myself standing before a gate. It led into a yard bordered by a strip of thirsty earth. There were flowers, purple stock, scarlet geranium, and great numbers of bees droned over them. I stood looking down at them a moment. Then for some reason I looked up. Over the entrance to the place, there was a board with the inscription Charles Atkinson, monumental mason worker in English and Italian marble. From the yard itself came a chilly whistle, the noise of hammer blows, and the cold sound of steel meeting stone. A sudden impulse made me enter. I went in the direction of the noise. There was a man sitting with his back towards me. He was busy at work on a slab of curiously veined marble. He was not conscious of my presence as I stood there, watching him for some time. Then, without turning, his hammer stopped in mid-air as he was about to bring it down on his chisel. He looked up, and then he held his position a moment before turning. But I knew that he was aware of my presence. And when he turned, I saw his face. It was... although I had never seen him before, it was the face of the man I'd been drawing. It was the face of the man whose sketch was in my pocket. He sat there on his low stool, huge in elephantine, the sweat pouring from his scalp, not speaking. Then he took a red silk handkerchief and he mopped his brow. Although this face that looked up at me was the same as my sketch, the expression was absolutely different. And suddenly, the puzzled expression left his face and he smiled as if we were old friends. He walked over and he took my hand. Good day, sir. Good day. I'm sorry to intrude. Not at all. Everything's hot and very outside. This seems as an oasis in the wilderness. No, I don't know about the oasis, but it certainly is hot. Take a seat, sir. He pointed to the end of the gravestone on which he was at work. And I sat down. Very hot. It's a beautiful piece of stone you've got hold of there.  The surface is as fine as anything you could wish. But there's a big flaw at the back, though. I don't expect you to ever notice it. I shouldn't think so. I could never really make a good job of a bit of marvel like this. It would be all right in the summer right now. It's a bit of a blast to eat, but wait till the winter comes. Winter? Yeah, she's nothing like a bit of frost to find out the weak points in stone, and gravestone, you see. Oh, I see. Then what's this one for? You'd hardly believe me if I was to tell you it's for exhibition, but it's the truth. Artists have exhibitions, so do grosses and butchers. Well, we as them do. All the latest little headstones, you know. And the talk of marbles. Which sort of marble best withstood wind and rain? And which were easiest to work? Then have his garden and a new sort of carnation he'd bought. At the end of every other minute, he would drop his tools, wipe his shining head. This seat. This seat's buried. Our man's not responsible for what he does in this seat. I said little, for I felt uneasy. It was something unnatural, uncanny in all of this. The feeling that I'd experienced it all before. Exactly as I was experiencing it now. The oppressive heat. The fragrance of the purple stock in the air. The conversation about the marble. The flowers. Everything as though I'd experienced it before. And yet I knew that I'd never even been in a section of the town before. I tried to persuade myself that at least I'd seen him before, that his face unknown to me had found a place in some out-of-the-way corner of my memory. But I knew that I was practicing little more than a plausible piece of self-deception. As I sat there quietly watching him, he looked up at me and he said, Air, what do you think of that? He said it with an air of evident pride of a job well done. I could sense that he was experiencing the same feeling I had experienced when I'd finished my sketch. Then he got up with a sigh of relief. Art, art ain't it? I was seated in such a position that I was unable to see his work. And for some reason I didn't move. Suddenly he began to read what he'd carved on the tombstone. He spoke deliberately and with a flat voice. In the midst of life we are in death. Born January 18th, 1912. I looked up with a start. This man had read my exact birth date. He passed away very suddenly on August 20th, 1947. That's today. I usually use the present date on these exhibition stones. Do you usually put a name on them too? Yes. Sacred to the memory of James Clarence Wivencroft. I just sat there in silence. The sound of birds and crickets seemed loud in my ears as we stood there, looking at each other, saying nothing. And then he mocked his brow again. Art, I was finally able to speak. Well, where did you see that name? I didn't see it anywhere. I just wanted some name and I put down the first one that came into me eight. It's a strange coincidence. But it happens to be mine. It's your name? Your James Clarence Wivencroft. Yes. Wow, and the dates. I can only answer for the birth date. It's correct. It's a run-go? I made a sketch this morning. Of you? Of me? What, you've never seen me before? No. Oh. I took my sketch from my pocket and I showed it to him. As he looked, the expression on his face altered and it became more and more like that of the man I had drawn. It was only the day before yesterday and I told Mariah there was no such things as ghosts. Neither of us had seen a ghost, but I knew what he meant. Then I spoke to him. You probably heard my name someplace. Yes. You must have seen me somewhere. Forgotten it. Yes. Well, you would collect an on-see last July? No. No, I've never been to Clacton in my life. Then we were silent for some time again and we stood there looking at one another and at the two dates on the gravestone and the birth one was right and the other was today. Come inside and have some supper.  Her husband introduced me as a friend of his who was an artist and informed her that I was staying to supper. I spoke, making some comment that I hoped I would not be an intrusion and she looked up at me. She said, You have a pleasing voice, Mr. Wittencroft and you're welcome in my own. I'm sorry Charles has not brought you here before. Very little was said during the meal and after the sardines and watercress had been removed she walked over to a cupboard and she took down a thin black book and as she handed it to me, she spoke. Would you read aloud, Mr. Wittencroft? Puzzled. I looked down at the book which she'd opened and placed before me. It was a very tiny book. The prophet was called by an author unknown to me with a strange eastern name, Khalil Gibran. My eyes fell across the page and suddenly I was reading aloud as she'd asked me to. Then Al-Mitra spoke saying we would ask now of death and he said you would know the secret of death but how shall you find it unless you seek it in the heart of life? The owl whose nightbound eyes are blind unto the day cannot unveil the mystery of light. If you would indeed behold the spirit of death open your heart wide unto the body of life for life and death are one even as the river and the sea are one. In the depth of your hopes and desires lies your silent knowledge of the beyond and like seeds dreaming beneath the snow your heart dreams of spring trust the dreams for in them is hidden the gate to eternity. Your fear of death is but the trembling of the shepherd when he stands before the king whose hand is to be laid upon him in honor. Is the shepherd not joyful beneath his trembling that he shall wear the mark of the king?  And what is it to cease breathing but to free the breath from its restless tides that it may rise and expand and seek God unencumbered? Only when you drink from the river of silence shall you indeed sing and when you have reached the mountaintop then you shall begin to climb and when the earth shall claim your limbs then shall you truly dance. I looked up as to Atkinson had gone but his wife stood before me and as she took the book she spoke. Thank you. Then I went outside and I found Atkinson sitting on the gravestone and smoking he looked up at me. A man's not responsible for what he might do in this heat. She never asked anyone to read aloud before. And then we talked about the sketch again. You looked at it. And likeness is me all right. On trial. You must excuse my asking but do you know of anything you've done for which you could be put on trial? Yeah, nothing. Not yet. He got up, fetched a can from the porch and he began to water the flowers. Twice a day regular in the odd weather and then he sometimes gets the better of the delicate ones and turns good or they could never stand it. Where do you live? I told him my address. He would take an hour's quick walk to get back home. Then he stopped watering and he faced me squarely. It's like this. We look at the matter straight. If you go on tonight it takes you a chance of accidents. A car may run over you. Always banana skins and orange peels to say nothing of falling ladders. He spoke of the improbability with an intense seriousness that would have been laughable six hours before. But I did not laugh. The best thing we can do is for you to stay here till 12 o'clock and it'll be tomorrow, you see? We'll go upstairs and smoke. It may be cool out inside. To my surprise, I agreed. Our sitting in a long, low room beneath Kinson has sent his wife to bed. He himself is busy sharpening some tools at a little oil stone smoking one of my cigars. The wife. And as I look at my sketch before me I suddenly see the fuzzy outline of what the man in the picture holds in his hands. While I had not been able to sketch it before I am able to do so now. It is a chisel. It is stained with dark liquid. The sketch is completed now. The air seems charged with thunder and I hear it in the distance. It is ominous but it carries the hope of rain. Perhaps this damnable heat will be broken soon and the day will soon be over. It is close to 12. In seconds the day will be over. I am writing this at a shaky table before the open window. The leg is cracked and Atkinson, who seems a handyman with his tools is going to mend it as soon as he has finished putting on his chisel. It is 12. It is over and I shall be going home. The heat, this heat is enough to send a man-man. This is Robert Montgomery again with thanks to Barry Kroger and Dennis Hoey for superb performances in August Heat. And to Mel Dinelli who adopted WF Harvey's story. Our appreciation and our applause too goes to the cast of both plays who made our weather experiments so very successful. Next week we'll turn a full-hours attention again to the English scene and to Emlyn Williams' great play, Night Must Fall. You'll meet Mrs. Bramson, Olivia Grain and Hubert Lorre. And you'll meet Danny, Danny with the quick smile, happy, cheerful Danny whose appearance is as pleasant as the melody that's always with him. That's Danny. Yes. That's Danny. Next week with Dame May Whitty, Heather Angel, Richard Naye and myself and with Night Must Fall we'll again hope to keep you in suspense. Good night. Mr. Montgomery may currently be seen in the Universal International Production Ride the Pink Horse. Wet Saturday by John Collier was adapted for suspense by Harold Medford. August Heat by W. F. Harvey was adapted for suspense by Mel Dinelli. Both were directed by Anton M. Lieder and produced by Robert Montgomery. Lud Glosskin is our musical director and conductor and Lucian Morrowick composes the original scores. Next week here, Night Must Fall starring Robert Montgomery with Dame May Whitty, Heather Angel and Richard Naye on Radio's Outstanding Theatre of Thrills. One hour of... Suspense! Dame, you won't want to miss. That's Report Card, the next production of the famed CBS Documentary Unit. Overcrowded schools, out-of-date equipment and a shortage of trained teachers. All of these are contributing to a breakdown in American education. For a dramatic report here, Report Card, Wednesday, March 24th over many of these stations. 99 million people gather every week, the Columbia Broadcasting System.


Hi everybody it's Sam at Mixed Up Craft, thank you for watching my tutorial. For this week's hobby-based card I've got this really elegant Christmas boar ball card. I've got some embossing there with the background, it's got a lot of dimension to it, this is all on foam, so is this white piece, you've got the texture from the ribbon and then there's also these little lovely little faceted flat back gems there just to kind of add something to the boar balls, you could obviously colour these in if you wanted to, but I just wanted to stick with the blue, white and silver, I just think that looks really nice together and I've also stamped on my envelope as well, just I think it just again makes it all look quite special. So this stamp set I'm using today is the Gemini, it's the Gemini Collection and it's called boar balls, I knew I'd seen it somewhere, it's right there just boar balls, there we go, but the good thing about this is you can have it as an edger so it can be right on the edge of your card, so that's one way of doing it, but also you can cut it right out like this and obviously have it just as a die cut, a stamped die cut which is what I'm going to do today. So I'm going to take that one off because we're going to need that in a minute and then we'll die cut all of those bits in a second, let's just pop that one to one side and this is everything you're going to need. So again this one is a six by six card base, if you don't already have a pre-made six by six you just need a piece of 12 by six and along the 12 inch side score at six okay and then the piece inside you just want a white piece that's five and three quarters squared and then just stamp your image and that will give you your card, this is going to be a top folding card as well. Okay then I have got my silver mirrored card so this is this piece here you can just see the frame, that will need to be five and three quarters by five and three quarters squared and that's going to go just nicely on top and then this piece here is five and a half by five and a half squared and that will go on top so you can see there you've got your nice borders okay so and then those bits I don't actually need the score board at all let's just get rid of that. Okay so I already went ahead and done a lot a lot of bits because you don't need to see me do all of this I want to show you how that stamps and how I'm going to fussy cut around it as well to add another piece to it but I just wanted to show you there you can see it's like a knitted jumper texture really really nice and so yeah any kind of appropriate embossing embossed background would look really nice with that one there. So what I want to do first of all is stamp my image so I'm just going to bring in my platform here because I want to make sure that I get a really good impression. I've got a piece of white cardstock here and pop my magnets down take that one off and just pop it anywhere because it's all going to be cut so it doesn't matter too much. Pick that up and then I've just got a gray ink pad stamp that a couple times actually I've got a good good impression first time so I'll just go over it again for good measure let's get it a little bit darker there we go perfect so pretty they really are the nice little nice little images okay so let's just remove that one and then I'm just going to bring in my cutting plates here because I'm going to do this all here and then I can just cut it off camera but I just want to get this one in place I'll stick it with some washi tape in a minute but get the two frames so there's that one that one and so that one is just it shows you in the picture the shapes but that one is going to go around that side making sure you want to get an even white kind of frame like so I'm going to stick that down because once I start playing around with the other one it's probably going to move a bit so about right and always put your washi tape away from your image because the last thing you want is to rip your stamped image when you run it through its machine and then this one join up but you do have to snip it once it cuts through there might be a little bit that's still attached but they just will go you can see there they go perfectly together making a whole die cut I'm giving you that same equal white border like so okay so I'm just going to get that cut okay so then I can just very carefully so it's cut everything out but there's just a tiny little bit at the very top there so just with my snips I'm just going to take that off and then you can just tidy that up and also I'm going to be covering that top bit I mean it's it's perfect now anyway so it wouldn't matter but um yeah and then you get your die cut image so next we can start assembling everything so it's all pretty straightforward like I said I want to make sure this is top folding which it is so first of all I'm going to stick this one down first okay so that's that one stuck down then with this piece I've already gone ahead and put some foam adhesive so you can see there I've just got my strips on the back but what I want to do first of all is I'm just going to take off the outer strips and then I've got just hold it in the middle I've got this really pretty ribbon which I'm going to have along the top and then I want this to be hanging down so I'm just going to kind of sit it on top so I know roughly I want the ribbon to be there and then this is going to cover the top like so but we're also going to frame this against this here and I'm going to fussy cut that piece but this bit here you just want to make sure so I'm going to bring it along a bit and then just fold it around so it just sticks to that foam underneath just basically just tacking it and then I can just trim a bit there and keeping it nice and straight again just fold that bit around doesn't matter that this is all loose because this is going to stick on top and once that bit sticks down you know you don't need to worry about that but now I've got this lovely to bring that up a little bit there we go really sparkly piece okay so now we can stick that down and I'm going to just add some wet glue over the top of that fabric ribbon and then just take off the other backing make sure again your card's opening the right way and then just sit that down over the top with that nice same border and see all that lovely texture there we go that's better really nice next I'm going to fussy cut this so I'm going to use some of my red tape because this is the the card I've got here just use wet glue if you've got normal card stock but my one here that I've got it's got a slightly shiny surface and I'm just you know I'd hate for the wet glue that I would usually use to you know not stick to it very well and it end up falling off so I'm just going to tack it you can see there just with the two strips but this is very strong so I know it won't go anywhere stick that down there we go I knew I cut it just right and then with my scissors here I'm just going to go around and just it's about one eighth of an inch little border but because this is quite an easy image to fussy cut that's why I didn't mind doing it but I just wanted to frame it I just thought it it kind of was a bit lost on its own just on that white card stock okay and then the top bit there you can just actually cut you don't need to have a border around it because you're not going to see any of that okay so now look when I sit that on there it just pops so much more off of that card and then that piece that bow there is going to conceal it now I need to take a little bit off I'm going to kind of round around the corners there just whatever will work for you so that the bow there completely covers it up then I need some more foam adhesive because the ribbon that is sitting on there is quite thick so I just need to kind of level it off a little bit okay so again it's entirely up to you might want to have it in the middle I'm going to have mine the same as before like so and then I've got my hot glue gun on I'm just going to pop a little bead of hot glue because it's always good to use hot glue when you're using fabric and just lift that up yeah that's perfect like so I've already done my little sentiment here Mary and bright which is the same as what I used before just from my stash and again it's on some foam adhesive and that is going to go down the bottom here make sure you get and try and keep whatever the spacing is here again with your mats and your layers have that the same as the space that you have between the the right and the bottom here and it will just kind of you know just keep everything together so that's that piece there and then I just need some of my sequins or my sequins my faceted little stones here so it's got my my pokey tool and grab a smaller one and that one's going to go there and it's just by adding these little kind of details it really does make a difference got a bigger one down there and I do another small one just there there we go let's just bring that up to show you it's just a really elegant shiny textured Christmas card and then the inside there and I love that I think that's just it's gorgeous and there's the blue one again just to show you how they look so very very different all focused around that really lovely stamp which I'm going to be using again so you'll see some more ideas with me from me with that one but um yeah there you go so and obviously you can stamp the envelope as well which is a six by six envelope in this case but obviously whatever size you're using I think that looks really nice as well so as always hope you've enjoyed this week's hobby based card and I'll be back again next week thanks for watching bye