Hollywood, California, Monday, February 8th. The Lux Radio Theatre presents Gene Raymond and Anna Sten in Browstark, with James Gleason and Marona Iolson. It presents Hollywood. Another hour brought to you by the makers of Lux Toilets over, direct from the stage of the Lux Radio Theatre on Hollywood Boulevard, blindlining Gene Raymond, Anna Sten, James Gleason and Marona Iolson. Our guest, Rufus LaMair, Hollywood's foremost star finder. Our producer, Cecil B. DeMille. Our conductor, Louis Silver. Looking over the footlights, I see many Hollywood celebrities in our audience tonight. To them, and to our listeners everywhere, a hearty welcome to the Lux Radio Theatre. Let me remind you of this, that modern complexion trouble, cosmetic skin, comes gradually. If right now, you're letting stale rouge and powder, dust and dirt, choke your pores, you're taking chances. Don't do it. Use rouge and powder all you like. But remember, that the soap nine out of ten screen stars use, Lux Toilets soap, removes cosmetics thoroughly. It guards against the tiny blemishes and enlarging pores that mean cosmetic skin. It keeps complexions lovely, the way complexions ought to be. Protection, beauty for your skin at a very moderate cost. And now, our distinguished producer, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Tonight by a strange historical coincidence, we observe two golden anniversaries in the motion picture industry. 50 years ago, Thomas Edison was completing the experiments that gave the world the motion picture. At the same time, Horace Wilcox was laying out this Cahenga Valley subdivision called Hollywood. Those were days when Hollywood had an entirely different quota of celebrities. Its greatest hero, the subject of countless campfire tales, was still Kit Carson, who as the American Chief of Scouts helped capture Los Angeles. Its greatest villain was Vazquez the Bandit, who was captured while attending a dance on Sunset Boulevard, where most of Hollywood still dances. To Edison and Wilcox, Hollywood have seemed a mythical and fabulous place, a place that never could exist. Appropriately therefore, we dedicate tonight's program to them, with the international romance Grouse Stark, in which we hear Gene Raymond and Anna Sten. On the stage at the age of five, on Broadway at 14, Mr. Raymond was a matinee idol before he was old enough to vote. After spectacular success in cradle snatchers and young sinners, he turned to Hollywood, where he's not only a leading leading man, but a successful songwriter and noted horseman. Tonight, we'll hear him as Glenn Laurie. I first saw Anna Sten in one of the most effective scenes ever filmed. It was in a foreign production with Emil Yannings. Determined to place her under contract, I started negotiations for the service of this very young girl, who had starved with her parents in the Ukraine, to become one of Europe's most glamorous stars. Then one day, Samuel Goldwin invited me to his office to ask my opinion of an actress he'd just signed. The actress was Anna Sten. I was greatly disappointed to lose her, but tonight, I have the privilege of presenting her in a demo production. She will be heard in the role of Yatif. In the part of Spud Gervie, we welcome back Hollywood's Hardy Perennial, James Gleason, whose ability to write comedy is exceeded only by his ability to play it. Moroni Olsen is cast as Baron Albalet. And here we issue passports to the troubled land of Grouse-Dark, as the Lux Radio Theatre presents the famous George Bar McCutcheon story, starring Jean Raymond and Anna Sten with James Gleason and Moroni Olsen. We're on Riverside Drive, a wide and impressive boulevard in New York City, overlooking the Hudson River. In the shadow of Grant's tomb, Glenn Laurie, a young reporter, is sitting on a park bench, deeply absorbed in the morning paper. Along the path comes a well-dressed, well-mannered young lady. She pauses for a moment to gaze up at the monument, then turns politely to the reporter. I beg your pardon? I said I beg your pardon. Oh, I'm sorry. Were you talking to me? Yes. Can you tell me what building that is? That? Well, that's Grant's tomb. Oh, Grant's tomb? Yeah, Grant. Ulysses S. You know, he smokes the gun. Ulysses S. Of course. He was president wasn't he? I said he was president of the United States. Hey, what are you doing? Kidding me? Kidding you? I'm afraid I don't know what... Everybody knows Grant, even the kids in school. He was a great man. He must have been to have such a beautiful monument. Um, what did he do exactly? What did he... Look, miss, I'm a busy man. It's 9 o'clock and I'm due at the office at 8.30. Oh, I'm sorry. I didn't mean to take up your time. Excuse me. Say, wait a minute. Yes? Are you on the level about this? About what? Not knowing who Grant was? Well, I knew he was president. Hmm. Sit down. Thank you. I don't know whether I'm making a darn fool out of myself or whether you're helping me along. The little girl shouldn't go all through life without knowing about General Grant. I know. Yeah. All right. Here goes. Full name was Ulysses Simpson Grant. Born Point Pleasant, Ohio, 1822. When he was 21, he graduated from West Point, went into the Army. He was best known for his work in the Civil War. Captured Vicksburg, won the battle of Chattanooga. General Lee surrendered to him at Appomattox, April 1865. Grant was elected president, 1868, re-elected 1872, died in 1885. You seem to be very well informed. I ought to be. I once wrote an article about him for the Sunday supplement.  You flatter me. I'm a reporter. Well, come on. What's the gag? Gag? Come on. Come on. I've taken the bait. Now tell me what it's all about. I don't know what you mean. Ah, you know who Grant was. Everyone does. He's one of the idols of American history. But you see, I'm not an American. Oh, no? No. I'm Graustarkian. You're what? Graustarkian. I'm from Graustart. Oh, well, that makes us even. Even? You never heard of Grant. I never heard of Graustart. Look, where'd you learn to speak English? My tutor. We never spoke anything but English at home. I mean, the young people, of course. Oh, of course. I'm glad I'm doing so well. This is my first trip to America. Hmm. All alone? Oh, no. I'm traveling with my aunt. I see. I just happened to be driving by here, and I saw this monument. I wondered what it was, so I got out to investigate. Well, I'm glad you did. Thank you. I didn't know you were a visitor. Say, you ought to have a guide. Oh, no, no, no. I like to find things out for myself. Sure. It's more fun that way. But don't you think that you could learn a lot more and see a lot more if you had someone to show you around? Someone like you? No, not someone like me. You're very kind. Do you mind telling me your name? No. It's Yeetiv. Hmm? Yeetiv. Yeetiv? Yes. That's a strange name. Yeetiv what? Yeetiv, uh, uh, Guganschlanger. Yes. Guganschlanger? Yeah. That's an even stranger one. Well, it does strike these American ears with a bit of a thud. Did you mind if I call you Yeetiv? If you want. Thanks. I'm Glenn Laurie, Morning Star. How do you do? Fine, thanks. Now, uh, what about that kind offer of mine to show you around? Oh, well, I'm afraid I, I couldn't. Oh, don't be bashful. I'd love to do it. But, um, my aunt, she wouldn't like it. The point is, would you like it? Yes, but, uh... It's a date. Where are you staying? Are they kels and buck? The carpool. What about nine tomorrow? No, no, no, no, I couldn't. 10? No. 11. Well, I'll see. Good. I'll be there at 11 sharp. It's 187. You may come right after. Yeetiv. Yeetiv. Yeetiv. And? I think you should come back in the car now. Yes, aunt. At once, please. Well, goodbye. Goodbye. And thank you very much. Not at all. Uh, say, uh... So long. So long. To the hotel, Hugo. To the hotel, yes, madam. Yeetiv. Yeetiv. Yeetiv. You shouldn't have spoken to that man. Oh, auntie, please. He was a very nice young man. I do not care you forget your position. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Yeetiv. Why can't I go? What can happen to me? Yeti, you're in my charge. I'm responsible for your safety in this country. I know, but all I want is a little freedom. Just a little bit. Please, Auntie, please. Very well. You may go. Oh, Auntie! He can show you all the sights you want.  But I am going to go with you. Oh, dear. Good morning. Good morning. My name is Laurie. Miss, uh, Miss Guggen-Selana is expecting me. Miss Guggen-Selana? It's all right, sugar. Come in, Mr. Laurie. Ah, good morning. Well, I am right on time. Yes. Uh, Mr. Laurie, this is, uh, this is my aunt. Get through that in your law police of, uh... Um, Mrs. Dagmore. How do you do, Mrs. Dagmore? How do you do? It's a very kind of you to invite my niece to see New York, Mr. Laurie. Oh, don't mention it. Where are you going to take her? I... I beg your pardon? I said, where are you going to take her? Right, uh... Um, my aunt is going to, Mr. Laurie. Oh, yes? Yeah. Well, that's fine. Yeah. I, uh... I thought the zoo would be nice to start off with, but of course, it's an awful lot of walking for your aunt. I enjoy walking very much. Yes, I thought you would. Well, then I figured on seeing the parks and the statues and the Empire State Building and all of that, we can let the theaters and the nightclubs go for a while. Yeah, there's a nightclub. Yes, I've made up a schedule. It's a little strenuous, but, uh, I'm sure you'll like it. Yes. I certainly hope it won't be too tiring for you, Mrs. Dagmore. You need not worry about me. I never get tired. Oh, that's fine. Well, let's go. Check your hat, please. Cigar, cigarette, cigar. Ah, good evening, Mr. Laurie. A table for two, sir? No, three, Joseph. Three? Yes, three. Uh, uh... Yes, sir. This way, please. Cigar, cigarette, cigar, cigarette, cigar. Are you comfortable, Mrs. Dagmore? Perfectly. I was wondering if you'd mind very much a gated desk. If she wishes to. Thanks. Gated? Of course. Having a good time? Wonderful. I never knew I could have such a glorious time. Or I wish it would never end. Must it end? They say all good things do. Look, what are the chances of ours slipping out for a while, hm? Slipping out? Yeah, away from Auntie. Oh, pretty bad. Can't you manage it? You know, I hardly ever see you alone. It's been going on like this for a week. I'd like a chance to talk to you. Let's get out, shall we? You know, wait until we go home. Then when Auntie goes to bed, I'll come down and meet you. That's swell. I'll have the car outside. Do you recognize it? Oh, yes. It looks different by moonlight. Yeah. Um, Glen, what time is it? Oh, why worry? Must be awfully late. My Auntie wakes up and finds me gone. You probably raised the roof. So what? Look, isn't the Hudson pretty? He's beautiful. Yeah. Park and moonlight. I guess I picked a pretty good setting. Setting? For what I'm going to say to you. Oh. Gative, this is going to sound pretty silly, but I mean it. I've never said it to anyone before, and I don't think I'll ever say it again. Gative. No, no, don't, Glen, please. You know? I think so. That's why I don't want you to say it. Why not? Because, uh, let's not talk about it. But I want to talk about it. I want you to marry me, Gative. I know I haven't got a fortune. I'm not making one yet. But I've got a pretty decent job now, enough for us to live on. And if you marry me, I'll go up by leaps and bounds. I know it. Will you, Gative? I can't. What, Gative? Don't ask me why. I just can't. That's all. You want time to think. Is that it? No. I don't want to do any good. It might. I'm satisfied to wait.  More than I'm willing to admit, even to myself. Because what's the trouble? What's holding you back? Oh, I can't answer that. All right.  But I want you to promise me one thing. Yes? This objection of yours, whatever it is, I want you to promise me you will think it over carefully. And then if you still think it's impossible, I'll do a fadeout. No questions asked. But you've got to promise me. Very well. I'll think it over. Will I see you tomorrow? If you want. All right. Let's say five o'clock. That gives you 14 hours to meditate. Long enough? I think so. Good. What are we doing? Back to the hotel. Say, I don't want you to lose any time. Front fair. Front. Casing. Take clerk. Clerk? Yes, Mr. Lorre. Check up on that again, will you please? I have already, sir. Mrs. Dagmore and her niece have left the hotel. But that's impossible. I had an appointment with her at five o'clock. I'm sorry, sir. They checked out about 11.30 this morning. Mm-hmm. I believe their boat sailed at noon. Boat? They've gone to Europe? Yes, sir, on the Empress. And she didn't leave any message for me. You're sure? Not a thing, sir. That's funny. I can't understand. If anything comes, I'll let you know. Hmm? Oh, yes. Thanks very much. You can reach me at the Office of Morning Star. Morning Star, yes, sir. Hey, boy. Come in. Right. Right. Right, right. Right. What a thing it's done. I got to say it's a fine thing. Hi, Bud. Hello, Groud. I'm not with you. Oh, I just finished with a boss. I got troubles enough he's gonna send me over to Europe to look at some more. Europe, huh? Yeah, there's a revolution starting up over there in some jacquard country I never even heard of. A joint that goes with the name of Grous-Dark. Hmm? Can you imagine that? Wait a minute, Grous-Dark. Did you say Grous-Dark? Yeah, but don't ask me to spell a solution and I couldn't. Grous-Dark. Oh, Michael. Where's the boss now? He's in his office. What's the matter with that? Bort, anyone can cover that. But this revolution story is right up my alley. You've got to let me go over there. I don't know, Laurie. McLean's in the Paris office. He can handle it. I wouldn't be sending you a spot if I had a good photographer there. Not less than Bort. Why are you so anxious to get the grouse stock anyway? Well, I like the place. How do you know you've never been there? Well, I like the pictures of it. Oh, come on, Bort. Be a sport, will you? I'll turn you in some of the greatest stuff that she's seen in years. Well... Let me go, will you? All right. Your stuff better be good. Don't worry. It'll be front page. Highest, Bort. Come in, Bort. What's the layout, Bort? I'm sending Laurie over, too.  Sounds like a great setup, Bort. What's so great about it? Why, the revolution excitement would be right over there in the middle of it. Yeah, and Mr. Giant's opening game. Oh, forget it, will you? Well, I'm going home and get packed. See you later, Spud! Well, what's the matter with that guy? He sure is excited. He must be nuts. You think he was going to meet us, Goyle? Here, take a plate. Take a plate. Yeah, plate it. Spud groovy on the sand. I said groovy, nuts groovy. Who's this? What? Look, I don't understand you. I says I don't understand you. Look. Look, don't speak at the grouse, Doc. I only been here a week. Talk American, will you? Now, what do you want? Yeah, this is Mr. Laurie's room. Who? Oh, yeah? Okay. I said okay. We'll be there. Who's that, Spud? Okay. Yeah, sure.  You're a great friend. Where you been? American Embassy. Now, he went all through the records. Said he never heard of a girl over here named Guggen-Slaner. With a name like that, he should ought to be glad of it.  Who's that in the phone? It's all fixed. The interview. He's going to meet the baron personally. He's the big meat course around here, you know. Head of the cabinet, head of the army. He'll give you the whole lowdown in this tin sword revolution. That ain't taking place. I'll call us my pallet four bells. All right, order me a car with it. They ain't allowed. It's horses over here, Frank. They never heard of an automobile yet. If they have, they're not in favor of it. Oh, well, get me a carriage. Sure. And a horse. What? Hey. Hello? Say, I want a carriage. Can you get me one? A carriage. Look, a couple of horses and a buggy. I don't know what they call it. So, wait in here. The baron secretary will come presently. Thanks. What are you doing here? Well, I could ask you the same thing. I've been looking all over for you. Oh, Glenn. You left New York in a hurry, didn't you? Yes, I had a cable. You might have let me know. Oh, I'm sorry. I thought it would be easier that way. Just to walk out? Sure. Any questions? You came here all the way here for that? I was sent by the paper. Oh. Well, did you think it over? Yes. That's why I didn't let you know. I didn't want to hurt you. Oh, I see. The answer was no. Well, I said I wouldn't ask any questions. I won't. Oh, Glenn, I wanted to see you that day. If I'd just been able to say no simply. It wouldn't have been so bad. But I would have had to tell you something else. What? I'm going to be married. Oh, so that's it. I'm sorry, Glenn. Terribly sorry. Uh, what is it, Hans? The Baron has an appointment here with the newspaper report. Yeah, yes, Hans. This is the gentleman, Mr. Laurie. The Baron is secretary, Mr. Laurie. So him? Well, I thought you were the secretary. No. Tell the Baron Mr. Laurie is waiting, Hans. He knows already your Highness. Highness? You? Yes, Glenn. I am the princess, yes, you, the ruler of Grausdark. We are going on with the lucked Radio Theatre presentation of Grausdark, starring Anna Sten and Jean Raymond with James Gleason. Meanwhile, let's go over to the corner of Broadway and 42nd Street on the RKO Radio Lot. Practically every afternoon you can see stars and extras bicycling there after work is done. It's hard exercise, too. Listen to what these extras say. Phew, I'm hot. Headling around in this weather is too much for me. How about sitting down a spell? We could sit on the commentary steps if you're not too proud. Like to, but I can't. I have to go to Pasadena tonight, dinner with friends. You'll never make it. Me, I could move a step. Oh, I'll make it all right. Dead as a dog now, but life will look better after my bath. A few moments in a warm tub while that nice, fragrant nut taught it so blather does its work, like a million. Now the sequel to the story. If you could follow Linda tonight, you'd see her refreshed, full of pep, confident as girls are when they are sure of daintyness. Linda knows she can depend on Luxe Toilet Soap's rich, active lather to remove perspiration every trace of dust and dirt. She knows it leaves skin sweet, delicately perfumed, attractive. Why don't you try a Luxe Toilet Soap beauty bath? Once again, Mr. DeMille. We continue the story of Graustach, starring Jean Raymond and Anna Sten with James Gleeson and Marona Elton. One week has passed since Laurie discovered Yetif is the princess of Graustach. We're in the princess council chamber where a Baron Albalet and her aunt are scolding her. They resent the courtesy she has shown to the young American. Your Highness, if I may say so, your conduct with this young American is most unbecoming to the princess of our realm. Perhaps you will explain what he means by that, Baron Albalet? There's no explanation necessary. He's been coming here to the palisade every day. That's my invitation. Exactly, and that's what I find so deplorable. Your Highness, you do not realize the seriousness of our situation. An armed force is rising. At any moment, general Danucks may strike. And were it known that more than half of our guards are at the border, they would strike tonight. And what would he have me do? Arm myself with a musket? Yetif, we can do without death. Your Highness, our country is in desperate need of money. The powers refuse to advance as another penny. Our only salvation is an alliance with Prince Laurence of Axe-Vie. An alliance by marriage. I have already told you, Baron Albalet. I am willing to marry Prince Laurence as much as I despise him if it will save Graustach. But you refuse to see the prince. He's called repeatedly at the palace, nor would you have made the same excuse. I saw him twice. That was enough. If I have to look at him for the rest of my life, I think I might despair it now. Well, you have no objection to looking at the young American. Not this late. Oh, how strange. A commoner takes the princess fancy. I reserve the right to choose my friends. Well, do you realize that this friendship may result in our defeat? I don't see how. Prince Laurence is not the man to play with anyone, least of all a common newspaper man. If the prince withdraws his offer of marriage and with it his financial support, our government falls like a rotten branch. Dinox and his troops will sweep the country. And all because we have a ruler who refuses to be loyal. Baron Albalet, I don't like your tone. And I don't like your actions. Be quiet. This friendship must come to an end. I demand it.  But may I remind you that you are a servant? I am the ruler here, not you. I beg your highness' pardon. You will excuse me now? Gladly. Thank you. And don't return until you learn a little more respect. Very well, your highness. Yes, Your Excellency. Come here quickly. Yes, Your Excellency. Did we receive any word from General Dinox? No, Your Excellency. He's waiting to hear from you. Very well. Send him a message at once. Yes. Tell him that only half the guards are at the palace. And he may strike when he is ready. So soon, Your Excellency? Why not? But the people, his troops, they won't fight until they hear that the princesses have been married to Lawrence. You may tell him that date for the wedding has been settled. It has? You may tell him that it has. Oh, yes, Your Excellency. And one thing more. The American newspaper man. I want him followed day and night. Someone must watch him at all times. Yes, Your Excellency. And if he speaks to the princess, I want a complete record of everything that is said. But may I ask why, Your Excellency? He stands in the way of her married with Prince Lawrence. If she should decide not to marry the prince, there would be no uprising. Well, that wouldn't fit in with our plans.  Of course. Now, I'm not certain what steps we shall take. But he must be put out of the way. That's why I want him followed every minute. Yes, Your Excellency. Now send that message to General Danucks. And tell him to stir the people up about this marriage. The house of Grouse Stark must fall. But, Excellency, if it does fall, if the people attack the palace and win, they'll demand a parliament. And they'll have a parliament, Hans. A very good one. General Danucks and myself. Your Highness. Yes? Mr. Glenn Lawry is in the anti-room, Your Highness. Oh, all right. Send him in. Very good, Your Highness. Thank you. Hello? Glenn, I asked you not to come again. Yes, I know. And why did you do it? Oh, just curiosity. I've given up not asking why. I told you why. It's causing trouble. I'm going to be married. When? I haven't decided. Good, then there's still time. Time for what? To chuck the whole business and come to your senses. You can't marry this Lorenz fellow. I saw him yesterday around the hotel. Why, he looks like an overstuffed tailor's dummy. No, Yatev, you can't do it. I'm not thinking of myself. I know, you're thinking of Graustach. They've fed you with a lot of talk about what will happen if you don't marry him. Well, what will happen? The country will go broke. In a year or a couple of years, there'll be an uprising. If you do marry him, there'll be an uprising anyhow, only sooner. You seem very sure of yourself. Well, I've studied the situation, Yatev. It's part of my job. The people want a parliament. You can't blame them for that. If you marry Lorenz, they're afraid they won't get it. They were promised a part. I think perhaps my ministers know what's best for the people. All right. It's none of my business anyhow. Oh, I'm sorry, Glen. Let's not talk about it, please. We have so little time left. You mean they're going to announce the marriage ceremony? Soon, I imagine. And there is always the danger of an attack by Danitch. He's stormed the palace tonight if he knew half the guards were at the frontier. Hmm? Who sent them there? Oh, I don't know. I try to keep track of everything and everybody. But I can't. You make a very bad princess, Yatev. I know. Why did you have to be one? Why couldn't you have just been playing Yatev Guganslana? You know that name? Well, it has its compensation. You see, Yatev Guganslana wouldn't have had to catch the next boat back to Graustad. She'd still be in New York, seeing things, going places.  No worry. No headache. No revolution. No problems of faith. And no Prince Lorenz. Why? She wouldn't have to get married unless she wanted to. A very fortunate girl. And I think she might have wanted to. Don't you? To help. It's not too late. Please. You don't feel like it. Yeah, I know. I've got a lot of nerve proposing to a princess. Well, whatever. Before you were a princess, you were a human being. Well, I'm human too. And I'm asking you to... You're asking me what? I'm asking you to chuck this Yatev, all of it, and get out while you still got time. What? You don't want to be a princess. You said so yourself. Then why don't you give the people a break? Hmm? Let them run things the way they want. They'll be happier, and so will you. You're wanting to abdicate, is that it? Right. And what do you offer them exchange? You really want to know? Yeah. All right. I'm offering you a three-room apartment in New York, and half my salary every Saturday night. I'm offering you a two-by-four kitchenette where you'll have to learn how to cook and turn around without burning your elbow. I'm offering you a little bunch of flowers at every payday, and the movie is once a week, or a walk in the park where we can't afford that. I'm offering you a lot of work, and a lot of grief, and a lot of fun if you'll see it that way. Oh, Glenn. Well? What's the answer? Oh, Glenn, I do love you. And I'd love that place. I know I would. But I can't, Glenn. Oh, why not? Because, because it's still as it sounds, my people need that. Oh, yeah, they don't. They don't need anyone but themselves. My people love me. That's true, but they despise your ministers of state. The best possible thing that could happen to your people would be for you to clear out and let them run things for themselves. No. Oh, Yadav, you're way behind the times. Look around you. It's a new world now. A world that has no need for kings and queens and princesses you're outmoded old-fashioned. You're through and you don't know it. Stop it. But the people know it. Listen, there's a revolution starting out there behind those walls. A revolution that'll sweep you and your ministers clean out of the country. I'm asking you to abdicate now before it's too late. You've said enough. You'll leave now, please. Yadav. All right. All right, Yadav. Your Excellency. Yes, hon? I have here the transcript of the meeting between the princess and the American. Oh, yes, yes. Let me see. It is word-to-word, Your Excellency. Our man took it down over the dictograph. Very interesting. But I'll look it over later. Tell me, have you communicated with General Danucks? Yes, Your Excellency. His troops will begin the attack on the palace at 11 o'clock. Good. Keep under cover, Hans. Go to the west wing when the firing begins. I've told Danucks that he must not shell that section. Very good, Your Excellency. Thank you. So I said, listen, Pacizzi, if you think I'm going to spend three bucks for a buggy ride alone. I'll lay off, will you? But I'm trying to read. Yeah, I noticed that. Oh, what? So that you'll always read upside down? Huh? What's the matter, thinking about her nibs? Her nibs? You know, the princess. Oh. See you today? Huh? What you have to say? Huh? Did you date her up? Spud, for the love of my... Okay, my pal, okay. Hey, Spud. I got an idea that some of the people at Yadav's plot turned back on this plot. Now take that fellow, Albalin. Why would he send her to... Hey, did you ever stop to think that maybe Yadav's selling Browstock short? Spud, sometimes you're so dumb. I came, my pal. I don't get sure I just thought I'd ask. Oh, what time is it? Almost 11. You better go to bed. Yeah, that's about all you can do in this place. I came over here to take pictures of a revolution. So far, all I got is the outside of the palace and a lot of horses. I ain't seen so many horses since Ben Hur. If they're gonna start some of which they'd start soon, I'm getting tired of this. Yeah, and so is the boss. What do you mean? A cable come for you today. Listen, when does Danik start revolution? Waiting for details. Get story at once. Oh, what do these things they do? Start revolution is just in time to make the first edition? I'll answer that. I did already. What did you say? Need 500 bucks additional expense money, weather very warm. What's that? Sounded like thunder. Not to me, it didn't. I swear it was a gun. There, there. Here it is. I tell you, it's thunder. Nothing could happen in a display gap at 10 p.m. I'll take it. Hello? Yeah. What? Are you sure? What is that? Wait a minute. Go on. Yeah, yeah. Yeah, yeah, okay. What? Will you tell me what's going on? Wait a minute. Okay, mister. Well, thanks for the tip. What's going on? It's the revolution. It's happened at last. Who's that on the phone? The manager of the hotel. All foreigners are ordered to keep in the rooms. No one will loud out on the street. Well, get your hat in the spot. We got work to do. Hey, wait a minute. Where's the fighting? It's at the palace. The shell in the palace. I'll see you later. Hey, wait. You can't get there. Wait a minute. Wait a minute. I got a point. What's the matter with that guy? Sir, tell me the gate. I encourage you to leave the palace while there's still time. I'll stay here, Captain Bologna. That's your highness. How many men have you? Less than 300. We can't hold out much longer. Where is that in our village? Why doesn't he come here? I've looked for him, your highness. He's nowhere to be found. You must find him. And you've got to hold against you. You've got to. Yes, your highness. Captain Bologna. Your highness. Captain Bologna. I... I can trust you, captain.   I'm staying here with my men. Tell them that. Yes, your highness. Get him. Man! Are you all right? How did you get in here? Never mind that. The question is, how are you going to get out? I'm not getting out.  If I've just come through that mob out there, they've got blood in their eyes. Now listen, I can get a carriage to the west gate. I'm not leaving. My men are out there giving their lives for me. Sure. Those that aren't hiding in the cellar. My soldiers are loyal. Yeah, yeah. How do you suppose I got through the gate by slipping one of your loyal soldiers 50 bucks? What? Now come on. Your highness. Oh, better now, Vali. Come here. Your highness, I've just been informed of Herlari's arrival. He bribed his way through the gate. Indeed.  He bribed his way through. What's happening out there? Are my own men turning against me? Well, there is no need to excite yourself, your highness. Herlari was allowed to pass through the gates at my specific order. What? And it is now my pleasure to place Herlari under immediate arrest. What are you talking about? What is? What for? Well, if you were a citizen of grouse dark, your highness, I would call it treason. Treason? What? The betrayal of military secrets to the enemy.  It's very simple, your highness. In your conversation with Herlari this afternoon, you disclosed the fact that we have only half the guards at the palace. No one knew of this, but you and me and Herlari. I accuse him of informing General Danucks as to the state of our defense, thereby provoking the present attack. Listen, you, another crack like that now. Lieutenant, your excellency. Place this man under arrest. You can find him to the north power. One moment. I don't know, Billy. May I ask how you knew of our conversation? Well, it is of no significance, your highness. This man pleaded with you to abdicate. In order that you might be free to marry him, you refused. And he took the only possible course open to him. He betrayed your highness to the enemy in an attempt to bring about a quick overthrow of your highness' royal position. Say, did you ever try writing stories? You've got a swell imagination. Glenn, this isn't true. Oh, what do you think? I don't know. You did ask me to abdicate you. His exact words, your highness, were these. The best possible thing that could happen to your people would be for you to clear out and let them run things for themselves. You are through, and you don't know it. But your people know it, and I know it. Glenn, you did say that. Sure, whatever. It's the truth, and you know it. Be quiet. If you were out of here, I wouldn't care. If they shell this palace to pieces. Be quiet. And they'll do it too. They'll set up their own government with their own laws and their own leaders, and it'll be a darn good thing. There it is. Now, do what you want about it. You see, your highness. Take him away. You really mean it? You have forgotten once too often that I am princess of Grouse, sir. Yeah. I just can't help thinking your name is Guggenshlana. Lieutenant. Yes, Your Excellency. Come along.  I don't mind spending a night in a cell, but I won't be pushed into it. It will be more than a night. A lorry? Oh, yeah. That's when the American ambassador hears about it. Think you got trouble now? Wait until tomorrow. Well, pleasant dreams. Your highness. This is the Columbia Broadcasting System. This is K. N. X. Los Angeles, the voice of Polly. We will continue with the Lux Radio Theatre presentation of Grouse Stock, starring Anna Sten and Jean Raymond with James Gleason, short lay. No modern Galileo glued to his telescope is more persistent in his endless search for new stars than the talent scouts of motion pictures. In this field of face-finding, none has a more glowing record than Rufus Le Maire. Since coming to Hollywood, he has brought over 200 new personalities to the screen for Warner Brothers, MGM, and Universal Studios. His more famous discoveries include Louise Reiner, Eleanor Powell, Betty Davis, George Brent, Dick Powell, and Gertrude Neeson. Today, he is executive assistant to Charles Rogers, production head of Universal Studios. Ladies and gentlemen, Mr. Rufus Le Maire. Thanks, Mr. Le Maire. Since there aren't any rules for turning up talent, Mr. Le Maire, how have you found your star-spangled array of discoveries? Chiefly through luck, I suppose. For example, three years ago, I was given a tip to look up an actress player in a tiny theater in Vienna. I couldn't understand a word she said, but her personality spelled box office and I brought her to Hollywood. Her name is Louise Reiner. Eleanor Powell, another MGM star, was dancing a low-state theater in Times Square when a wire came from Hollywood to the MGM office located in the same building. It was in order for Louis B. Maire to find a dancer at once who could rank with Fred Astaire. I saw dozens but never thought of Eleanor until I happened to glance at her name on the marquee as I was returning to the office. That is the only instance when I found a star literally on my own doorstep. I wish Betty Davis had wandered to my doorstep. Betty was already in pictures before she was really discovered. Another studio had cast her in gingham dress types and no one paid any attention to her. I suggested we give Betty a little sophistication. It was a lucky guess for Betty skyrocket at the fame overnight. Gertrude Neeson and I had seen in New York several times without being impressed. But when she sang at the Trocadero here in Hollywood, with a new style of song, a slimmer figure and a new style of hairdress, I couldn't hand her a contract quickly enough.  Everyone always asks, what are the qualities that make a star? Well, there are three. A voice that you believe when you hear it saying, I love you. Second charm and third appearance. A good complexion, for instance, is not only something nice to look at, but it is a definite reflection of character. No one knows this better than a star, and I've seen enough luck soap in Hollywood to realize it is by far the favorite of those who must always look their best. Is there any reason why one section of the country should produce more stars than another? No, they'll come from everywhere. There were great many of our future stars right here in Hollywood hoping to get a screen test. They haven't had experience and you can't blame producers for hesitating to experiment with them. It's a big chance to take. But we at Universal took it when we starred Deanna Durbin, Barbara Reed, and Nan Gray and three smart girls. And we're going to take it again to the tune of a million dollars in producing Top of the Town, with a cast composed entirely of new faces headed by Doris Nolan, George Murphy, Gertrude Neeson, and Ella Logan. I'm confident that when you see this film, you'll not only be seeing a fine show, but you'll get your first glimpse of at least four stars of the future. Good night, Stargazer. We return to our story, Groush Dark, starring Jean Raymond and Anna Sten with James Leeson. It's the following morning. In his cell in the North Tower, Glenn Lowry walks the floor impatiently. Suddenly he hears a footstep in the corridor. The door is unlocked and spud enters. Spud? Aye, pal. Okay, jelly, come back for me in ten minutes. Well, what's the news, bud? Plenty. They've declared a temporary truce. They're going to stop and torque things over. Hey, I got some swell pitches last night. No, I mean, what's the news about me? When am I going to get out of here? Oh, pretty soon, I guess. Pretty soon? What do you mean, pretty soon?  How's the bed comfortable? What do you mean, pretty soon? You know, you certainly managed to get yourself tied up in some waffle knots. How do you do it anyway? Oh, for the love of Mike.  Boy meets girl at grandstool. Boy follows girl to grouse stock. Boy proposes to girl, girl throws boy in a can. It's like a story.  I want to know when I'm getting out of this place. I'm coming to that, my pal.  No one was. Right in the middle of the revolution. And did I get some pitches? Oh, boy. I'm standing right in the middle of the mob, see? I got my camera under my coat and who watches up at General Danik's? Right smack in front of me with about ten assistants. Boy, I never see so much gold braid in my whole life. So what happened, Spud? I don't know what I did. Well, will you answer my question? When do I get out of here? You didn't give me a chance, my pal. What is it? So I snapped the pitch at Danik's and his parents. The only ten of them have been snapped.  Okay, okay. What's on your mind, my pal? What's on my mind? Did you go to the American Embassy? Certainly I went to the American Embassy. Good. What did the ambassador say? Uh, nothing. What do you mean? Nothing. He left town on business the day before yesterday. He won't be back for a week. What? Yeah, that's right. And what happens to me in the meantime? Well, I guess you start. Now, about the pictures.   I want to get out of here. Great idea. Yes, sir. Good morning, sir, Lottie. Oh, it's you. What do you want? I've come to pay you a little visit and to have a short talk. Yeah, the shorter it is, the better I like it. Can I have your tone, please? Remember you were my prisoner, Herr Lottie. Who's this guy, Glenn? A royal stooge? You're accused. Get out. Well, you know, I've seen you before someplace, Colonel. I said get out. Okay, okay. But don't shake your medals at me, Major. I'm the American press. Well, be seeing you, Glenn. Yeah. So long, pal. So long, Corporal. Hey, I could swear I've seen you or kiss her before someplace. I'm using you to live in Brooklyn. Well? Sit down, Herr Lottie. What do you want? Herr Lottie, I regret the necessity of confining you here. In fact, it is my sincere wish that you remain with us for as short a time as possible. Go on. Well, I'm prepared to release you at once and on one condition. That you cross the border by six o'clock this evening and make no attempt to return. Oh, suppose I don't agree. Well, then you must stay with us indefinitely, at least until the revolution is over. All right, I'll stay. I see.  Maybe, but I'm staying just the same. Fighting starts again, Your Highness. Another attack in the palace, Captain. No, Your Highness, but they are moving this way. They're Americans. Captain, is he safe? For the presence, Your Highness, if they attack the North Wing. I would like to speak to him, Captain. You will bring him to me here. But, Your Highness... You have my orders, Captain Bologna. I will see him here at once. I love. You will go in, please. Thank you. Blaine. Hello. I hear you want to see me. Yes. How have you been? Did you have a good night's rest? Please, Blaine. I did, too. Tello is a little hard, though. And I suggest you widen out those cells. The ventilation is awful. Blaine, I am sorry. Really? Yes. I... I didn't want to put you there. Yes, I know.  That's what my father used to say. I had to do it. Oh, well, I couldn't trust him. He might have done anything. At least he was safe in there. Oh. You do understand. Well, I didn't quite see it that way last night. What happens now? I'm giving you an escort to the border. You will leave in a few minutes. And what about you? I'm staying here, of course. Yes, of course. Well, Albelitz made me the same offer a little while ago, and I told him I wouldn't leave. But why? Because I wanted to see you again. You see, I still have an idea that maybe this is all a bad dream. Maybe we'll wake up soon and discover that Grouse Dark never even existed. Maybe this palace is a myth and it has no princess. It's not a dream, Glenn. Oh, I wish it were. You asked me if I slept well. Shall I tell you what I did? I was awake all night, placing my room, trying to find in my heart some justification for leaving my country. Jeter. I did not find it, Glenn. My duty is here. I've got to stay. Well... It's her. It's that girl that's come for you. Yeah, we say goodbye now? Yes, Glenn. Goodbye, Edith. Goodbye, dear. And think of me sometime. I'll be thinking of you. Come in, please. Yes, Court is ready, Your Highness. Yes, Captain. Well, come on. Stand back. Your next one, please. Good morning, Your Highness. Is that an offer, Ed? Ah, our friend, Herlolly. You've decided to accept my offer. It's Herlolly's offer I'm accepting and not yours. Glenn, I wish you Godspeed, Herlolly. I won't say what I wish you. Come on. Get out of the way. You can't go there. What is that? Press and I'm the American press. See, I can wait. Oh, you can't go there, too. Hello, Spud. Hello, Spud. Hey, Glenn, I got a story for you. What do you mean by forcing your way in here? Well, it wasn't the lieutenant. You're just a man I wanted to see. Put this man out. Ah, you don't.  What story? A pet. By an obelisk turned straighter. Sells out to the enemy. What? The obelisk conspires with General Danix to bring about downfall of House of Grouse Dock. Albalitz is first-class heel. You dare! What does this mean? Just what I say, lady. Glenn, remember those pictures I took of Danix and his officers? Yeah, what about them? Well, I took a good look at them again. And who's standing right beside Danix? But our pal, Corporal Albalitz. That's a lie. Oh, have you got the picture with your Spud? Oh, hey, take a slant. Good work, Spud. There it is. Look at him, you're the one on the end. See? Right.  So you're the one who slipped Danix the information about the guards, huh? And you pinned it on me. You're heinous. This man is insane. Now, pictures don't lie even for you. Captain Albalitz, arrest the baron Albalitz. That's God. No, no. You can't do this. Yeah, that's what I said last night, Baron. But I landed in the jug just the same. Take him away. Yeah, and do me a favor, will you? Stick him in the north tower. Forward march. Look at him now. He ain't even a buck private. Oh, you'll regret this. Danix will sweep the country. And that's the man I've been listening to all these years. The man who spoke to me of loyalty. Now, Yated, you want a justification. Wait a minute. Captain Albalitz. Uh, Captain Albalitz. What, um, what would happen if I, um, abdicated? You're heinous. Your people love you. But they love freedom even more.  They'd get along without me. I'm not needed here. They can run things themselves. Yes, you're heinous.  Tell them I'm abdicating. You're heinous? Oh, thanks. Oh, no, my thanks. Oh, and my thanks. But get those steamer tickets quick. Three, get it? Got it. But I gotta grab one more picture before we leave. What picture? My friend a Baron sitting in the north tower checking out the days on the calendar. See you later, folks. Well, Yadav, what are you thinking of? It's a sort of strange land. It's a little hard to get used to at first. I think you're not needed. Why, I need you, darling. And I'll be a very willing subject. You? You'll be harder to govern than the whole kingdom. So we sail away from Grouse-Dark and drop anchor again in Hollywood. By the way, when Hollywood was founded 50 years ago, the majority of its citizens were sheep. When it became a town, one of the first laws prohibited the driving of more than 2,000 of its fleecy residents down Hollywood Boulevard at one time. The sheep have long since gone the way of all mutton. And Hollywood is now part of Los Angeles. But as a dog's paradise, it still has a large four-footed population. Since both our stars are owners of celebrated dogs, perhaps they'll tell us something about them. Ladies and gentlemen, Jean Raymond and Anna Sten. Thank you, Mr. DeMille. The only claim to fame my dogs may have is the fact that they are the only ones of their kind in Hollywood. At least as far as I know, they come from Siberia and they are known as summer yet. Well, since names make news, Anna, what do you call them? Well, one is Pushok, which means swan down. One is Druzhok, meaning little friend. And the third is Vanka, a nickname for Ivan. Pushork, Druzhork, and Vanka. Well, it's a cinch, they're not Irish, like my setter. But I thought you said you had a quartet. Yes, I have. And here's where I fool you. The fourth one is named Hooligan. Ah, a harp and a Russian choir. And I suppose, Jean, that you call your Irish setter Ivan Ivanov. No, I call him Trey, after the dog immortalized in Stephen Foster's point. But tell me, Anna, how did you happen to name a Russian dog Hooligan? Well, Hooligan means rough neck in Russian, too. Oh? And my Hooligan is about the loveliest dog I've ever seen. Always in a dither. Did you say lava? No, I said dither. But if you're looking for a chance to get in a word about laks-toilet soap, Mr. DeMille. Oh, I am. Well, I'll say a good word for it anytime. Laks-toilet soap has been the favorite in my household since ever I came to Hollywood. Thank you, Anna.  There's Darkie DeMille, the Cocker Spaniel, Josephine DeMille, the St. Bernard, and Lutz Fanolador DeMille, a doxon. That Adrienne, the designer, presented to Mrs. DeMille with the observation that doxons speak louder than words. Oh, that's moral.  After 15 years, I've tamed them to come within 10 feet of the front porch. Sure. Perhaps when you and Anna are here next, I'll be able to say that they bring me the morning paper. Well, by that time, we'll probably have a lot more puppies to talk about. And let's hope it won't take another 15 years to turn those deer into news boys. Well, good night, Mr. DeMille, and my appreciation to you and the Laks radio theater. Good night, Mr. DeMille. Good night, Anna. Good night, James. Thank you, Miss Sten and Mr. Raymond. Ladies and gentlemen, this is your announcer, Melville Ruick. There's an important announcement coming from Mr. DeMille in a moment. In the meantime, may I say that our stars tonight were assisted by Moroni Olson as Baron Obelitz, Winifred Harris as Countess, Frank Nielsen as Hugo and Secretary, Lee Millar as Higgins, Leo McCabe as Captain Beloritz, Eddie Cain as Lieutenant, Lou Merrill as waiter, David Kerman as soldier, Ross Forester as a footman, Brayton as cigarette girl, and Mary Lou Fisher as hat-check girl. Mr. Raymond, Mr. Gleason, and Mr. Olson appeared through courtesy of RKO Studios, Mr. DeMille Paramount, and Mr. Silver's 20th Century Fox, where he was in charge of music for the new Irving Berlin film On the Avenue. And now, Mr. DeMille. Let's suppose that you have two rich relatives, an uncle and a grandfather, both of whom remember you and their wells.  But grandpa, who detested your uncle, gives you six million on the condition, however, that you spend every penny left by Uncle Ned within one year. This is the dire situation in which our hero finds himself next Monday night. And who better to face it than that man of iron will and steel nerves? That's Talwood of the Networks, ladies and gentlemen, Jack Benny. Today is Brewster's Millions, and brings us not only Jack Benny, but his leading lady of laughter, Mary Livingston. Our sponsors, the makers of Lux Toilets Hope, join me in inviting you to be with us again next Monday night, when the Lux Radio Theatre presents through the courtesy of the makers of Jell-O, Jack Benny and Mary Livingston in Brewster's Millions. And now, may I urge you, if you haven't done so already, send a contribution to the American Red Cross. The work of rehabilitation in the flood area has only begun. Now, as seldom before, they need our full support. Please send your donation to the local chapter of the American Red Cross. This is Cecil B. DeMille saying goodnight to you from Hollywood. This program, ladies and gentlemen, came to you with the good wishes of the makers of Lux Toilets Hope, the beauty care used by nine out of ten screen stars, and yet so inexpensive that every girl can use it every day. A cordial invitation goes to you to listen in again next Monday night when Cecil B. DeMille brings us a production of that sparkling comedy Brewster's Millions, starring Jack Benny and Mary Livingston. Assisting them will be another all-star supporting cast and the Lux Radio Theatre Orchestra under the direction of Louis Silvers. Until then, we bid you all goodnight. This is the Columbia Broadcasting System.


Rashad Bateman, he cleared up an Instagram post that had a lot of Ravens fans worrying like crazy. The Instagram post read as this it said No matter how bad things are right now. No matter how stuck you feel No matter how many days you spent crying no matter how many days you spend wishing things were different No matter how hopeless and depressed you feel I promise you won't feel this way forever keep going and Ravens fans were looking at that like oh no is Rashad Bateman unhappy with the team is he unhappy with his role is unhappy with his production and I could understand why Ravens fans will feel that way because when I saw the post to I was thinking Oh, yeah, Rashad Bateman He probably upset about everything that's going on or really not going on with him in the Baltimore Ravens because going into this season I felt like expectations were super high for Rashad Bateman Especially for me because I've continued to say a Rashad Bateman is going to be wide receiver one for the Baltimore Ravens Even with Odell Beckham Junior even with Zay flowers even with Mark Andrew Rashad Bateman is going to be wide receiver one Lamar Jackson he went turned around and said the same exact thing. He said, oh, yeah, Bateman That's that's why I receive a one and cuz I really thought that I Rashad Bateman We've seen the flashes when when he's been on the field. We've seen it. We know he can do it We know he can put it all together, but it's just a matter of him staying healthy But when you look at his numbers thus far and I know it's still early, but they've been pretty underwhelming He has a total of seven catches for 59 yards And he's averaging 8.4 yards Catch and in this last game especially where Odell Beckham Junior was out So I was thinking oh, yeah, yeah Rashad Bateman definitely he definitely gonna be able to contribute a lot more this game But he only had one catch for six yards So I even jokingly said it during the stream like oh, hey, they better get a shot Well, he might request a trade and of course I was joking But there was a little truth behind that as well in my opinion and not truth that he would request a trade But I just felt like Rashad Bateman may be a little bit Unhappy because he has a lot going on right now with him in the Baltimore Ravens in this stage of his career because this is big Decision time for the Baltimore Ravens after this year because this is the year where they have to decide They have to make that tough decision whether they're gonna pick up or decline Rashad Bateman's fifth year option and While that is not the end all be all if a team really likes you if they really feeling you and if they really want you to stay Hey, a lot of times they'll pick up that fifth year option They they really will if you are trending upwards with the team if you are trending like oh, yeah This is a player that's gonna be here for the future. They will pick up that fifth year option But if you're not Then a lot of times they will decline it That's why with Patrick Queen everything's in limbo with him right now the Baltimore Ravens have said they wanted to re-sign them But actions are gonna end up speaking a lot louder their words So we'll see what happens with that in the future, but with Rashad Bateman when he posted that It had a lot of us wondering and worrying and then there's I know there's gonna be the crowd that says oh It's just social media. You guys are looking too much into it. What are you talking? It's 2023 this is the NFL Players have continued to express exactly how they're feeling so much more Through social media whether they put up a verse to some lyrics of a song and then fans catch it and be like Oh, I know what that means. I see what he's saying and then something a lot of time play with the night Oh, no, it was just lyrics to a song. It wasn't nothing. Nah, we know Whether they put up a meme or they put up these quotes like Rashad Bateman put up himself And He did shut it down. No, he did shut it down because Bobby Tricey shout out to Bobby Tricey He had actually posted what Rashad Bateman put on Instagram He posted it on Twitter or on x whatever you want to call it He said Rashad Bateman's IG story this morning. Hope he's all good So Bobby Tricey was wishing them well because again the story did look concerning and Rashad Bateman caught wind of that And he said y'all are tripping. I'm more than good just motivation to everyone to keep on going And hey, that could be true that could be true because again, it came straight from Rashad Bateman So just just giving everybody a little motivation Just no matter what you're going through to keep on going now a lot of times when people are going through something They can find relief and they can find help in helping others That that's something that holds true and it will never not be true Sometimes if you got an issue yourself that you're dealing with if you end up helping somebody else That can end up making you feel better about whatever it is that you got going on So I really do believe Rashad Bateman is frustrated. I know again. He did say hey I'm more than good just motivation to keep everybody going and that's fine. That's great But I really do think that he may be a little bit Frustrated because who wouldn't be Rashad Bateman is an NFL wide receiver Rashad Bateman even for For his career, he's not just an NFL wide receiver, but he is a first-round draft pick Of the Baltimore Ravens first round draft pick at wide receiver. And you know why receiver? What's their job to do is to catch the ball.  He ain't making catches. He get upset. Oh, that's not a team play No, it's not that he ain't a team player and this just about receivers in general not Rashad Bateman But it's just that the receipt they want to make plays. That's what they supposed to do So why get upset with them when they get upset because they can't do that job They can't go they don't they're not contributing, but I could definitely see if Rashad Bateman was upset And then a couple days ago.   So basically telling Rashad Bateman how to do his job This fan isn't an NFL. Rashad Bateman is this fan didn't go to Minnesota job This fan was the first round traffic Rashad Bateman. We go down a list of stuff But he was telling Rashad Bateman how to do his job and Rashad Bateman responded to that See, this is why I feel like Rashad Bateman is probably a little frustrated right now Because when players get to respond into fans, especially fans as critiquing them and whatnot That's when it's no bueno, baby They really because we and just with the Baltimore Ravens alone. We've seen this before We've seen this with multiple players and and it's it's not a good look because that lets the fans know that Let's these these fans know like oh, we could say the right thing and it's gonna get to them They don't respond. They we've seen it with Lamar Jackson. We've seen it with Patrick Queen We've seen it with JK Dobbins. We've seen it with others too. And it's tough because You you can only turn on the cheeks so much You know, you can only get that notification and look at and then put your phone down so much These they're people too. These players. They are people too. They're not emotionless. They got emotions. They got feelings So sometimes I'm feelings take over but anyway when that fan again He said man, listen get yourself together learn to get separation then you won't face any backlash Rashad Bateman responded. He said you're so bored and lonely, but I got you fam but I got you fancy and He didn't even need to respond but again, it's easier for me to say It's easier in our shoes to be a Rashad baby. He shouldn't respond to that. He should have just ignored it but Again, these players they got emotions too And then that fan he responded again. He said I'm actually a fan. Just want to see you do your thing and It's with with that. It's like a Rashad Bateman said mm-hmm So then that was that that was the end of it with Rashad Bateman responding but I Feel like he didn't gain anything for me He didn't gain any positivity from that whatsoever and not that every interaction that you have with somebody's gonna be positive we know that but it shouldn't have even got to that in my Opinion you should have just kept it moving because again, you know, fan a lot of fans will be very very disrespectful It's okay to critique this player that player what not talk about how well you feel they should have done what they could Have done better and whatnot. That's part of being a fan But a lot of fans will take it to a level of disrespect and as a player It's it's tough to look the other way because especially after a loss, you know fans. They will pile it on So social media again, we always talk about it It's a gift and a curse all at the same time But we hope that Rashad Bateman that stuff goes better for him professionally personally to if there's anything going on I'm personally hopefully not He said he's good so we got to take his word for it But I know I just know like we just know when Rashad Bateman especially going into this year I'm sure his expectation for himself or a lot higher too than what what's been happening on the field But his time is gonna come his time is gonna come his games of the day day on the way They on the way for sure. It's just a matter of time We know Rashad Bateman to it seems like he's been on somewhat of a pitch count a little bit a little bit Not not not too much, but a little bit but with Rashad Bateman Yeah, I still expect him to do his thing and when he does that always it's gonna be a beautiful thing because we see We see the flash and we know the flashes are there now It's just about putting it all together in a season and making it happen


In space, again, technologies that were developed for other purposes now being applied to rice sites. And what's really exciting about that is we get a very fine estimate of where rice was grown and when it was planted. We used to depend on satellite energy using reflective light as our source of energy for where rice was being grown. But those of you who are familiar with long-circle rice production know that in most of the year, if you use satellite imagery, you get beautiful pictures of clouds. That doesn't help you very much. They're pretty. You all like to look out the window of the plane. But that doesn't help you very much. But now we're using satellite radar imagery, which penetrates clouds and also can take a picture at night or during the daytime. It doesn't matter. We can see through the clouds we can get very accurate information of rice area and just because of the different signals of water and soil and plant, we can tell exactly when a field was planted at just a few meters resolution. And so now we're getting images around Asia over millions of hectares telling us exactly what is being grown and how it's being grown and how it's doing. We're able now to tell two months before harvest that you're very accurate estimates what we can expect the yield to be. Ground truthing that, we're ranging from 85% to 96% accuracy in our yield estimates, depending on whether it's late storm hits or something. That's a phenomenal amount of information available to our policy makers. That will transform how they look at rice policies, how rice trade takes place. And we're taking these information, putting them together to create national rice information, global rice information, gateways, assembling very sophisticated tools we have been developing for 30 years, putting them together so that we can have real-time measurements of what's happening in the world so that our policy makers at least will have good information. They still make bad decisions, but they won't make bad decisions because they have bad information. It's extremely important. I talked that we're having a second green revolution. I gave you the starting minutes. I believe we should be thinking about the third green revolution now. We don't want to wait 45 years between green revolution. We prepare the foundations now. We're looking to transform the basic machinery of the rice plant and improve its fundamental relationships with the environment. We're redesigning photosynthesis. This could increase rice yield by 50%. Increase or I won't continue the efficiency of water use efficiency. It is taking the less developed photosynthesis of rice and turning it into the very much more efficient photosynthesis that we see in maize and sugar cane. To our knowledge, it's the only biological mechanism that exists that can improve the yield to this degree. We're also beginning to address nitrogen fixation. Can we create rice crops that will take nitrogen from the atmosphere and produce their own photosynthesis? We look at the wild relatives of rice. Before evolutionary time, these were isolated from rice. We have here, our scientists have broken down the barrier and can cross the wild relatives into a domesticated rice cry to pull that into the breeding programs. All of this work will require great partnerships bringing the best clients of the world together. Our C4 rice consortium is an example of that but increasingly with our global partnerships we can create communities of the top thinkers, the top doers in plant science, computer science, etc. to address our problems. So if we look at the Green Revolution series, Green Revolution 1 was basically built on a high yield plant architecture adapted to low stress environments. Our second-grade revolution incorporates tolerance to severe stress as nutritional value. And I would like to say that it is a revolution in which no farmer is left behind. Green Revolution 1, just to be criticized for benefiting only those farmers growing in a relatively stress-free environment. Green Revolution 2, all farmers benefit. Green Revolution 3 will accelerate the evolution of the rice plant itself. Green Revolution 4 will effectively be producing designer rice and though a rise of species will be left untouched. So we have before us a surge of new technologies, potential technologies and these will benefit the rice community in ways that are unimaginable just a few years ago. We have a demand for these technologies but how to invest in future farmers and how to address their policy makers and how to invest in gays in the private sector. We have increased risk of counter-cropping losses and we need to pre-adapt our rice production systems through these. I believe we can do that. So I would like to close with an ancient Chinese saying it is the precious things are not pearls of jade but the five grains in which of course rice is the finest. So with that ladies and gentlemen, again welcome to the local international rice company. Thank you very much for your time. Thank you at this moment. I would like to call the committee councillor forward to the stage please. Yes your excellency committee councillor to the royal family as Dr. Tolantino mentioned Erie has been the patronage of the royal family for many years now. Many of us have had the great privilege to meet with his royal majesty the princess and at the very first board meeting the royal family was represented in 1960 when Erie was founded. So I would like to present to you a token of our appreciation for the patronage of the royal family and you can communicate to them that you will. This is a series of photographs and I would appreciate if you would accept it on behalf of the royal family. Thank you very much. Your excellency committee councillor.


Welcome to Rational Alchemy. Welcome to the table. Except today we're doing Rational Music. And I'm joined at the table by Roger DiNardi. Roger, welcome to the table. Thanks for having me on. We're going to talk about Roger's music today and we're going to talk about twelve notes for seven stories. Roger, give us a little bit behind the LP that you are creating. Well, it's a seven track or it's a concept album based on the idea that there's only seven stories that have ever been written and there's only twelve notes in music. And I wrote it at a time when I was really, really in a tough spot and I decided to make an album that tried to speak to everyone. So the idea that there was only seven stories for people to ever live through really I thought would be a good place to start. Where did the idea of the concept come from? What sort of triggered it? So I had always been a musician in the part time and I had always wanted to make an album but it was just like everyone else.  And then after COVID I lost a good chunk of hearing and I developed Terrible Tinnitus and I no longer had I could no longer listen to music and for me, for me that was the end of the world. I had always said I would rather be blind than deaf and I couldn't even speak to people. I couldn't comprehend what they were saying. So things were pretty bad. Music had gotten me through some really hard times in my previous part of life and to lose that I might as well be done. I decided if I was done how I would feel like a failure and I decided it was that I had never made an album and it was a tough time for everyone. We all remember 2020 and 2021 it's like you know no matter what's happening no matter what you're going through according to this there's only seven stories ever written so it's going to be one of these and I decided that the most important thing now is to make an album and that was no distractions, no nothing because it had become that or nothing. So I slowly listened to music and I just increased it by just a decibel a day because it was almost like a stroke victim relearning how to hear. I just decided I would relearn how to hear music no matter how painful it was no matter what it was and that was what I was going to do. It is so hard for me to understand the concept because I've never had that sort of issue with my hearing. Oh yeah. And I really stand back and appreciate what you were able to do. It must have been hard. Yeah and so hidden.  So there was also like yeah and to have lost the idea of mixing and doing my own album with the ringing because I would never know if it was there. Interesting. Now through the opening titles of the show we were listening to Voyage in Return. Yes. So tell us a little bit about that particular song. So during this time as I was doing the recovery I actually discovered Alan Watts and a lot of his recordings spoke to me and one thing he says is we like to say life is a journey not a destination but even that's not right. That's the idea that you're moving toward this and towards that and then you'll achieve this and then I'll be happy and whatever whatever and no actually it's dancing. And dancing you're not trying to get to a certain spot on the floor.  We're going to be paying taxes. This whole thing is a voyage and we are what are genetics and all that make us and our previous experiences and how we see the world. So there's a line in there to journey eyes wide open. You can see things the way you see things and if you think of us all as just the universe's nerves or sensors or taste buds maybe this time you're just a bud that tastes things sour and you'd be like how come I'm the only one that tastes things so sour or so sweet or whatever.  Well that's the thing people will look at art for instance whether it be music or whether it be fine art or whatever kind of art it is someone will love something someone will hate exactly the same thing. And then you've got people in the middle and you know it all depends on how you're wired. Yeah that's what makes it so great. That's what makes it so great. Yes. It's no difference with food or any other art or painting it's like that's awful it's like really it inspires me. Yeah to me that's the whole purpose you know like yeah I like hearing people's feedback but actually a lot of times enjoy like when people didn't like it because they go that means I did a really good job of that style you've decided you haven't like so many people are like I'm this genre or that genre or this genre and it's fine I enjoy that. The thing I liked about Voyage and Return was the way that you kept building. Right. It was very cleverly done because you kept building and building and building and then you'd add little things in the background. Yes. Yeah. I'm dying to hear this at home with my headphones to be honest with you. Yes yes exactly there's most of the songs have some what they like to call ear candy. Yes. But early when I first discovered music those older recordings of 70s and some of the 80s those 70s recordings with the with the sonic landscapes that would be that would be placed it's you're absorbed into it a whole other world and you know and that had to be in there. That is true and what was so fascinating about the music of the 70s was how they put it together in the studios because they had such archaic equipment. Yeah. Yeah. It's not like today where you can literally do everything on your computer if you wish. Yeah. Yeah. Until you want to do that one thing that they did because like you'll be like how did they get that sound? How did they do it? How did they do it? You'll read articles you'll obsess about it. I actually researched like the old electronics to rebuild some of their their like pedals and anyway you get into it and finally it's like something I found out about the Abbey Road like double tape and it's like oh actually there was like five technicians varying the voltage straight from the wall. That's it. While one's looping and another's looping it's like well how am I gonna do that you know but then you know you try to do your best and that's like but it's no different than choosing a color you know like people like sometimes will criticize that and then I don't. I it's like how did Leonardo get da Vinci get that blue you know how did he mix that you know like how do you get that shade and so like when you think of music sounds as colors and textures then it's uh it becomes such a fun path to how what is that sound making that that beautiful sound. That's correct. Yeah and you get to get absorbed into another realm where only the beat matters. I'll never forget watching the documentary about Pink Floyd putting together Dark Side of the Moon at the end of them it was all five of them the engineer and the four Pink Floyd members all mixing simultaneously. Yeah. It was the only way they could do it. Right right right there's no volume there was no nothing like that at all they had to do the whole thing manually. Yeah. That's what made the whole thing such a masterpiece of course. I watched Neil Young not to get too often to music tech and everything but I watched Neil Young interview and he said oh the the first rough mix was always the best because the tape the particles would actually start like fizzing down the first mix on the day of the cut on the night of the cut was to him always the best to him it was the other one that always captured it that makes a lot of sense now the second thing that we're going to listen to is is Rags to Riches Yeah. Before we listen to it why don't you give us a little bit of the history of Rags to Riches so Rags to Riches for me it's a we'd like to think of it as money but there's so many more things than riches and so I wrote this song it's dedicated to the people in my life who even though there's been many there's been many bad there's been many goods and I've always prided myself on being able to tell and really know who to who to keep close and like and you know sometimes it seems like you're only surrounded by people who might not be the best but if you really look and you'll you'll know a diamond you can find one in this well we had we will have yeah we'll be coming out of a quest and they discovered their treasure at the end by doing their voyage I'm intrigued because I loved as soon as I heard the opening the opening of voyage and return I was in love with the song already so I'm dying now to hear Rags to Riches so let's listen to let's listen to the song thank you for the CIA don't know much about the dolly mama religion or God don't know much about quantum physics but that's probably not all and it's not shine it's a bright I know a diamond when I find one you can tell when you hold it tight we'll make love the song the song to see it shines just fine with me medicine or don't know why leave behind all my follow through don't know much about Wall Street lobbyist or bureaucrats for some very strange reason the way the song opened very much reminded me a little bit there of a couple of John Lennon songs yeah yeah for sure he was yeah that was definitely I hope I'm not insulting you no no that's a huge compliment I love I love getting comparisons it's terrific it was just it was so clever the way that you you made that first transition yeah his post his post Beatles was so so raw and that's what I really wanted it to be I wanted it I didn't want it to sound real processed and done it's supposed to be really heartfelt and that's just that's just kind of how the chords sounded best actually it's been through a few alterations but I worked in my my uncle's daily he's he's gone early COVID also but I he's someone that changed my life so I really really wanted to include that and it just really lent itself to that rhythm and that backbeat it just worked didn't it yeah that backbeat like yeah that Lennon however you want to put it into words and the other thing I picked up fairly quickly was you got a little bit of humor in there as well don't you I could hear you sort of slipping oh yeah yeah yeah I got a gong on the word kung fu and like yeah yeah it was supposed to be you know a big wet sloppy kiss of a song it's how I described it to my engineer oh I like that yeah and the ooze and odds actually I can't say enough I've been working with Cinder Sound they're a local studio here they're amazing and then Kyle he's he's my engineer and he helped me out with that and I can't say enough he's amazing um so we did that and I really wanted to work in my uncle's ukulele we we weren't allowed to listen to rock music growing up and oh why not we were extremely extremely religious oh yeah yeah yes we weren't allowed to have dice in the house because someone could see you might be gambling so like yeah it was pretty rough we won't do the sob story too long we didn't have much of secular music at all like once I heard heard it through the grapevine and Burger King and I lost my mind I was dancing around um yeah the rock and roll was bad the demon is in you all that hellfire brimstone anyway was it really heard it for I heard it for the grapevine was that really the song that was for Christmas we'd see him every few years and all of a sudden he would play some of these pop tunes again Beatles 60s 70s whatever and I had never heard anything like that as far as I knew he had wrote them so that was where I got that first little planted seed of like there's a different life out there um to answer your earlier question the song that changed my life one day I'm digging through my life and it says the best of the guess who and so I put some headphones on and I got a my secret tape player and I put it on and it's the original version with the little blues even out American woman gonna mess your mind American woman and then it breaks into that that that that that that that that that that that that that and that guitar that guitar riff like oh my goodness and it my mind exploded like I was low in my room and I'm just like jumping around with a tennis look at this I'm jumping around I'm jumping around with a tennis racket and I'm just like whoa and I listen to that whole you know best of which I'm actually not a fan of I like concept albums but I've been talking about and like these these concepts and and just the raw feel and so that song was where this is this is truth like there isn't like that guitar solo at the beginning which I hear he actually destroyed an amp every time they took a take because he's actually plugging the output of one into another and it's like well you buy two whatever amps and blow one up so like okay you know there's just that that truth like there's there's no lying here you know there's you can hear that this is what these people are feeling this is what it is and you know wow and that was there was no looking back how do you how do you look back after that absolutely everything else your potential doesn't matter much right it's we don't we don't measure weight lifters by measuring their biceps and like whatever and say okay you're this age and blah blah blah you've got the most potential to lift so you win that's not how it works that's not how it works no you gotta go over there and you gotta lift it so it's what it takes to stop you and so yeah there's been times I've been pretty slowed down but every time it's like is this what's gonna stop me right so yeah when you're actually writing the song have you thought of the whole song all the way through or or do you just sort of build upon it and build upon it and then go how the heck am I gonna end it oh yeah yes and no it's similar but it's more simultaneous and nebulous than that I've been with a song about every day to every other day it sounds ridiculous but a little bird flies over and drops them into my head half the time I don't even like them like oh man this is annoying but everything I see and hear rhythm and melodies and just about everything I do and even just throughout the day or a little phrase will just pop into your head and it won't get out and it kind of sings itself with a little melody and while that's happening a lot of times it'll be a piano or a guitar that's kind of in your mind and you can start really processing it and I tend to write in the middle and then out or a key line and backwards because yeah it becomes more life-like and you can do that and then you run into your own limits you know I don't consider myself a virtuoso I tongue-in-cheek joke actually not even tongue-in-cheek I try to be the best mediocre musician I can be so like you know there's nothing I do hold on hold on hold on having heard your music I don't think you can actually use the word mediocre thank you thank you I challenge you there is not a part in there that no person could not play with six months of practice doesn't matter it doesn't matter because you came up with it exactly exactly because well and anything worth doing is worth doing poorly I've never heard that yeah in music world and in art I mean it doesn't apply to you always do your best but you can get into the sickness of like I don't have the perfect whatever or I don't have a good enough guitar or I don't have a good enough amplifier I don't have the right and you know what now it's time to say that phrase like if you have every detail is going to bother you and it is going to be the best yeah then you know what sometimes if it's worth doing it's worth doing poorly so like it became making this album is what's going to do it and if this is how good I can play right then this is what's on there because otherwise am I going to let am I going to practice for a year and then do it and that's how we had in that trap before agreed the next song we're going to listen to is tragedy yes tell us a little bit this was one of the hardest songs I wrote on the album this is really the heart of my message and what caused a lot of this again for me losing my hearing was my absolute nightmare I literally just was a puddle in a corner just crying I can imagine yeah it was yeah I woke up I went to sleep I woke up every day like so sad that I woke up I was really ready to be done and I had to write and I had to realization that hey this is this is one of the seven stories like this this deserves and I it was tempting to make a pop song like tragedy and overcoming and blah blah blah but like no like sadness sadness is real like that's a real story some people have very sad lives and to like skip that wouldn't have been very honest and so I wrote this and it's actually about my hearing loss but again I tried to take what made it about me and tried to take that out at the end so when you ask how I write a lot of times I'll use personal experiences and then you yank every I me everything that says like what day it was or you know take it all out and then and leave it leave it for everyone because now it's everyone's story again it's the filter version of your experience so I had to write so you know it's not just about whining and wallowing in your in your illness or your or your diagnosis you know I've gone through a lot of mental health issues and you know it's so easy to fall into I'm a blah blah blah or I'm a this or that and whatever and well now I'm deaf and I can't do it and again is this what's going to stop me so I didn't want it to be whining so I tried to write a fun to listen to song now there there is an oxymoron if ever I heard one well because yeah it's real it's real it's also temporary possibly yes but like you know you gotta you gotta do it so let's listen to tragedy you have got some very interesting transitions there thank you that was clever because it started off in the first couple of bars I thought oh here we go deep and dark and depressing exactly and all of a sudden you slammed the door in my face thank you very much and took it up a notch right yeah yeah yeah well it was yeah it was that was the point like this feeling is here and intended for the song but also let's not just sit and cry you know like you know yeah yeah again a fun to listen to song about wishing things were over about tragedy yeah yeah like we all feel this way like this happens to everyone in you know it's that was that was the core and you know it's alright we got a little I still get choked up about that one I can understand that because I mean that really is the one that's probably the song that's closest to you yeah is that right yeah for sure yeah that's the core of the album you know like no matter what it is like and it's been I've had friends in my life and you know we all have and we all would say the same thing hey man no matter what it was you needed I would have given it to you or you know anything you could have just moved here anything I'd have driven across the world or across the country I'd have done anything like we all for many of us have felt that and when when I was at that point it was why am I not willing to do that and and so like to anyone out there feeling that way um oh and doing this and writing this song and powering through it I'm starting to meet the most wonderful people and that I never would have met if I just right had sat and cried about it like if we didn't kind of like not so much joke about it but like yeah yeah stiff upper lip and go for it yeah yeah say how you feel anyone who's feeling that way like don't don't do that no you know take that one dream that one dream that you have make it the most important and just just see what happens before you like do one more try go down swinging you know don't give up so yeah it wasn't going to be a cry fest the whole time now you may find this next statement from me a little strange but I really mean it it was a pleasure to listen to music where I could understand the damn lyrics without reading an LP cover oh thank you that is two things one the lyrics were really important to me again I don't consider myself a virtuoso singer so I wanted to make but that wasn't the point I wanted to make a song in an album that almost anyone could sing along too you know so like again we're leaning into that every person thing and then also I can't give I've already given credit to cinder sound but the help that I get from my engineer Kyle Donovan at cinder sound has like he's he's helped me with my he's layered with my hearing loss I actually can hear vocals very well here and coming from the age they come from you know from everything from you know Kurt Cobain and whatever mumble mumble mumble but it's and that was okay that was you know putting your own stuff on it but I feel like it's time now or it's time to start saying something again I agree and not something like specific like you know I went to the store on Tuesday and I got blah blah blah and I drive up like no no no like actually like let's start having artistic statements again and it takes a lot of bravery to not just sing about you know drinking the night now Roger before we close I know you're halfway through producing the new song before we can even listen to it yeah yeah which I think is terribly unfair well you have to listen to the album when it's released oh you don't think I won't be yeah Rebirth is coming after tragedy you know first you'll be reborn and then I'll even do another teaser then we overcome the monster so Rebirth is it starts out with some social media noises and I went through a real problem I had to I actually disappeared for many many years I I struggle with that it's really hard for me and but I had a realization when I was trying to write Rebirth is you know who is being reborn right now and where is it happening and I forget what influencer it was but it didn't really matter there was this girl actually it was a girl in the park she was taking pictures and I noticed she was like putting things and she was younger and she was like putting products in she was taking them in the park and I was trapped in a small little town and if social media existed at the time well it's fun to demonize it and it's easy and it does have its problems this is where you can just move to another town and suddenly be a different person you know for the family they're like there will be a day where they'll find it and they will not be happy it will crush them and I had to overcome that and so well it looks like they might just be taking selfies and doing stuff and a lot of them are there's actually people who are just trying to get out of some of the most awful situations you can possibly imagine and so it can be used for good and evil and it can be a lot of things but I really felt like and I had to do it in a very like classic rock style cause I really like the idea of how some of our people who grew up and listening to 70s music you know which was way before my time and grew up listening to music now it's really fun to write a classic version on observance on a positive observance of a new thing that many aren't getting and I really wanted to put a positive twist on how it's not that much different than that person we used to honor that was going around selling CDs out of their car or selling art and like there is an admiration to many people that are doing a lot of things and yeah and respect them and they're probably more vulnerable than you might realize and you know so this is some people's way of escaping and being completely reborn like Marilyn Monroe who moved from a small town to a very star that you pick that was one of the best songs ever written goodbye Norma Jean yeah exactly John that's a brilliant song anyway yeah exactly like she like look at the life she led because she decided to be reborn through media well sure it's scary that it's a phone and it might be AI and blah blah blah and those are all very serious things that do need to be considered but also like there is truth somewhere in there and honor that it's going to be put to bed we are moving very quickly on getting it done by the end of the year that was my goal there's three songs left there's a surprise might be a surprise ending I'll leave that out after this we have Overcoming the Monster because after you're reborn you're going to run into probably the same old thing you ran into before because any of us that have tried to relocate in our lives what do you know you end up doing the same thing again so next is and then we'll have some comedy and then I may be surprise ending excellent excellent Roger thank you so much for coming in thank you for having me this is so much fun talking about this I am so so so happily surprised at the quality the clarity the built in humor and your music skills are second to none thank you I know you kept saying mediocre let me say this bullshit thank you there isn't a moment that I thank you so much for coming in that absolute pleasure working with you and talking to you I hope when this is finished let's come back in the studio yeah let's do part two oh that would be great wouldn't that be great that would be terrific excellent thank you thank you once again for joining me here at the table I'm Nigel Aves your host this is rational alchemy though this time it was definitely rational music what was it musical alchemy I'm not quite sure anyway thank you for joining us bye for now shine


time. We're going to be processing payroll for the second month this time. So we process payroll on a monthly basis. Let's just kind of recap the flow of the payroll process. So I'm going to do that in our flow chart down below. So we're in the payroll basically like a vendor cycle. If it wasn't for all the complexities with taxes, then it would be basically shake hands with somebody.   We've got the federal and possibly state to deal with. So what we need to do then is possibly enter the time first. If they're hourly employees, although this time entry is not really required to process the payroll because you might be tracking time in some other way, or you might be using an hourly, I mean, a salaried type of system. But you can also use this time entry for the billing process as we've discussed in the past. Then of course we're going to process the payroll, which will generate payroll checks, which will be distinct forms different than other check forms. And that they'll be marked off as like a payroll type of checks so we can determine which checks are payroll versus non payroll type of checks. And this will also generate the withholdings that are taken out of the employee checks and put into a liability account as well as calculate our taxes on the employer taxes and put those into a liability account and payroll taxes. Then of course at some point after that, which we'll do shortly, we'll have to pay the payroll liabilities for the withholdings that we took and our payroll taxes. We're also going to have to deal with the 941s that are quarterly information returns, the 940 at the end of the year, the W2 and W3s. At the end of the year. So that's the general process.  So those are the big ones. And in that case, you wouldn't have to do so much detailed tracking internally, but you can have them do the detail tracking and then you make the adjustments for your financial reporting so that at the least you can get your tax returns prepared properly at the end of the year. And those are kind of the two main payroll options. So we turned on payroll in the system. I'm going to go back to the tab to the left because it was part of the free 30 day trial. So we turned on the payroll. Payroll is a little bit difficult. So if I go into the payroll and the overview up top, it's a little bit difficult to follow along with the payroll in a practice problem because payroll is one of those things that generally needs to be run real time. So if you're working way out into the future, for example, as you're looking at this practice problem, you might not be able to process payroll in exactly the same way. That's part of the problems with the payroll. Also, just realize that the payroll will change from quarter to quarter. So you usually want like a whole years of payroll in one payroll system. You don't really want to change payroll in the middle of the year. You can, but it's not preferred because there's caps on things like social security and federal income tax. So obviously when you do like the nine forty ones or process payroll from one period to the prior period, you compare it to the prior period. That's what we always do with accounting, but it'll change as the year goes as people hit some of these caps for like federal unemployment tax and social security and that kind of stuff. So just a couple of things to keep aware of.