Welcome to my talk, I'm Julian Chill, I'm British, I like Tweed as you can tell by my three-piece Tweed suit. You can get one of these too if you just come to the UK, it's great. So I live in a small little town called Bath and just so you know it's not London, I don't live in London, I live in Bath. It's called Bath because it's got a giant bath and yes we also do have baths and showers in our homes. I work for a small, as you can see I like clothes, I work for a small clothing company called Red Hat. We do some open source software, you may have heard of us. At Red Hat I work on a team called ManageIQ where we manage clouds. Again being British we've got lots of clouds so I'm good at managing them and if you'd like to come and manage clouds and get a sweet red hat then come speak to me afterwards and we can try and hire you and you do get a red hat working at Red Hat, it's really cool. So this talk is called It's More Fun to Compute which those of you who were born like over 30 years ago will know the band Kraftwerk, a German synthesizer band and this is a track taken from their album Computer Vault. So what we're going to talk about today are synths. Not these cool synths from Fallout 4, but these kind of synths, oh there's some feedback, is that me or is that you? So these are analog synthesizers. So to get started with analog synthesizers, oh yeah first of all I should mention on stage here I've got a few of my synthesizers, I've got my Arturia Mini Brute, I've got a Korg Volca Keys, so this is a monophonic synthesizer, this is a polyphonic synthesizer so it's got more than one synth, which makes it pretty cool. This is a Volca Beats, it's a drum machine and unfortunately I didn't bring these today, these are little bits which are these little magnetic connectors that you can connect up and build all sorts of cool circuits. They teamed up with Korg to make the Korg synth kit so you can give it to your kids, they can plug them in and they can make such annoying noises, it's so cool. So if you don't have kids buy it for your friends for Christmas, they'll love you. Right, so to get started with synthesizers we need to learn about oscillators and I don't know much about oscillators except that they oscillate and so they basically just go around many many times oscillating and then when we take the output of the oscillator that makes stuff happen and you can look on Wikipedia and it will tell you exactly what oscillators are but they're just like these little analog components that ended up being so so amazing that a chap called Moog put lots of them into a machine like almost as big as this room and made sweet sweet music. So the things that these oscillators create are called waves and it can create a few different types of waves so as a software engineer you may know about square waves you know like on and off, that's sort of one type of wave. We can also create sine waves, these are more like as we think about analog type things where there's multiple variables between the sort of the up and the down. Synthesizers can also create triangle waves which I think kind of look pretty cool. We can also create sawtooth or as I think it really should be called no kogori waves and the cool thing with saw waves is they can go one direction and they can also go the other direction. I just switched the picture but isn't that cool right? Like depending on which way you do it we can hear some of these in a moment. The sound will sound different depending on which way the saw is facing and of course there's the dearly beloved Google wave. May it rest in peace. And the final sound that we can make is noise. So back in the day before Netflix and Hulu we used to watch this thing called television where we'd receive radio waves from the sky and in between channels or when they turn the channels off this is what you would get. This is noise, it's just everything, all of the waves of just everything and some people believe it originates from the Big Bang and we can use this noise to make kind of cool music. So let's have a little demo. So I've got a little app here which I'm running in something called Ruby Processing which is an audio, sorry, which is a graphics library that you can use to create. Hang on a second. See this should be coming in from input. Everything's trying to work here in a second. So as you can hear, as I talk we're getting the waves on the top and then at the bottom is the frequency, so the higher the frequencies the more on the one side of the screen the lower the more it is on the other side. This should be coming in via this. Let's just change this over. So if we play a triangle wave, the demo guards against me, so unfortunately it seems to be picking up the computer microphone as opposed to, let's try again, it could be, everyone be quiet, okay let's try that, don't use, okay let's try again, whoa, sorry, right. So you can see it's kind of, actually this is meant to be the sawtooth and then if we change it to a square wave, pardon, I need that, I mean maybe GarageBand is getting in the way, go away GarageBand, ah thanks Andrew, right, so then this is a triangle wave, why do you hate me today, ah it's too low that's why, ah there we go, sorry, I apologize, yes I knocked the cable on my device, that's why, okay quickly, photo booth, right, now you can see what I'm doing, I don't like computers, they don't like me, right, so now you can kind of see, pick this up, right, let's try that again, so let's play a sawtooth, square wave, now this is just a little bit of Ruby code that's reading this, so you can see it's still kind of more analog looking, but you know if we added more processing power and took more samples we could probably get a finer grain square, so if Tom and Charlie around, make JRuby better, so this works better, then the triangle wave, and the cool thing is, if we just move this out, the cool thing with waves is that the, if any of you went to Joan and Salk earlier, you'll already know all this, this is amazing, the higher the frequency, the more stuff there is in a small amount of space, so if we go all the way down to the very bottom octave, you can see that we can only fit like two waves, so if we go all the way up to a higher octave, there's lots of them, and then for those wondering this is what noise sounds like, doesn't that just take you back to the television not being on, having to wait for the cartoons to start, and then we can also mix all of the waves together, anyway, right, great, yes that worked, we're doing good, okay, let's see what else we got, right, so then we're good, so the next thing we need to learn, so we can now make sounds by pressing buttons, and we can have the different waves, but we can also change the way the wave is generated using what's called envelopes, we've got attack, delay, a decay, sustain, and release, I know you're thinking that's probably some kind of sweet move on some like arcade fighter, but actually it's more simpler than that, so when we're playing the sound, say for instance the sawtooth, you can just hear that it's just sort of like a constant sound from the very beginning that I pressed the note to the time I take it off, so if we increase the attack, that means that increases the amount of time it takes to go from zero to the highest point that that sound can make, decay is the amount of time it takes to go from that highest point down to the level that you have set, so all of these are time, all except sustain, which is an amplitude, so then sustain is the level that the sound is playing, and then release is the amount of time it takes after you've taken your finger off the button, so if we can just see that with our super sweet JRuby app, so if we were for instance to increase the attack and delay, it will take a little bit longer to make the sound, so you can hear it gradually gets to the sound, and then if we were to add some release, when I take my finger off, the sound will still keep going, so you can see that the sounds are sort of carrying on with each other, so that's really cool, so that with using just the different waveforms and the different envelopes, you can basically create any musical sound that you've ever heard of, which is why these are called synthesizers, because they synthesize sound, three-blind mice, cool, so you're thinking this is all really interesting, we would love to hear you playing your musical day Julian, I'm like I know, but you're like this is a ruby comfort, so let's talk about ruby, so I don't know if any of you heard of a application called sonic pie, or as I prefer, sonic pie, it's a ruby application to make music, and it runs on top of something called super-collider, which is a digital synthesizer, so all of these instruments here are analog, everything is created via circuits, and you're actually changing the electricity as it goes through, and it's all really, really cool, whereas digital synthesizers all live inside my laptop, and I don't know how any of it works, because computers, anyway, with that kind of little bit of knowledge we had about the different waves, the different notes like on the keyboard, and using the envelopes, we can now see there's this little bit of sonic pie code, so when sonic pie came out, I was like cool, I'm a musician, I love playing instruments, I love code, let's go and do these two things together, and I was like, ah, how do you make actual good music with code, this is really, really hard, so let's have a little, let's close this so it doesn't eat computer, right, so here's sonic pie, so you start it off by writing play 60, so 60 is just a note, I think it should be middle C, possibly, and you can also use the literal names, and so if we run this, if we turn it up, yes, that's playing middle C, and then this is the code that we had in that slide, where we're using the sawtooth wave, and we're playing it for 16, we've got a slight attack, slight decay, slight sustain, and slight release, so as you can see, that's basically what we were doing on the synthesizer, but with controls and stuff, and so you can do this in code, and I'm thinking, this is so cool, now I've gone and bought my really expensive instruments, I can now play sonic pie, and then this was as far as I got, because it's really hard, so let me show you what can possibly be done, I don't know if any of you recognize this little tune, this was written by one of the sonic pie contributors, and as you can see, it's just Ruby code, and the great thing with sonic pie is it's meant to be able to, so like 10 year olds can write this, so if a 10 year old can write threaded Ruby code, then I don't know why we can't, so there's not much to this, it's just some notes playing, and changing like the envelopes, and the volume, and all sorts, and so this is what we can eventually get up to, but as you can see, so far I'm just here, okay what's next, let's have a look, oh yeah, I did the demo, right, okay, so you're thinking, okay that's totally sweet, so now we can go over here and play instruments, we can go over here on the computer and write code in sonic pie, but wouldn't it be cool if we could write code on the computer to talk to the instruments, I wonder if that's possible, when it turns out it is, there's a protocol called MIDI, so as I was saying these are all analog instruments, and back in the oldie days you used to connect them with basically electrical cables, and you would send either like plus 12 or minus 12 or anything in between, and that would tell them to do different things with different manufacturers, use different voltages, different cables, so the music industry standardised on MIDI, which stands for musical instrument digital interface, but before I talk about MIDI, I'd like to talk about this lady, Wendy Carlos, she is an amazing musician, she jumped on the synthesiser bandwagon when it came out and wrote some phenomenal music, her first album which really brought synthesisers to the mainstream was switched on Bach, it's classical music but made with synthesisers, so you might not be so much into Bach, so you might not have heard of this, but you've probably seen or heard of the film Clockwork Orange, she also wrote the music for this, and if you're not into dystopian government futures, then she also wrote the music for Tron, so this is all just amazing films with amazing music that you can do with these instruments and hopefully sonic pie, so that's really cool, back to MIDI, so MIDI is a serial protocol, it's like you need two cables, one to send data one way, one to get it the other way, and it's a five pin cable, because this is the 80s, we didn't have USB, you can now run it on USB, but it still acts as if it's these two individual cables, so MIDI message is pretty simple, you have the status byte which is the note, so whether it's on or off, and you can control various other things as well, that's basically whether someone, because all of MIDI is based on keyboards, so it's like if you press a note and you take it off, you get two messages for that, then you have the note number, that's where in the keyboard you're playing, which is what we saw earlier from sonic pie 60, or C3, is the note, and the last one is velocity, some keyboards, the harder you press it, the louder the sound and the softer you press it, the gentler and quieter the sound, so some keyboards support that, so you can just send this data across the wire, so let's see what we can do with that, so I've written a couple of Ruby gems, so I have, where is it gone, so as I said, I have these, I named them already, here I go, yes, excellent, so let's get the camera on so you can see, oh yeah, ignore my cat photos, don't look at those, so this is my synthesizers here, this is the Korg Volca Beats, sorry Korg Volca Beats, and this is the Korg Volca Keys, and Korg have got like five different instruments, all of this size, and they all support MIDI, and so I've written a Ruby library that wraps these, oh can you see that code is a big enough? So we create a new device, we find the first one that is available, and then we can set the sustain to maximum, we can play the note C4, then we can play the note C4 and actually change the envelope, because even though these are analog synthesizers, all of the controls are digital, so we can actually change that via Ruby code, and then we can play a chord, so if I just tinker about with all of this stuff, change this there, hopefully if we play this code it should make some noises, let's go to the right folder, right CD, Korg Volca, so this is available on GitHub, and I would love poor requests to add all of the other instruments, and I'd love poor requests to get rid of all of my terrible code, and bad spellings, because I'm British so everything has extra use in it, and Ss, so right, so if we run this, let's see what happens, hopefully something will, nothing happened, yay, oh was it you could hear it, cool, okay, then let's fix that, thank you, I thought I'd messed up then, right, yay, that wasn't very musical, but we basically sent music notes to an actual instrument via Ruby code that I wrote, and I'm a terrible developer, let's just do that again, so that's really, really nice and simple, but you don't really want to be writing code in Atom to make music, because it's very sequential, and then you've got to then have loops, and you've got to then deal with threads and timing and computers, and so I was like, what can I do, instead of writing code in Atom, which is a great editor for writing code and then shipping it off to Heroku, but it's not great interface for writing music, then I remembered that Sonic Pi is a really good application for writing code to write music, and I wonder if we could get Sonic Pi to talk to my instruments using MIDI, so I had a look at Sonic Pi and unfortunately it does not yet support, does not yet have MIDI support, because it turns out that's quite complicated, so what I did being a true hacker, an elite hacker at that, is I wrote some more code, which I can show you now, which, let's go to Sonic Pi, so in Sonic Pi you write normal Sonic Pi Ruby code, where's it gone, like this, but instead of sending the note data to SuperClyder that's running underneath Sonic Pi, we send it to DRB, and then from DRB that comes all over here, and we take that information and we do stuff with it, so the cool thing is, at the moment we've got three instruments, and so I need to know what those instruments are, so if we just comment this out, and do this, when I rerun this, it will tell me which devices I've got, can you see this, so I've got my mini-brutes, and as you can see I've got two mini-brutes there, that's because I was saying time, that time, the data goes both in and out, whereas the corgs are only inputs, but you're thinking there's no corg Volcker keys on here, that's because I've got a tiny little MIDI switch, and so the problem is, every time you plug in more and more MIDI devices, they all change their names, and where they are in the order, and you could have them connected via multiple switches, so in our library what we do first is we run this command here to see which devices there are, we're coming that out, then, because this is Ruby, we then stick it in a YAML file, so now I know what the devices are, so we give it a name and a key, so we can call it later what the device is and which port it's on, so that's pretty cool, so all this does is just create a DRB server that basically reads the YAML file, takes the data from Sonic Pi and sends it off to whichever device, cool for, so let's go back to Sonic Pi, so there's a slightly famous song that is included in Sonic Pi, which you may recognize, so this is still written in Sonic Pi sending data to Super Clidder, and this is kind of cool, you know, you can write pop songs, this was coded by Sonic Pi's inventor Sam Aaron, I mean that's pretty cool, but as I said let's see if we can get it to talk to our instruments, so it's the same kind of code, but instead of sending using like the drum samples and whatnot, we're actually sending it to the Volca beats, and this is the drum beat, so hopefully if, oh we're gonna get this running again, glad I remember that, if we run this this should work, so this is now running in Sonic Pi sending MIDI notes to my MIDI instruments, and if you don't believe me we can comment out this bit here, and the drum, and the drum stopped, then we can put this back again, so now we've got a really really nice interface to send to our instruments, and then over here on the output you'll see we're getting the note information and which device that we're sending it to, and the next step of the library would actually be to hook this up to my called Volca beats library, so then we could actually change the envelopes and which instruments we're playing, and because this polyphonic synth is multiple instruments, which we can play with, but wouldn't it be more fun to do it with code as opposed to having to twiddle knobs, right that's enough of that, so we can now control music via code, which is pretty pretty musical instrument sorry via code, which is pretty really cool, so now you're thinking right that's cool, we can write some pop songs, go on America's Got Talent, but what that's gonna be useful for my day job, and I'm like yeah that's true, so what else can we do, well then I thought about mini test, mini test has this option of creating what's called a reporter, where you can take the data from your your tests and do something with it, like either make them really pretty output, or send it all to dev null, so you don't know about your tests, and so I thought wouldn't it be cool to have like an audio system in your office that would let you know of the status of your tests, so let's have a look at that, so where is it, musical reporter, so first of all I've just written a very basic test a set of tests, so like all good programmers, my test part I just write a cert true when I want my test to pass, and a cert fail when I want my test to fail, because otherwise it'd be really hard, right, you'd have to write actual code, so if you do this your tests will always pass, it's so much better, then I have a reporter that grabs the MIDI device, something like these, and then when the test passes it sends one note, when it fails it sends another note, let's see if that works, let's close this, where are we, CD, demos, CD, musical reporter, right, test, is that it, is that how you do it, oh no, oh you are, you should try it again, should we, you're just hearing things Andrew, maybe, ah, anyway, this should be sending notes which it appears not to be, oh yeah, there is something there, it's just super super quiet, wasn't it, well that could be buzzing, anyway, we can play with this afterwards, so the cool thing is you'd think, oh I know, if my tests can play a song every time a test is run maybe you could write a song in mini-test, because you know you could set it up so when they pass they make this, when they fail they make this, there's only one slight problem with that, is mini-test and R-spec and all the other testing libraries, they randomize your tests which is so annoying because it means you can't make a nice sequential piece of music in your Ruby testing framework, maybe they weren't built for that, I don't know, but maybe that's why, okay, so we should have hopefully played some music but we didn't, the next thing is, you know, you go to work on Monday after this conference and they'll be like, hey what did you learn about Ruby, because we want to make our code faster, more performant, I'm like, don't worry about any of that, anyone can go off and learn how to make code faster, Aaron Patterson did it really well by deleting all his code, it was super super fast, what we want to know is how our code actually sounds, whether you know the algorithms we choose does it sound better than a different algorithm and so have you ever thought what does quicksort and bobble sort sound like, like we know we've seen graphs of how they look and we know kind of vaguely how they work, but wouldn't it be cool to know how they sound, so if we go over to Sonic Pi, we've got two simple bits of code there, one's bubble sort, one's quicksort, so we're piping in the numbers 50 to 100, that way they're in the audible human range, then we're shuffling them, then we're sorting them, so this is how quicksort, sorry bubble sort should sound, so every time you run bubble sort on your computer, that's what it's got to listen to, and we know it's not the fastest, but let's see what quicksort sounds like, I mean sorry bubble sort's not the fastest, so you would obviously then normally use quicksort, let's see how that sounds, I don't know about you, but to me that just doesn't sound, I know they're vaguely similar, but I think I much prefer bubble sort, so now you know that when it comes to choosing which algorithm you use or or method, just maybe pipe it through Sonic Pi to see you know how the poor computer feels when it's having to listen to this code, okay, right, let's see if, so if we go back here, run in slightly ahead, right, so, ah yes, so we've, let's see, let's have a recap, we've played music on our instruments, we've played music with Sonic Pi, we've used Sonic Pi to control our instruments, and you're thinking I've obviously left out the most important thing, can we control Sonic Pi from our instruments, because as you remember I said that I started playing with Sonic Pi, but I wasn't very good at codes, and then I went back and played with my instruments, and when I got a bit better at them, I was able to come back to Sonic Pi and write a bit of code to control my instruments, but I really prefer playing my instruments than writing codes, so I wrote some code so that I could play my instruments to play Sonic Pi, so I didn't have to write code to make music, that makes sense, right, so let's plug this in instead, so here I have a USB MIDI keyboard, so this doesn't actually generate any audio, it just sends MIDI notes, so if we plug that in, so if we run this code, let me show you the, oops, wrong file, that's why Ruby, Sonic MIDI, right, so if I show you this code, what do I call it, ah Sonic MIDI, here we go, is that it, oh MIDI, there it is, right, so what we're doing, we're grabbing MIDI instrument, and then we're sending that MIDI note using a kind of unofficial hacked API of Sonic Pi, and we're sending that data to Sonic Pi, so hopefully if I press my keyboard, we should be able to get Sonic Pi to play music, but without having to write any code, so we can now make Sonic Pi play music without having to write code, so now I can hopefully play some actual music, yes, but as you can see there's a tiny bit of a delay from pressing the keys, and it's sending it to Sonic Pi, and then Sonic Pi playing the music, and there's also a lot of code and cables, when really I could just do the same thing on an instrument, but that wouldn't be fun, so there's that, so now, but then that got me thinking, I haven't done this yet, but it made me think, if you can control the computer via a keyboard, you could do programming with a keyboard to write code, I don't know if anyone's thought of this yet, but I think that could be really really cool, so that's my idea, don't steal it, I'll share the proceeds with you, okay, right, so now that I've got slightly better at writing code and playing my instrument, I made a little dance song, if I can find it, there it is, which is really really simple, it's not doing anything complicated, it's just sending some different drum beats, and then, is it this one, yes, yeah, and then it's sending some different instrument notes to my three synths, my Volca keys, and then, oh is this not, no it's not the file, is it this one, oh maybe I deleted the wrong thing, aha this is it, right, yes, um sorry, so I send my um my my drum beats to the synth, the bass synth, drum synth, I then send some more notes to the Volca keys, and some more notes to the mini-brute, so if we go back over here, and we run our DRB file again, so most of this code is up on github, and the rest of it, if it isn't, and you want it, I will put it up there, right, so this is our DRB server, so that's running, so hopefully if we run this, this should be able to control three instruments at the same time, fingers crossed, which means then I can just come over here and then play with my instruments, which is what I wanted to do anyway, so basically what we've done with free and open source software is basically make Ableton live, and all those other really expensive pieces of hardware, or software even, for a little bit of time questions, or should we just go outside in the hall and play with these, ah so in Sonic Pi, I, I've got this one line here which sends the, Sonic Pi can set the BPM, so Sonic Pi is regulating the BPM, however the problem is, because DRB returns data back, it being Ruby, you'll see over, if I extend this out, there's all these timing warnings running slightly behind, because Sonic Pi is just sending data so fast that it's then, DRB's trying to respond back, and Sonic Pi's waiting, so this is why MIDI's hard, but yeah, not MIDI, so yeah, MIDI and Sonic Pi, but yeah, so I'm controlling the BPM via Sonic Pi, yeah that was actually a project, so the question was, could you just play music on these and have Ruby kind of capture all of the note information, and then you can use that to play that back afterwards, yeah I was thinking that would be a really cool project, so I've got another MIDI device, that's just a load of buttons, I was thinking that would be really cool to set up as like a, with a record key, so then the record sets Ruby to start listening the input, so then as I play on here, that would then yeah, generate Ruby code, that's also really cool, so we should also work on that later in tomorrow, yes, any other questions, oh sorry there's one over there, oh yeah, so there's a whole suite of gems from a chap called Ari, I think his name is, I can, it's all on my github, you'll see which gems, but he's basically written a whole suite of MIDI libraries that work on both Mac and Linux, and I believe Windows, and he not only does like the raw communications, he then wraps them in really nice DSLs so that you can then write more idiomatic Ruby to send the messages, so I've basically, all of my code is just sitting on top of his, so he's done all the hard work, cool, all right thank you very much


I once again welcome you all to MSP lecture series on Interpreter Spectroscopy. So in the last few lectures I have been solving problems and then finding out solutions by considering problems having data from more than one type of spectra. So let us continue doing that one in this lecture as well. So there is a problem I will read out while running a new reaction a chemist notices the evolution of a gas a sample of this gas gave a mass spectrum in which the molecular ion m by z equals 44 was the largest ion peak. The only other significant peaks were observed at m by z equals 28 and m by z equals 16. Just for curiosity it is very easy to predict the gas the moment gas means probably we will be thinking of COCO2 N2 or ethylene something like that. So to begin with to examine this rule number 13 and also hydrogen deficiency let us go for again testing this molecule having very low mass to charge ratio 44 here 44. So we divide by 13 C3 H will be 5 now C3 H5 and then evolution of a gas is there. So that means basically there should be carbon monoxide if ethylene is a different thing ethylene does not have but let us see whether we have because this formula gives C3 H5 so it is little more than. So let us add one oxygen and see what would happen for oxygen we have to remove C H4 so C2 H1 so this is not actually it should be more 8 it should be because 36 plus 8 is equal to 46. So remove that one and then we get H4 here C2 H4 and then what would happen if we remove one more oxygen it will become CO2 and then H4 is gone so straight away we get this one this corresponds to 4. So obviously we can tell this is CO2 and then observed peak at m is this is CO and then 16 this is 28 so this information is sufficient I have to tell that the gas that evolved is CO2 you can use to number 13 it will arrive at the structure molecule as well so simply make it C3 H8 and then add one more remove C H4 add one more we are C2 H8 we are taking out then we will be left with only one and CO2 okay easy it works well with your small molecules. Now another example is there here a liquid compound gave a mass spectrum showing a strong molecule ion at m by z decos 156 the only fragment ions are seen at m by z decos 127 and 29 the moment we talk about 127 so one element comes to our mind having atomic weight of 127 that is iodine so probably iodine is there in this molecule let us check first we take 156 divided by 13 and it divides completely so no reminder is there 12 is there so this is C2 and H2 so now let us say if want to add iodine how much I should take out for iodine 127 means C10 H7 so 120 plus 7 so I have to take out C10 H7 here that means C2 H5 iodine well if it is C2 H5 iodine one can write this way CH3 CH2 iodine so it ends here yes possibly this is the C2 iodine it is also very simple but using this rule and then adding iodine here and taking out equivalent to 127 C10 H7 moiety we can arrive at the structure of this iodine here and of course when we look into 1 SNMR it can show very nicely something like this this and also 13 C will give you two signals next look into the lowest wavelength light visible to the human eye is 390 nanometer what is the corresponding frequency it is given in nanometer wave number then we have to convert into frequency here we know that lambda equals C by nu and nu equals C by lambda so for this one we have to consider light velocity of light is 3 into 10 raise to 8 meters and over 390 into 10 raise to 9 meters so now if we divide this one what we get is 0.00769 into 10 raise to 17 here so then if remove decimals here and make it 0.769 then it should be 10 to the power of 14 here this is per second or you can call it as Hertz so this is the corresponding frequency in this case the lowest wavelength light visible to human eye is 390 nanometer the corresponding frequency is 7.69 into 10 raise to 14 Hertz so now let us look into one more in which region of the electromagnetic spectrum is an emission from a neodymium laser corresponding to a transition between electronic energy levels 11502 and then 2111 centimeter minus so we have to find out the energy of this emission between the transition between whatever the energy that corresponds to that means two levels are there so we have to know what we should do is we have to subtract first or take the difference that should give you so one this is the one so now this corresponding wavelength we have to calculate this is the wave number so we know that it is 1 by lambda so here 1 by 9391 so that would be we get something like this so this one if we take out all those things it should come around we can put here 1.065 and or we can put here 1.065 we can make it we can remove 1.065 nanometer we can make it so 9 it becomes 9 10 raise to minus 9 so it becomes nanometer here so it will be 1065 nanometer so here the corresponding transition energy is 1065 nanometer so now what is the color of the solution giving rise to the spectrum shown below so this spectrum is for penta covenanted compound so vanadium is in two means it is plus four states so it is in plus four states due to system it is from this one now let us see whether we should be able to answer this question by looking into this one so here if we focus our attention to the absorption between 500 to 1000 500,000 comes in the red region as well as partly green region you can see here it comes around 500 here and then it is coming up to here so that means basically what it does is it is absorbing from this portion to this portion that means as a result what happens it appears blue here the color of the solution will be blue this is blue in color predict which one of the following complexes will have the more intense dd transitions one is cis compound one is trans compound both of them have two fluorine and two ethylene diamines if we look into the structures here cis one this is the trans compound so one thing we can quickly notice about is inversion center of center of symmetry so in this one we have center of symmetry is there whereas in this case there is no center of symmetry so now the dd of course dd transient itself is leopard forbidden but of course because of mixing of s and p orbitals in a complex d rs and no longer pure d orbitals they have mixing of p as well as s as a result what happens leopard yellow transitions are seen nevertheless their molar absorptive coefficient is very low but here which one will be more intense so here if you look into trans compound inversion center is there so it is forbidden whereas here in this case considering mixing is there in case of cis compound as a result we can say cis compound is more intense in color compared to trans compound because cis compound lacks inversion center of symmetry whereas trans has inversion center so now there is another question what sort of coordination and elements would be best for a commercial pigment based on dd transitions in a transmittal complex I have given some text here the molar absorptive coefficient is greatest for compounds without an inversion center that is the reason if we look into compounds having tetrahedral geometry as well as octahedral geometry again whether it is homolyptic or heterolyptic in case of homolyptic again tetrahedral compounds lack of inversion center they are more intense whereas octahedral compounds homolyptic ones they have center of symmetry and they are less intense in nature or leporta forbidden or they show weak transition therefore among all preferred geometries if we consider adapted by trans metal complexes tetrahedral geometry would be the best suited to think of such complexes as commercial pigments because it doesn't have an inversion center as this would give maximum color per metal center based on the type of dd transition as well however for the utility as pigments the highest color density per metal center is required that is a primary objective of commercializing any compound as a pigment so here in this case the preferred ones are those complexes have charge transfer transitions because most of the transfer transitions are very intense and then the highest color density comes per metal and as a result preferred is tetrahedral and also on and above the most preferred ones will be complexes which show charge transfer transitions there is one more question here the spectrum of hexachloro titanate 3 minus has an absorption at 760 nanometer and that of hexachloro titanate is 518 nanometer and the corresponding gromo is at 877 nanometer so calculate delta Akta in centimeter minus 1 for each of those things and comment on the values so all these complexes are titanium 3 plus d1 configurations are there and then one can simply by taking the reciprocal of this one we should be able to calculate the values here we should take the reciprocal and we have calculated that one this comes around 11400 centimeter minus per titanium gromo compound 13000 for chloro compound and 19300 for chloro compound here and of course when we look into this data we can you know recollect the position of these halides in the spectrochemical series it gives this information here so relative strength of these ligands can also be obtained directly from these values and of course I have also given an extended spectrochemical series here and this is also I have given in the beginning also while discussing about UV spectra of d1 to d10 system so now here one more example is there electronic absorption spectra of hexalquan nickel 2 plus and tris ethylene diamine nickel 2 plus are shown below determine delta Akta for these two complexes and the electronic spectra are given here this one what you should see here is both are octahedral nickel 2 complexes and both are d8 system and if the d8 system is there and of course they show three spin allot transitions I already told many times while discussing UV UV spectroscopy that d1 d4 d6 and d9 show one single dd transition because all of them were put into one group because d1 has one electron and d4 has one less than half field d6 has one more than half field and then d9 has one less than completely filled so all of them were put into one group and they show invariably one dd transition whereas d2 d3 d7 d8 all of them again they can be put into another category like having two electrons less than half two electrons less than half field two electrons more than half field and two electrons less than completely filled d2 d3 d7 d8 they show three transitions so now d8 nickel belongs nickel is a d8 system nickel 2 plus d8 system it belongs to this one so here in this one the from the spectrum what you can notice is we are seeing here if you just see here this is the first one here the first one here we are seeing this one in case of nickel compound here this shows 8000 approximately 500 centimeter minus 1 and then whereas in case of this one it is coming here this for this it is coming around 11,250 centimeter minus 1 so therefore for nickel compound is 8500 centimeter minus 1 and then for this one this is equal to delta of n i of course one can also look into d8 thin base overall diagram also to see because there we are keeping all the ligands are there and one can also see what kind of transitions we come across and how to determine delta O so one more spectrum is given one more problem is given here the spectrum of hexamine rhodium 3 plus has 2 dd transitions 32,800 and 39,200 centimeter minus and in the spectrum of iridium n hen 3 6 3 plus they are at 39,800 and 46,800 centimeter minus 1 estimate delta O for these complexes and compare the values to that of hexamine cobalt we know cobalt rhodium iridium they are all d7 s2 system all of them are d7 s2 system we are going from 3d to 4d to 5d here and here is cobalt rhodium and iridium so 3d 4d 5d system here and then how to calculate that one so to calculate delta what we should do is we should take the difference of these two and then one quarter of that one should be added to the lowest one so that would give you approximately delta O so for example 32,800 subtract from this one we get 6400 so divided by 4 it will be about 1600 plus 32,800 so this would give you 34,400 so this this is nothing but delta O for rhodium 3 here rhodium is in 3 system so d6 system it is d6 system you know that it will show only one transition and it is showing two transitions here same calculation we can do here also 46,800 minus 39,800 it is 7000 4 times will be 1750 1750 plus if we add 39,800 so that would give this one fourth of this one that would give you 41,550 centimeter minus 1 that is equal to octahedral value of iridium 3 plus so that means now if we just compare cobalt cobalt value is given is 23,000 so then if you if you look into rhodium it is 34,400 and then if you go for this is cobalt this is rhodium and this is iridium will be 41,550 minus 1 so this one can very nicely explain when we when we go from 3d to 4d to 5d what basically happens is your crystallization energy increases why that happens as we go down higher orbitals are there the orbits become larger in size when they are larger in size the greater the difference between the extent of interaction of the T2G and EG orbital and then increase in the energy between T2G and EG is possible as a result of this one and hence what happens delta increases down the group. So I think let me stop today and consider more problems in my next lecture so what you should remember is of course we are considering cobalt rhodium iridium 3d, 4d, 5d and also the values also you can see here calculated so it is very simple if two transitions are there and take the difference of the transition and then consider one-fourth of that one and add that one to the lower absorption band that is 30 to 800 in case of rhodium and 39,800 in case of iridium and then that would give you the corresponding octahedral delta value for the corresponding metal complex and then you can compare of course 3d to 4d to 5d we know that the incremental increase there in the critical friction energy and then the reason is what happens there increase in the size of orbitals. So let me stop now and continue in my next lecture. Thank you.


Welcome to the Tick-Mill Update. I'm Kiana Danielle, the founder of the Investeva movement. It's going to be rather a quiet week this week with almost no planned risk events on Monday. In the next few days, we'll be watching out for Canada's Consumer Price Index, the FOMC meeting minutes from back on October 30th, and the ECB account of October policy meeting for October. Today, I'm looking at the dollar, Swissipair, which is continuing within the narrow range between 0.9852 and 0.9971. It has not yet been able to break below the Ichimako Cloud, and the future cloud is getting thinner, signaling lower volatility, which could make it an interesting trading opportunity for range traders. Of course, trading in the financial markets involves a risk of loss, and you should only trade the money that you can afford to lose. If you like this video, give it a thumbs up and subscribe to the Tick-Mill YouTube channel. I'll get back to you with more updates tomorrow.


Aloha. Welcome to Global Connections. I'm your host, Grace Chang, joined here today by Professor Pierre Aslan of Hawaii Pacific University, and he is a professor of history at the university here in Honolulu. And we're going to be talking about travel bans in the United States history in relation to what's been discussed in the media lately with President Trump's second immigration order, also often called the travel ban. So welcome back to the program here. It's an honor to be back, Grace. So for those of us who haven't seen your previous episodes, tell us a little bit about yourself. So I'm originally from Canada. I'm an immigrant. I got naturalized in 2012. I've been in Hawaii for 25 years. I've been an HPU for eight or nine years. And yeah, I'm an expert of the history of U.S. foreign relations and of the Cold War more generally. And I've kind of developed a different sort of interest in the whole travel ban because much of what we're discussing these days in terms of legality and illegality is actually tied to the Cold War period, and we can address that today. So yeah, I think placing, I mean, everything that goes on these days, I feel that we fail to put in its proper historical context. And this is another example of how we fail to recognize how history can help us make sense of this and put this into a more correct context. Okay. Yeah, I mean, there are so many phases of American history and different waves of immigration as well as well. I mean, just as far as global history, right? Waves of migration generally and how that impacts the U.S., who seeks to come into the United States for various reasons. So yeah, I think the historical context is an interesting one and kind of a timely topic because the judge in the Hawaii Federal Circuit Court just once again blocked this, halted this immigration order that the Trump administration had recently issued to replace its previous one. So yeah, it's given rise to more discussions. And this morning, the White House Press Secretary Sean Spicer came out and said, you know, it is absolutely the president's prerogative to determine who comes in and out of this country. So again, that's where things get problematic because so the prerogative was given to the president in 1952, right? So technically Congress is supposed to be dealing with larger immigration issues. But in 1952, new federal legislation effectively granted the president the authority to ban certain groups from entering the U.S. If it turned out if the president himself determined that members of those groups were detrimental to the United States interests. So the president himself gets to determine that without providing evidence? But here's the context. 1952, this is the McCarthy era in the United States. So it's the onset of the Cold War. There's a rabid fear of communist subversion in the country. McCarthy is fueling that fear with his trials, with his denunciations of communists everywhere in government. The Cold War is presented as this existential conflict. And in the midst of that, there is what in retrospect is an overreaction to grant the president, in addition to the authority already has over foreign policy, which is almost imperial, grant the president this authority to basically now make immigration law. So technically, yes, the president has that authority. But we've got to recognize that the context in the 50s is very different from the context today. As much as we're concerned about global terrorism, this is not the kind of existential struggle that the country faced, especially during the McCarthy period. But again, there's a failure to recognize here where some of these laws come from, where some of these presidential powers were granted. And to simply say, well, he doesn't have that authority, yes. But let's look at when the authority was given and why. And if you put it in a proper context, you recognize that well, president might have that authority, but... I mean, it seems like we try to address that though in the 70s, right? I mean, this idea of the imperial presidency, this was roundly criticized in the 70s. And there were efforts by Congress to kind of take some of that authority back from the president so that there wasn't so much authority concentrated in the White House. But was this one aspect of that presidential power that has been overlooked in the 50s? So, I mean, the Constitution grants tremendous, tremendous power to the president when it comes to foreign policy. Domestic policy is a whole different animal. But in terms of foreign policy, the Constitution basically, the U.S. has the president has tremendous power. With respect to immigration, which is technically a foreign concern, but also a domestic one, that's where Congress can exercise a more significant role. But Congress, because of the Cold War, would surrender much of its authority to the president. It tried to claim some of it back in 73 through the War Powers Act, right? But what we've been seeing since then is presidents slowly but gradually resume their imperial tendencies, specifically by resorting to these so-called executive orders, which are effectively presidential sanctions to do anything that the president wants in the world without having to seek advice, counsel, or even approval from Congress or the Senate. I mean, the Constitution does grant Congress strong foreign policymaking powers, but it seems that much of it's been delegated to the president in the form of permitting executive orders and other executive actions. So are the parameters of those kinds of issuances by the president? Are they just not well-defined or are you saying that they were issued in the context of the Cold War, especially the McCarthy era, kind of rain back in a bit in the 70s in the context of the end of the Vietnam War, but since 9-11 in particular, right? This is kind of, we've seen a little bit more loosening of this. So the whole executive orders thing, technically presidents have always had that prerogative, but it was very rarely used. Actually some historians recognize Lincoln's proclamation of the emancipation and proclamation as an executive order, but they really take off in World War II because of FDR. FDR will actually challenge the Constitution and Congress to give himself that prerogative to resort to executive orders, but again, it's World War II. The U.S. is engaged in this existential struggle, right? The issuance of hundreds and sometimes thousands of executive orders by presidents will continue throughout the Cold War period, and they haven't really evaded ever since. And that's what President Trump has been doing since being in office, issuing those executive orders. The problem with them is that you issue them without, again, consultation of Congress, which can then create problems down the line, and that's what this president has been experiencing, particularly from liberal elements within Congress. Well, I mean, yeah, Obama also issued a number of executive orders early on in his administration, so what is so particular about this particular travel ban, this immigration order, and as we're talking about, is it different from other travel bans or immigration bans in U.S. history? Let's look at the history of that. It's fascinating. I mean, the U.S. was effectively founded as a Protestant republic, and American policymakers have always been concerned about undermining this identity of the republic. So for all this talk of separation in the church and state, the idea at the onset, which is still shared by a good number of Americans today, is that this is a white Protestant country. Now, in efforts to keep the country white, in efforts to keep the country Protestant, the U.S. over time would enact a variety of different legislations. Some of the more popular ones, famous or infamous, are, so 1882, for example, 1882, there's effectively a ban on Chinese immigration.  There's actually a law that says that. Not good company. No, exactly, and good thing is no longer affected, because otherwise I might have a problem with my whole immigration status. For the record, I'm neither a lunatic or a convict. But yes, so we had this ban. So on immigration from China, which effectively lasted until 1943, until World War II, at which point China becomes an ally of the U.S. and as a favor, we end the ban. So we had that element. In 1901, following McKinley's assassination by the son of Polish immigrants, we have an act put in place to deal with anarchists that effectively bans anarchists from entering the country. How do we know someone's an anarchist? I don't know. To be honest, when I filled out my immigration papers, the communist question was on there. They asked me if I committed crimes, and then they asked me if I've ever belonged to the Communist Party. I think it's something about the Nazi Party, but I feel you should test. Are you a lunatic? I don't remember that being asked.  So there's that history of trying to exclude others. So in the 20s, in 1921 and then in 1924, new legislation is introduced to really limit the number of people coming in from Eastern Europe, from Southern Europe. There's effectively a ban imposed on migrants from East Asia, from South Asia, and from the Arab world. And it was all part of this effort to protect America's western identity, America's western civilization. And it was very clear discrimination on the basis of nationality. And in the 20s, effectively, what Americans are seeking to exclude, or who Americans are seeking to exclude, it's effectively Eastern Europeans who are coming in larger and larger numbers, and Jews also. And that's, again, now we know, well, we shouldn't have done this because Jews would actually pay a price for this during World War II. And so yeah, all of these things need to be put into proper perspective. Okay, all right, well, that's really fascinating to hear about the background of the orders as well as the history of immigration bans. All right, well, thank you, Pierre. And stay tuned. We're going to continue this conversation with Professor Pierre Asselin. You're watching Global Connections. Hey, has your signal just been taken over? Am I supposed to be here? This is Andrew, the security guy, your co-host on Hibachi Talk. Please join us every Friday on Think Tech Away. Aloha, ladies and gentlemen. My name is Pauline Schachmark-Chen. I'm the host for a new show on Think Tech Hawaii called Outside In. Outside In will be taking a look at how the external world can help shape Hawaii's future. And I will be starting the show hopefully next year in terms of regularly scheduled programming. And we hope to invite a wide variety of different guests, ranging from history, philosophy, art and architectural fields, all the way to robotics, biotech, cryptocurrency, Bitcoin and the like. So we're going to have a full range of guests to cover many different areas of interest. And I hope to see you next year. Until then, aloha. Aloha, welcome back to Global Connections. I'm your host, Grace Chang, joined here by Pierre Asselin, Professor of History at Hawaii Pacific University. And we're talking about travel bans in U.S. history. And before the break, Pierre, you were talking about early 20th century travel bans, well, beginning with the late 19th century ban on Chinese immigrants, then early 20th century against East European, East Asian, South Asians, Arabs as well. So our immigration in recent decades has been much more open. And a lot of this is in the context of the anti-discrimination policies, laws that have been passed since the 60s in the context of the civil rights. So give us a little background on that. So, you know, again, so American immigration policy was very kind of unfavorable toward non-white Protestants, non-whites and non-Protestants. And during the Cold War, this becomes a liability for the United States, just like the treatment of blacks is a liability. So because Soviet propaganda is going to exploit these aspects, right? Because, I mean, each country, the Soviet Union and the U.S. claims to be promoting justice, freedom and so on and so forth. However, we chose to see the Soviets and they saw us at the time. But what the Soviets end up doing is looking at Americans and saying, okay, Americans say that for democracy, look how they treat their blacks. Americans say that they're about freedom. Look how they restrict immigration from outside. And so this creates tremendous pressure on American presidents to kind of change things. So what do we see? 64 Civil Rights Act, right? Of course, it's a response to domestic efforts at changing legislation. But there's also that external component that tends to be ignored, the Cold War context, which added more pressure on U.S. policymakers to change things to kind of undermine Soviet propaganda to the effect that the U.S. is racist. You need allies in the world versus... Including in Africa. So what kind of message are you sending when you're trying to win over newly independent African states and blacks in the U.S. are getting lynched? They can't use bathrooms because whites are using them. So this was a really powerful tool used by the Soviets against the U.S. And so the Civil Rights Act, again, all the credit goes to the kings and the Malcolm X's and the others who were involved in that struggle. But let's not forget that the Cold War context also created another pressure on policymakers to change. And this is what's interesting. So 64 Civil Rights Act, a year later in 1965, the U.S. under Johnson again revises this immigration policy and effectively at that point says we will no longer discriminate on the basis of nationality. And so it's intended to kind of change America's image in the world. There are still quotas on the number of people who can come in. But you can't say that now we're going to allow 100,000 people who are white to come in, but no Arabs to come in. As of 1965, you can no longer do that, discriminate on the basis of nationality. And that's the conflict we have right now. So the Trump White House is saying that 52, the 52 provision gives the president the right to exclude people if they're detrimental to the U.S. If he deems it himself. But then 65 says you have that right, but you cannot discriminate on the basis of nationality. Nationality means citizenship. So you can't say if you hold, let's say a Syrian passport, you can't come in. Because the 65 act was effectively meant to end these kinds of practices. And the Supreme Court has felt kind of, the courts in the U.S. have felt compelled to kind of uphold that because it becomes a slippery slope if you kind of decide to go against tradition and say well, because circumstances warrant, we're going to have these blanket bans on individuals. Well, he claims that there are reasons for the ban on people from those six specific countries. Now here's the thing that's interesting. There actually has been a Muslim ban before. 1980 Jimmy Carter in the aftermath of the hostage crisis. Carter, right? The darling of liberals actually imposed a ban on all Iranians coming into the United States. Yeah, but that's not Muslims. It's a specific nationality. In terms of the idea that if we look at what's happening now as a Muslim ban, White House says no, it's a ban against people from Iraq, from Syria, Yemen, irrespective of religion. But critics say it's a Muslim ban. Well, there was this ban imposed by Carter in 1980. So what it did was, it's interesting what it did. It basically nullified all these that had been issued to Iranians when they entered the country just yet. But I mean, it doesn't seem the same thing. I mean, I think we can, one of the criticisms of these courts that have blocked the two immigration orders is that it reads into them that these are Muslim bans. When they are bans against six specific countries, not people of the Muslim faith broadly. And so they're reading into what President Trump has said in other four, as a candidate in particular, about that he would ban Muslims that we shouldn't allow Muslims in. But this is not a blanket ban against Muslims. So I think this one is, we could read it that way. It's six specific countries. And I think the question is what is it about people from these specific countries that we should have a blanket ban over? I mean, the one that Carter issued in the context of the hostage crisis in Iran was part of a broader set of policies to pressure Iran itself. It wasn't specific to an idea of everybody from that country is a security threat. It was part of a diplomatic tool used to pressure Iran to deal with the 444 Americans that were being held hostage, or for, yeah. 444 days, right? It's such an easy number to remember. But at the same time, the ban is imposed on Revolutionary Iran on the Islamic Republic of Iran. So I see your point. But there is, at the same time, in what Carter is doing by imposing this blanket ban, kind of a clear message being sent to radical Islamists, right? And to the same extent that not all Iranians were buying into the revolution, right? Just as not all Muslims obviously are buying into ISIS and that kind of one. Carter still felt that all Iranians are to be banned. So the other difference, I think, is that in the Iran case, in the aftermath of the Revolution 79, there was a specific crisis with regard to Iran and the United States. In the current case, there's no direct crisis between, or anything that's unusual anyway between the six countries in the United States. I agree. I mean, again, when you look at the 50s, when you look at the Cold War, very clearly, by the early 1950s, the Soviet Union, communism, is recognized wildly as the enemy of the United States. So it's not just that. It's the entire system, the entire ideology, the entire country, the entire socialist camp is seen as hostile to the U.S. and technically the Americans at a point because after all communism, self-professed, right, is intent on eradicating capitalism. It's the root of all evil. And so it becomes part of this existential struggle. What we have here is kind of slightly different. I mean, we have a situation where, you know, we have bad apples in the area, a ton of people who desperately need help. And by saying that, well, all of them are bad, there's an element of unfairness here. I mean, refugees, people living in war zones trying to survive, desperately need the assistance of other countries.  I mean, we want to make this country great again. We want this country to lead the world. When you lead the world, ultimately, you have to lead by example. You impose a ban on Syrian refugees, other Western states follow suit. What happens? We have hundreds of thousands of innocent people who are basically left on their own to effectively die. And that's not right. It's the American. And that's really was not what the whole Cold War system that the U.S. creator was intended to support. It goes against tradition in that sense. You know, it defies not only the law, but logic and specifically logic as it has been defined by the United States and its policymakers over the centuries, over the decades. Ultimately, what we need to question here, so the president, you could say, looking at the 52 law, he does have that prerogative. But that judgment, the fact that this rests on one person's judgment, that's the problem with the imperial presidency. It grants the president too much power. Fine, you know, the president needs to be able to fire nuclear weapons in the event that in the next five minutes, the Chinese decide to launch missiles our way. But these are extraordinary circumstances, and that's what a lot of these laws granting the president these kinds of powers were meant to answer. But, you know, this is not an emergency. I mean, obviously, it's not like, you know, ISIS has declared a war on the U.S. that's going to happen on full within the next two hours. There's an element here in terms of necessity and whether this can really help American national security, I personally have a hard time seeing the logic behind that. I really do, and it goes against, I think, some of the core principles of the Cold War period. Yeah, it's difficult to kind of extract this from broader questions about, you know, the imminence of the danger that anyone from these countries particularly, or anybody, like literally anybody, right? Absolutely. Why the totality of the bans. But the history, Grace, and all of this is people need to know their history. They need to put this into context and not take phrases at random here out of their proper context. Oh, great. Sorry, that's my rather than his story. There's no one gives any more, but it still matters. Here, Ashlyn, here, Ashlyn here to give us historical context and why history matters once again. But yes, very enlightening. Thank you for sharing all that background on American history and where our immigration laws and executive powers have evolved from. The political context versus the legal powers. Thanks for coming and thank everybody who tuned in to us for joining us today. See us here at Global Connections every Thursday at 1 p.m. Aloha.


A fiery horse with a speed of light, a cloud of dust, and a hearty high old silver, the Lone Ranger. With his faithful Indian companion, Tonto, the daring and resourceful masked rider of the planes led the fight for law and order in the early western United States. Nowhere in the pages of history can one find a greater champion of justice. Return with us now to those thrilling days of yesteryear, from out of the past come the thundering hoof-beach of the Great Horse Silver, the Lone Ranger rides again. The stagecoach from the east rumbled along the rough trail toward the little western town of Benton. It was mid-afternoon, and the two young women passengers inside the coach showed signs of weariness from the heat and the roughness of the trip. One, a fluffy-haired blonde turned to a dark-haired companion and spoke complainingly. I declare, Christina, if I thought we had much farther to go, I think I'd get out and walk. Honest of goodness I would. Oh, stop complaining, Millie. The driver said we'd be in Benton in about an hour or so. Gee, I hope so. See, just what did that lawyer tell you about the ranch in the letter he sent? Practically nothing. All he wrote was that Uncle Ned had left the ranch to me, so I wrote him that I was coming out. That's all.  Stop thinking of trouble, Millie. I'm sure we'll be safe enough. And I know that after you've lived at the Bar-R-I ranch with me a while, you won't ever want to go back east again. Maybe. But you know very well, Chris, I'm not the outdoor type. Now, you're different, sort of. You seem to be able to get used to anything. Gee, I'll be glad when we get to Benton. Don't worry. We'll soon be there. And when we get to the ranch, you can take a good, long rest. It won't be long now, Millie, so cheer up. Later that afternoon, a small group waited at the stage depot for the arrival of a stage ghost. We're sure to be here by now. We'll be coming soon. Don't worry. Here, come to the stage now. See how it goes. Boom! Boom! Boom! Boom! Boom! Any more. Boom! Help me with the luggage, somebody. Yes, of course. I beg your pardon, ma'am. Are you Miss Christina Nessie? Yes. Yes. I am. You must be Mr. Edwards. That's right, ma'am. Millie, Miss Laverne. This is Mr. Edwards. The lawyer who sent the letter. Oh, glad to meet you. I'm sure. How do you do, Miss? Now, a few young ladies will follow me. I'll take you to the buckboard. Then I'll come back to your luggage. I'm sure you want to go right out to the bar where I ran. That's right. We do. Thank you for meeting us. The pleasure's all mine. Well, come along. We'll go to the buckboard. Goodness. The country along here is rather sparse and desolate. It sure don't remind me any of St. Louis, I'll say. You're a long way from St. Louis, Miss Laverne. That's something I already know, Mr. The entrance to the bar where I was just ahead. See the sign on the left? Gee, Chris. It's a long way from St. Louis, Miss Laverne. That's something I already know, Mr. The entrance to the bar where I was just ahead. See the sign on the left? Gee, Chris. It does say the bar where I ran, Joan Edward. But look at the awful road going on. It doesn't look too promising, does it? We turn in here. Get up there. How far is this from Benton, Mr. Edward? Only about three miles. Say, I see the house just ahead. Oh, Millie. If I'd known what it was like, I'd never... It is. Run down. Run down? Mr, you better take a second look. I declare it's positively the worst-looking, spookiest-looking place I ever did see. What about Scotland and Ranchand? Do you mean to say this is all there is to the bar why? Well, I'm down right side. I have to bring you out to such place. Perhaps I should have warned you. But with hard work and paint and all that, it can be made quite livable. Well, this is all there is. This ranch house, the old barn, about 20 acres of land. Chris, what do we do? We can't stay here. Oh, you'll find the inside to be in a fair condition. I... I have to admit this is quite a shock. Well, come along. Come on, Millie. And be careful of the porch steps. They're just a bit shaky. I'll go in first. You certainly will if you expect me to go in. Oh, come on, Millie. We'll make the best of it. I, uh, brought out supplies this morning, and I put oil in the lamps. Oh, thank you for your trouble. Oh! What on earth is the matter? I saw something. Oh, that's just a small lizard. It's harmless. Well, maybe it's harmless, but I didn't figure on living in a house with lizards. Chris, look at this awful front. And we won't have any way to get to town when we want to either. I know. It doesn't seem possible that Uncle Ned lived in a place like this. Do you know what your Uncle looked like? Yes, he sent me a tin type some time ago. Look here on the table. There's a picture of him. Yes, that is Uncle Ned's picture. What are we gonna do, Chris? Mr. Edwards, I wish you had written me about the condition of this place. I had no idea what we were coming to. Too bad it didn't, I guess. But I'll tell you what, you tried for a while and if you decide not to stay, just let me know. Perhaps I can find someone to take the place off your hands for, oh, couple thousand dollars. Let Mr. Edwards sell it to someone, Chris. Then we'll go back east. We'll think about it, Mr. Edwards. It may not be as easy as you think to find a buyer. Now, don't worry. Since I'm to blame for getting you out here, I'll take it off your hands myself if I can't find anyone else. Oh, I couldn't let you do that. Well, I managed to get rid of it later on somehow. Well, I'll go on back to town now. I hope you manage to make things comfortable. I'll drop by tomorrow. It was just before dawn when Millie was wakened by the crying of distant coyotes. Chris, Christina, wake up. What? What's the matter, Millie? Listen, that awful house. Maybe it's Indians. Chris, I'm scared. When I calm down, Millie, that isn't Indians. It's some animal or other quite far away from here. I don't care. I just can't stay in this place. I'll be a nervous wreck. Don't I be sensible, Millie? I left the lamp burning so you wouldn't be frightened. I don't care. Chris, I'm getting out of here right now. And you have to come with me. Oh, but, Millie... I mean it. You have to come with me, Chris.  All right, we'll walk to town and I'll sell the place to Mr. Edwards. All right, guess there's nothing else to do. It was about an hour after sunrise when the lone ranger and tonto who had pitched camp a short distance off the trail to Benton were preparing to mark silver and sculpt for a trip to the town. Suddenly they were startled by distant screams. Oh, no, not like women screaming. Screams come from up on trail. Let's hurry. Come on, silver. Come on, scoundrel. He must have been rattled around side trail. I see it. Come on, silver. That did it. Easy, big fella. Easy. You were just in time. It might have been... It's dangerous to be on foot along this trail, Miss. Especially without heavy foot gear. I know, but... Oh, Chris! You're not right. We come to help. Miss Awful Country. Please don't be frightened. We've come to help you. Poor Millie's upset. She's had rather a terrifying night than this happened. I don't understand why you ladies are walking a trail carrying carpet bags. We arrived in Benton from the east yesterday. I see, but then... I inherited a ranch from an uncle. We found it to be that dilapidated place about a mile back. Yes, I know that place. It's awful. Simply awful. A lawyer, Mr. Edwards, drove us out there. I was disheartened when I saw the place, but we decided to give it a try. Then Millie was so terrified during the night we started back to Benton at daybreak. There was nothing else to do but walk. Then your trip out west was all for nothing? No, not quite. Mr. Edwards said if we decided not to stay, he'd buy the place for $2,000. That's a generous offer for that place. Oh, I think so, too. I'll sell to him and we'll leave on the next stage for these. It can't leave too soon for me. But how are we going to get to Benton? I simply can't walk another step. It's two more miles to Benton. Since you can't walk that flower, we'll take you if you're willing to ride double. Oh, thank you. We'll be glad to have your help. Me? On a horse? Oh, Chris, I can't do it. It's that or walk, Millie. And you can't tell what else might be on the trail. Maybe another... I'll ride, thanks. Get your foot out of the stirrup, Tunnel. I'll help her to mount. There you go, thanks. You're right, all right now. Just the same, I'm scared. Golly, me on a horse with an Indian. You'll be safe enough. Now, Miss... I'm Christina Nelson. She's Millie Laverne. I see. Here, I'll help you up on Silver. You ready? I can manage, Oliver. There you go, easy, Silver. There you are, Miss Nelson. Oh, thank you. Easy, steady, big foot. It'll drop you and your friend at the edge of town. It won't take long to get there. Come on, Silver. Get him on Scout. Upon reaching the edge of town, the two girls dismounted, and after thanking the Lone Ranger and Tonto, they started into town to find lawyer Edwards. The Lone Ranger waited until they were out of earshot, then he spoke to Tonto. Hello. Follow the girls to that lawyer's office and find out all you can. Ah, but me not savvy. Have you heard Miss Nelson say her uncle will arrange to her? Uh-huh. The lawyer took her to Tonto to that deserted place back on the trail. That's the old Jenkins farm, remember? That's right. And Hank Jenkins and his wife left that barren farm about eight months ago. Went to the Pagos Valley. That's right, Tuki Masabi. Well, when we rode through the valley a month ago, we passed the Jenkins new farm. Both of them were alive and well. That deserted farm wouldn't bring a cent when Jenkins tried to sell it. Now that lawyer's willing to pay the girls $2,000 for it. Ah. There's something wrong. Yes, definitely. The lawyer lied when he told Miss Nelson that was the place she inherited. Now he's willing to pay her $2,000 for something she doesn't even own. Jenkins not care if lawyer take old place without paying any money. That's right. Tonto, we know there's something very wrong about that lawyer's deal, and we're going to find out what it is. The curtain falls on the first act of our Lone Ranger story. Before the next exciting scenes, please permit us to pause for just a few moments. Now to continue our story. Knowing that there was something wrong with the deal lawyer Edwards was making with Christina Nelson, the Lone Ranger told Tonto to follow the two girls and find out all he could. Later that morning, Millie and Christina were with Edwards in his office. I do hope you understand the situation, Mr. Edwards.  You'd never get me to go back to that awful place. I realize now that I should have warned you about the conditions of bliss. I'm sorry. But since you've decided to give it up, I'll keep my promise and take it off your hands. I think your offer is a very generous one, Mr. Edwards. I hate to take advantage of it. Same for more about it. By the way, how did you get to town? Millie insisted we start walking, so we did. You mean to say you walked into Benton? We did enough walking, I'll say. Where do you hear what happened? You see, we were going... I'm sure Mr. Edwards isn't interested in the details of our trip into Benton. We're here, and that's all that matters. When does the next stage leave for the east, Mr. Edwards? Well, there's an eastbound stage out of here this afternoon. Golly, that's sure good news to me. About what time does the stage leave? It's due through here, around two o'clock. I'll make arrangements for both of you. I still feel that it's taking advantage of your generosity to have you buy that dilapidated old place for so much, Mr. Edwards. Not at all, not at all. Please don't feel that way about it. I suggest, though, that you don't tell anyone about our deal while you're waiting around for the stage. Some people might lose faith in my judgment if it got around. Oh, of course we won't mention it. We don't know anyone here in Benton anyway. Good, good. Well, why don't you girls go over to the hotel and rest a bit? When I have the papers drawn up, I'll send for you. All right. Come along, Millie. I could do with a little rest, I'll say. Well, you have had quite a bit of it, if you have had quite a bit of exercise this morning. We'll wait until we hear from you. I'll send for you in an hour or so. Goodbye. Goodbye. And thank you. Hey, Blackie, give me a minute. Sure. Close the deal, boss. Not yet. I'm going to draw papers to make it look very legal. It won't take very long. Ah. Where the girls go? Suppose they start talking to somebody and find out. They won't. I told them not to discuss the deal with anyone. Now, why am I getting the papers ready? I want you and Jake to write out of the old farm. What for? Take down that sign and leave the fence post at the entrance. If somebody rode out that way and saw it, they'd start asking questions and the girls might get wise before I get them on the eastbound stage. Ah, that's right. Go inside the house and bring back the picture of old Ned Parkinson's I planted there. Why can't Jake go alone? Because if you meet anyone out on the old trail and already rid that sand, it's up to you and Jake to see he don't get back to town until after the stage leaves.  Sure. I save him now. I'll go get Jake and hit the trail.  If that happens, you'll know what to do. Now get going. Blackie and Jake left lawyer Edward's office and mounting their horses at the hitch rack outside. They rode leisurely out of Benton. When they reached the edge of town, they headed along the trail toward the old farm which Christina and Millie had left that morning. Meanwhile, the lone ranger waited in a clump of trees outside of town for Tonto to return and make a report. Soon he heard the steady beat of fast hoops, which he recognized as those of sculpt. He stood expectantly as Tonto reigned to a halt. Hold still, opener, opener. How did you find out, Tonto? Me listen at back window of office until girls leave. Lawyer say him draw papers and have girls sign and him give money. I see. Him tell girls not talk about deal. Girls say them go east on afternoon stage. Hmm. Lawyer wants those girls out of town in a hurry. He doesn't want anyone to know about the transaction. That's right. Tonto, we're going to ride out to that old place and look around. He said he'd be caught. Hold still there. The lone ranger and Tonto followed a shortcut to the old Jenkins place. Meantime, Blackie and Jake, who had ridden along the regular trail, finally approached to within a short distance of the old farm entrance. They were discussing the deal that their boss Edwards had put over on Christina Nelson. The boss will have the deal close today, Jake. He's sure mighty smart. He has that Nelson girl come all the way out here, pulls a smart trick on her and she'll go away thanking him and never be in the wise. Sure. And he fixes everything so it's legal, too. He must be almost out to that old place, aren't we, Blackie? Yeah. The entrance is just beyond this bend. First we have... Who, who there? Who? What you stopping for? Keep your voice down. Look ahead there. Two hombres and a horseback looking at the sign the boss put up at the old farm entrance. Can't tell much about it from here. Looking at them from the back like this, I'd say one of them's a ninja. But I can't make out the one on the white horse. What are you gonna do? Look, they're going in toward the house. We'll wait a minute, then circle around and come up behind the place. And we can catch them off guard while they're snooping inside. Meantime, as the lone ranger and tonto rode in toward the old house, tonto spoke. He nods heavy, white sign would say Bar-Y Ranch, Kimusabi. Tonto, that's all you wanted, Miss Nelson, to think this is the Bar-Y Ranch. They put up that sign. I still can't figure his reason, though. We'll have a look around inside. You look at Kimusabi. That picture there on the table. Look here, tonto. This is a picture of old Ned Parkins.  Yes, but he was the owner of one of the finest spreads around here. The real Bar-Y on the trail east of here. That's right. Me remember. I'm beginning to understand what's going on now. We'll ride back to Betton. Both of you, don't turn around. You heard him, didn't you?  Two of them. Better do as I say, tonto. That's more like it. We'll go behind and take their guns. I'll keep in color. Right. I'll take yours first, indeed. Come on. Hey, Blackie, the other one's masked. Whatever. Get the other hood's guns. Hurry up, Jake. Sure. As Jake walked up behind the Lone Ranger, the masked man stood with arms up raised, tense and waiting. And as Jake was about to reach for the guns, the Lone Ranger suddenly kicked backward, landing a sharp and heavy blow with his heel on Jake's shin. At the same time, the Lone Ranger, with a speed of lightning, drew his guns and whirled. Should we get this one? Good. After you fix that one's shoulder wound, we'll tie them up and leave them here for the time being. Then we'll ride to Betton to keep that deal from going through. Later that day, Edwards, the lawyer, sent for Christina Nelson and Millie. As soon as they arrived at his office, he came right to the point. I have drawn up this legal paper, Miss Nelson, and, overall, your rights to the bar wire ramps to me. Your friend, Mr. Byrne, can witness the transaction. The sooner you sign that place away in Whealy for the East, the better, Chris.  Yes, I know. I appreciate what you're doing, Mr. Edwards. Now, just where do I sign this paper? Right there on that line. Here's the pin. Thank you. There. Now, Millie, now you sign. This'll be a pleasure, I'm sure. Mildred... There. The two thousand is in this pouch. Now I'm the legal owner of the bar wire ramp. Yes, and good riddance, we say. Chris, we better... Hold up. I'll take that paper. Say, no one who can walk in the back door of my office and get away with anything broad daylight, I'll... No, you won't. Oh, please. Got what I said? Oh, no, I had enough.  Borrowed everything, just as we were about to get the money for that old place. Why did you come here like this and tear up that paper? To keep you from being cheated out of one of the best ranches in this territory, Miss Nelson. What do you mean? Was Ned Parking your uncle? Was he the one who willed you his ranch? Yes, that's right. Why? Your uncle's ranch, the bar wire, is east of here a few miles, not west. It was not the bar wire this crook took you to yesterday. A worthless deserted farm anyone can have for the asking. But I don't understand. Mr. Edwards was going to pay us $2,000. $2,000 of your own inheritance. For that, he would have received a ranch worth thousands of dollars. What? Why that dirty old crook? Imagine. Thought I went for the sheriff. The sheriff won't have anything on me. Maybe not. They will see that Miss Nelson gets all that's coming to her. And that you and your two friends get out of town. There's some men are coming now. Here, take Edward's gun and keep him covered until the sheriff comes in. All right. But where are you going? Why can't you... I'll see you again sometime. Adios. Ah, gee, Chris. Isn't he wonderful? What's going on in here? Now listen, Sheriff, mask out who came in here. I'll tell you the whole story, Sheriff. And I know you'll believe it because, well, I... I found out this morning that that masked man that just left here is the Lone Ranger. The Lone Ranger? The Lone Ranger? Oh, Chris, why didn't you tell me? I knew better. Well, if he was the Lone Ranger, then I know Edward's here must have pulled something crooked. That day a Lone Ranger never bothers anybody unless they're crooks of killers. And, ma'am, they just can't beat the Lone Ranger. What you have just heard is a copyrighted feature of the Lone Ranger Incorporated.


Good afternoon! For those who are new, I'm Dr. Theron Sherman, and in today's briefing, we will be discussing SCP-6837. There isn't any objectionable material in this document, so let's begin. Item Number- SCP-6837 Object Class-Pending Special Containment Procedures The apartment complex where SCP-6837 occurred has been purchased and secured, tenants where he housed under cover of asbestos abatement. Investigation is ongoing. Description SCP-6837 is a system of acoustic phenomena at 14 Westshire Boulevard in the city of London, Ontario, Canada. Superintendent Ian Schwartz recorded the following telephone call with resident John Piper on the 11th of April, 2020. When Schwartz was unable to resolve the issue to Piper's satisfaction, the latter broke his lease. After two subsequent tenants reported the same phenomenon, the apartment was left permanently vacant. The matter came to foundation attention after renovations to the structure, including the construction of an additional story of apartments. A new complaint was received by Superintendent Schwartz from resident Louise Delacour on the 2nd of September, 2022. Chronometrics personnel from Site-232 are investigating while employing the structure for off-facility housing and equipment storage. Update Junior technician Kovalenko reports intermittent percussion from the ceiling of Room 903. Inspection of the roof was inconclusive. Occupancy figures suggest the addition of a 10th story will soon become necessary. Thank you for listening.  Please become a patron or visit our merch store at the link in our bio to support our work. Secure. Contain. Protect.


Hello friends, I am Sanjay Gupta. In this video, I am going to demonstrate you how you can check whether the number is palindrome or not in Java. So first of all, I am going to import a package whose name is util. Inside this package, a class is predefined that is scanner. This class is required to read values from user. Then another class I am going to define that is palindrome. Inside this class, I am going to define main method definition. Inside this main method, I am going to implement the logic which will check whether the entered number is palindrome or not. So first of all, we have to know what is palindrome. Palindrome means if a numbers reverse is equal to the original number, then that number is set as palindrome. For example, if number is 123, then its reverse will be 321. So 123 is not a palindrome number. If number is 121, then its reverse will be 121. It means 121 is a palindrome number. So we have to check this scenario with the help of this program. So I am going to declare some variables. Now I am creating instance of scanner class. In this instance, I am passing system.in as constructor value, which is deciding that the input will be received from the console. Now through system.out.println, I am going to print a message, enter a number on output screen to receive the number from output screen or console. I am calling next int method. This next int method is defined in scanner class. So I hope you have understood why I have imported that class now. Now I am going to implement the logic. First I am going to implement the logic to convert this number into its reverse. Then after conversion, I will be checking it for palindrome. So I am implementing this while loop, which will find out reverse of num. So first time writing the statement temp equals to num modulus 10. It will provide remainder values. Then reverse equals to reverse into 10 plus 10. And then num equals to num by 10. So this loop will calculate reverse of num. After completion of this loop, I can compare num with reverse. So if both the values are equal, then I can print the message. Number is palindrome. If this condition is false, then number is not palindrome. So this way I have implemented the complete logic in front of you. But there is a minor change required when this loop will complete its execution. The value of num will become zero. And after completion of this loop at line number 17, if I compare num with reverse, so every time value of num will be zero. So I am going to take another variable as temp num. And before starting loop, I am storing value of num into temp num variable. And here in place of num, I am using temp num. So what will happen whenever this line number 11 will be executed, the original value which is available in num will be copied into temp num. So now temp num and num both have same values. After completion of this while loop, value of num will become zero. But temp num is containing the original value. So after completion of this loop, in place of num, I can use temp num for comparing the original value with the reverse value. So this way I have implemented the logic of checking whether the entered number is palindrome or not. I have saved this program in d drive in Java folder with name palindrome.java. Now I am going to open command prompt. I am moving to d drive and Java folder. Now I have to compile this code. So I am typing javac space palindrome.java. If errors it will show here, otherwise program will compile successfully. So in our case, program is compiled properly. It is not showing any error. Now I can execute this code with the help of Java space palindrome. Now it is asking for numbers. So first time entering 123. You can see it is showing number is not palindrome because reverse of 123 is 321 which is not equal to 123. Again I am executing this code. This time you can see I have entered 121. So it is showing number is palindrome. So in both the cases, both the cases program is printing correct results. I hope you have understood how we can check whether a number is palindrome or not in Java. If you want to watch more programming related videos, you can follow my YouTube channel. Thank you for watching this video.