Good day, everybody, and welcome to the webinar on social networking and mobile learning. At the end of this webinar, you'll be able to identify the benefits of incorporating social networking tools into mobile learning. In the first part of this video, I'll share with you some recent stats indicating the growing popularity and access to the social networking tools. Then I'll move to the discussion of the pedagogical aspects of the use of social networking tools, and I'll focus on how to harness these new participatory forms to support mobile learning. And it is a social world. According to a report by ComScore, social networking is the most popular activity worldwide, and it's not just young people using social networking anymore, it's everybody. Social networking sites now reach 82% of the world's online population, representing 1.2 billion users around the world. The social networking adoption trend largely mirrored the global internet adoption curve, and it grew proportionally, showing that as people began to get connected, they immediately began to get connected with each other. Now, smartphones and tablets definitely drive mobile social networking use. From the technology standpoint, mobile devices represent the future of social networking, as they provide the means for users to get connected on the go, facilitating real-time interaction. Let's have a look at the number of internet users who use a social network site via any device at least once per month. Let's have a look at India and Canada, just for the comparison sake. Approximately 7% of the population of India used social network sites in 2012, and it is forecasted that the number of social network users will more than triple by 2017 to over 282 million users. At the same time in Canada, 50% of the population use social network sites, and the number is projected to grow only by 17% by 2017. That would be due to already rather high levels of social network penetration. Now, developing countries are definitely rapidly joining the social networks and are getting ready to incorporate social networking tools and their mobile learning activities in practices. Generally speaking, almost a quarter of the global population use social networking tools, and quite often they access social network sites through their mobile devices. Now let's have a look at the figures representing monthly active users of various social network sites across the world. Once we can see the most popular remains Facebook, then it's followed by Q-Zone, Twitter, Google Plus, and a few other social network sites that are very popular amongst internet users. These tools can be utilized to foster learning communities as well as formal and informal learning through the application of mediated social interaction. Such dynamic interaction through social networks affords communication and sharing of meaning and experiences that can lead to learning, performance support, as well as human development. In general, social networks connect people across countries, across the world, across various cultural backgrounds and perspectives. Social networking platforms actually connect people to not only communicate and discuss things, but also to share multimedia, to share images, experiences, learning resources, and opinions. They allow for exchange of any type of multimedia artifacts and resources. They allow for communication in order to create common understanding as well as new knowledge. Such communication and exchange can support participatory learning. When connecting to social networks through mobile devices, learners enjoy even broader and more flexible access to other people. This allows for distributing information, sharing meaning and experiences at heart and on demand from wherever and whenever you are, or from time and place, that actually enrich the shared information, offer generating more meaningful learning experiences. Mobile social media, then, enable participatory learning and co-creation of knowledge both when the user is in an organized educational setting and when she or he are entering into a learning transaction in an informal context. These mobile tools allow for instantaneous interaction and exchange of feedback, yet sometimes risking the depth of the process and of the insights. We've noticed that new social behavior patterns have emerged with the growth of social network tools and systems. Having impact on the way people mediate symbols and the way they communicate, keeping in mind that the broad adoption of social media tools might have both positive and negative effects on the human interaction. We cannot deny that the mobile social network systems provide a powerful forum for both participatory and collaborative type of learning. Mobile social networking tools also support the building up community. Mobile devices offer an ever-available connection to the learning community or a community of practice by way of micro-blogging or micro-communicating. Such social media tools available to mobile learners provide not only connection to experts in the learning community at a distance, but also serve as a channel for a quick and convenient exchange of ideas and resources in a face-to-face situation, for a face-to-face community. For example, during a class or a conference where you can use Twitter as a back-channeling tool. By back-channeling tool, I mean a way of maintaining a real-time online conversation during a presentation or a lecture. Some social media tools give voice to those lesboko students, those shy students who rarely contribute their insights in person. The tools also tend to foster a stronger sense of belonging to a community, which some learners do not experience otherwise, especially in a distance education setting. Peer and expert interaction is a very important element of using social media tools on the go. Overall, the mobile social media tools encourage higher levels of participation, leading to more frequent, although often fragmented, communication and exchange of opinions and resources, including those created by our learners, learner-generated artifacts and resources. The tools also enable communities to stay in touch across time and location barriers, allowing for both synchronous and asynchronous communication and mediation. That offers more frequent and relevant opportunities for performance, support and knowledge co-creation. Communication via social network platforms tends to be unstructured, though, hence more fluid, sometimes even chaotic and unpredictable. However, if used properly with guidance from a facilitator, the social networks and our mobile tools that help users connect to those networks, they can enrich both learning at a distance as well as in the classroom, in the face-to-face setting. In the next three slides, I'm going to give quick examples of how some affordances of social networks can support effective mobile learning, starting with how continuous and rapid feedback exchange through comments and posts can foster brainstorming, expression and reflection, then also feedback exchange encourages rehearsal, for instance, in language learning, as well as the negotiation of meaning. In terms of reflection on self and community, the rapid cycles of communication, reflection and co-production are always intertwined and dynamic, inspiring learners to manage their identity and explore a sense of self and an expanded sense of community. Such a reflective experience of self and community could be highly motivating and it usually is rather encouraging. It can also prepare learners for the real-life experience and demands of the real-world workplace. And yes, mobile social network tools offer enhanced learning through contextual information when prompt communication and rapid cycles of feedback exchange support context embedded learning activities, there are location bound and or time sensitive. For example, performance support situations. In addition, student can access a variety of supports and scaffolds through the active social network. Mobile social networks also support learning, which is spaced over time through bite-sized pieces of information and feedback, which are potentially their contribution to the co-creation of new knowledge. As far as meaning-making, it's further supported by the continuous exchange as well as the exchange of multimedia artifacts. A peer and self-evaluation and assessment can be augmented by the built-in ranking and rating tools, for example, the like post in Facebook and then co-create the co-creation of content and message, leading to co-creation of new meaning, also enhances the learning process and outcomes. You can, for example, use dynamic discussions and debates through micro-blogging and encourage negotiation of meaning amongst your students. These are only a few benefits of using social media in order to enhance the learning process and outcomes. Let's have a quick look at a few other benefits. These other benefits would include the fact that participating in social networks can actually encourage creativity and expression, both self-expression and collective expression. For example, when brainstorming using Twitter, viewed through a social constructivist lens, learning is enhanced in such a social context where the processes are mediated by communication and technology tools, and the learning is relevant to the individual involved in that process. Let's celebrate engagement and motivation, invite our learners to moderate their collaboration by openly celebrating their successes and showcasing their learning artifacts, for example, through photos on Flickr or videos on YouTube. Enhanced currency and richness of information that students exchange is another very important benefit. For example, when we invite distance education students to submit examples of customs or behaviors, issues or solutions as they occur in their own local communities. And finally, individual and group ownership, when students contribute their own insights and resources to co-create a learning process and outcomes, such as YouTube group video, for example, on the environmental issues in India. Such a video could be created by remixing pieces of video captured by phone in remote areas of the country and then put together to form a group video. All in all, educators are encouraged to harness the power of social networking tools to support mobile learning. It is up to the experts to provide enough curricular support and structure as well as direction to lead the exchange of ideas to new knowledge creation and new skill acquisition. Fostering collaboration using social networking tools is a significant element of the mobile learning ecosystem and ensuring measurable learning outcomes is truly essential to its success.


Mary calm. Yeah, you got it. Thanks. Drop one up for Corbin. Woohoo! Vector's TV reactions idiots, I'm Corbin, as with me as always is. Corbin? Namaste. Mira nam rick hay. In the Hindi. Namaste. Corbin. No. I just shortened it. That was my first sentence in Hindi. Which by the way, the music from the movies and stuff that are sung in Hindi, Hindi's a freaking awesome language. Yeah, it's a beautiful language. Yeah. I like it a lot. Like it a lot. Please follow us on Instagram! Twitter! Yeah, that one was very bizarre. We were on the same total. Alright, like it. Bells. Oh yeah, ring the bell. Bang! Today we'll be reacting to Mary calm. Yep. Loved her. She's such a nice lady. I don't know what this is about. No clue. From what I've heard it's like another female lead woman being awesome. Awesome. Right? Traylor? Right. But we do know that name. Priyanka Chopra. What has she been? What did we see her? You know her. When you see her face. You know her. The one with Kristen Bell. I'm forgetting the name of the show. The good place? Thank you. She's in the good place. Oh, is she the bad friend? Yeah, the bad friend. I'm not a bad friend, I'm a bad friend. But if you teach me that, I'll be a boxer as well. When you teach me boxing, I'll get this out of you. Was that 5th of September like last year? Or is this a few years old? I don't know. Pretty recent. It came out this was published until I was 14, so it was a while ago. Again, you've done it to us, India. But that's good. We're catching up. Yeah. We're catching up on the great movies. Yeah, that looked awesome. It looks fantastic. Obviously very Rocky-esque. Going to look at some great training scenes in there. So it's gotta be based on those highlights. And the fighting looks from all what we saw in the trailer, the fighting looks legit, which it's obviously gotta be in a movie like this. But yeah, when it comes to fighting, I mean, the first movie that ever spoke to me and made me wanna be a serious actor was Rocky. And then we both like watching mixed martial arts and UFC fighting. And was a big fan of Ronda Rousey when she came into the UFC and brought women into the fold. So this is right up our alley. Because we have so fallen in love with India and how's your Josh? Hi sir. Thank you.  Hi sir. Yes, because our Josh is really freakin' hard. When she said what she did about India and oh yeah, so I'm in. Yeah, I am in. Where do we see this now? I'm guessing it's on Netflix, Amazon, or even YouTube. Was this before or after the story of Dango? Cause that's the next film we're watching is Dango. But it looks obviously it's both boxing stories with women in boxing. So which one is first? And I don't think she's from the good place. I don't know what you're talking about. Yeah, that's her. Priyanka Chopra. She looks very different. She's an actor. No, her body and face looks different. She's an actor. Your face doesn't shift unless you gain weight and she didn't gain weight. Daniel Day-Lewis can make his face shift. Christian Bale can make his face shift. No, he looks the same. Then saying, unless we're talking about a different person, this is not the person I'm thinking about from the good place. Go to her IMB page. You'll see Mary Com under Priyanka Chopra. And what does she play in the good place? The person you think she plays. I don't think so. Obviously, no. You guys watch The Good Place? It's a good show. There she is. Same name, same spelling. I wonder if you go into her films and you go down. You're gonna probably find, do they show her India stuff on IMDB? I would hope they do. This is all her Indian stuff. No, she's not in the good place. Yes, yes she is. Where? Where do you see that on her IMDB? What? Where? This is her IMDB, okay? So go to The Good Place. That is not her. Go to The Good Place. What, the flip? Yeah, so. You're wrong. Who's the actress that's in The Good Place? I don't know. Apparently, you think they all look the same. No. Wow. Wow. This guy over here. I didn't say that. Close minded. I didn't say that. I knew it wasn't her.


Select somebody that would be willing to report back to the big group and we'll have about five minutes to go over what happened and You can walk us through the thinking the like core ideas so for those that are Viewing this on the live stream We're doing report backs from the groups that were formed around some of the project ideas and There was an instruction to kind of show us your flip chart Or if you have a visual that you can share with the group That can help us follow your thinking or some of the content of what happened in your group So I think I said so basically the why Who where and what or whatever else you want to get at who's gonna go first? the first group is A hand with a team What was our group performance? Well, it's such a big one a performance slash practice slash process. So wow everything I Think what we kind of identified and there's so much more so please bear with us on the why or our values It kind of revolves around equitable resource sharing processes Cross-cultural or cross-pollination holistic action-based practice And then an amplification of the themes and values through performance Something like that There was so much more as far as the who when it comes to the big, you know dreamer landscape It really is about it serves humankind and also all other living creatures interspecies Everybody who is concerned a concerned creator and also the what we're envisioning is really to serve I mean to Be created by art makers art organizers art trainers the field in general see it's very general for the where There was a very strong sense from the group that that accessibility is key. So virtual landscapes or everywhere Whatever that means It means everywhere and and then for the what this is where I might need a little bit of help It's it's really about creating a framework and then there's a parentheses in the that could be a retreat It could be a residency could be an event a curriculum building you know thing That for concern creators and with accessibility so that we can Reinforce those values. So it is very general, but there was this sense. I think of of of having Practice performance and process being conversation with each other through this lens of Equity and accessibility and cross-cultural was very very very strong What do we have to bring to the table? Basically this convening was like what came up here, but in like a mini way So that's kind of it Victoria. Is that correct? Great. Oh, you're over there. Thank you So we're gonna have a chance to open it up for clarifying questions to the whole group But let's go ahead and move through each of the groups first Is that sound okay that we can have we'll save questions group the second group or the other group that wants to go next anybody? Sorry. Yeah, sorry. I'm gonna speak now. Okay Sorry So I please help me People Oh great, so we I'm gonna share with you values that we listed and Then Report on some where the conversation went. We don't have a who? what Yeah values Dismantling capitalism kinesthetic awareness justice many times equity many times inclusion many times Centering opening epistemologies Particularly the epistemologies of the south the global south counter hedge money disruption of resources or sorry disruption of resources structure Reimagining caring empathy Radical care of self slash community So we were talking and it felt kind of maybe False or too much for us to think of a Concrete program or activity within our group and so we then talked about what we might do together instead and So a lot of ideas came out of that. I don't think anything was Super settled on it, but I'll just share what came out of that conversation One being that we each have access to different spaces in the world and privilege of different kinds And so how do we bring these values into those spaces? Is something we can help each other think about Another idea is the I just creating some kind of set of principles practices or structures which Does already exist in the world as we talked about in many of our own practices And so maybe instead of creating something new here as a group Looking at each of our own practices and seeing how they might speak to each other or just making it creating some things And understanding some structures like that that we can then bring into the spaces that we have access to and use the privilege that we have to Yeah, I don't know make things happen, and I'm wondering if I'm missing anything Cool I'm gonna add something I there was a big piece of paper that said embodied practice for our group And so it wasn't about a project that represented that but I what I heard spoken was that There are methodologies to get People into their bodies and using their kinesthetic awareness that can recenter Understanding of just about anything so that was offered up as a way as kind of a how like a methodology that could be applied to lots of different kinds of projects Sorry, can I add one thing which is that I did in the group I brought up an example I think others brought up examples too of just literal ways that money is taken and redistributed to people and so I think that's something that was talked about as well Is there anybody else that wants to add from that gathering folks? Okay There was we went around thank you April because we went around and April asked about Disruptive times or disruptive Interventions that and and people told stories and I think from those stories a lot of our like baseline for how We could talk to each other came from that what disruption meant so that was helpful because it Because just like the idea of radical the idea of disruption was also Context specific let's put it that way Okay, the last group that hasn't spoken or shared I Think that All of us agreed that there was a need for a space that's both embodied and virtual For the many kinds of theaters to be able to come together to discuss Various best practices approaches actions Activism Education But basically being able to meet anyone anywhere they are In the theater world Help them connect them to ecology and changing systems and that of course includes social justice environmental justice But those are there's many different ways You can read about it later and also in in partnership with others so it might be Sciences policy makers, but it would be a way to convene and connect with other Stakeholders and also think critically about Communication with audiences and building audiences in communities.  We don't want theater to be a one-night stand, right? So the idea would be that Through the work that we create we created a mechanism to continue engaging the audiences to do more than just Not that this happens, but just passively watch but actually go and act So part of the idea here is that at the end of the day We actually have faith in humanity and that the people in the audience Actually care and that we may need to push them, right to care But that they do care that we can strip them of whatever insecurity they have they can become Protagonist for change and we can provide them with the inspiration and tools to effectuate change One that we spent a lot of the conversation actually talking about whether there should be something that was sort of across the arts Marta Marta, it's not here. Oh Hi Marta And the and we I think we sort of collectively landed on The fact or what we believe is a fact that there is no Pre-existing center that looks at theater and the environment their general humanities programs and there are other kinds of Disciplines connecting with the environments, but so we decided to make it very much focused on theater And perform sorry theater performance and all those things Is there a second mic floating floating around the room? So this is a time for us to open these ideas up for clarifying questions Is there any Questions that came up For the last group.  And so I'm just wondering is your frame The environmentalist frame or is it beyond that I'll speak for me I think I want to make a better human being because I'm focused on the today, right? So the the idea is the people who are going to Experience the art form and participate are The target so it's about making a better more engaged more science literate more open-hearted human being for me it's it's like a And a lot of people in the group also had these sentiments of Asking the question how can theater performance dramatic storytelling help this transitioning from a People and other species harming systems that we are embedded in to non-harming systems and I mean even though You know the planet how it will be okay. We're losing so many species right now You know, it's not okay right now. So yeah, I mean it's resilient But let's let's reduce the harm of the human civilization So that we can all live in harmony and how can theater and storytelling help with that transition Helps everybody and Just to add to that I think As a as a humanist practice I think theater can generate a lot of momentum through doubt and I Shontal's question from yesterday has really been echoing in my head the question of how Personally invested am I in the continuation of the human species? And I think that Question might animate some of the work that we do Are there any other questions for clarification or things that came up as? These ideas were being described There's a nerdy thing from astrophysicists. I know who say that in fact the planet Might not be okay as we know it and that Venus may have had a climate much like Earth's at one point So I just want to just give it a bigger frame even than that But I totally hear you about the humans and the and the sentient beings in this conversation I actually want to say that I do care passionately about human beings and I do think that That is That is the focus I think at the end of the day I mean I want human beings not to suffer and I want human beings to love I think that that's our duty. I think things beyond that are Beyond the scope of of who we are we as human beings will impact other life forms through our molecules But today we we sit on this planet and it's our role to to be better today so there's a a sense of being in the present and That's a really important role and by being better human beings we help All the other beings we co-evolved with and share life with but I do think we have to stay in the present It seemed like a group's want group one and group three were really overlapping in their intentions And I'm wondering where those groups diverge if if anywhere Are they two separate groups or are they the same do they have the same intentions one seem to be more focused on making? projects making a Work and the maybe the third group was more on creating a place For people to go for resources and or information about making work or I'm not sure if there's a distinction So I'll I'll try to maybe reframe what Georgina said and I'm probably gonna do violence to what we talked about so so correct me if I but I think We also talked about Our effort our project that what is Georgina said we didn't arrive at a what it's kind of a it's sort of a collection of what's maybe Which is to create sort of an expanding cohort within the theatrical community whose Focus is Infused or who at least whose work is infused with Bringing these issues into ultimately into the performances And therefore of course bringing them into the public consciousness in a much more In a much more comprehensive way and so for example We're not talking about creating performances about climate change or about species The sixth-grade extinction But performances that are performances that are you know stories that are already told But are maybe set in conditions in which the backdrop is even incidentally you see that Oh, this is a society in which these things are different this notion of De-radicalizing the radical you sit and you see there's this whole society that There's no personal public there's no personal transportation, it's all done in a different way or their diet is Vegan let's say, but that's not the focus of the performance. It's just something that it is in The story that's happening. So that's one example of But having that sort of thing happen on a much broader scale so that these notions get infused into our Consciousness these notions that are the notions of solution In a much more sort of pervasive way and the I think the what we were The what that we are ultimately maybe Arriving at is a framework for creating this cohort this expanding cohort within the theatrical community that's doing that more often That's actively Intentionally doing that so that could be a residency that could be a curriculum. It's probably all of it. It's a residency It's a curriculum. It's a Which includes virtual pieces It's workshops All of that Framework real name what Rob is talking about. Thank you was that in our group by the end? We came to well this convening like this is the what and so this framework is to like Make possible the pathways out of this convening because we came in with these values that we Again codified in our last hour and so how to like play them out again and even further Oh, so I just wanted to make a comment. I guess about Who who it is that we're trying to serve or how it is or where I forgot the questions But what what my point is is I think we really have to think of our audience and maybe when it comes to theater and climate change so I again thinking from a public house standpoint is is Maslow's hierarchy hierarchy of needs and the very first one is Physiological needs so if they have food or water or housing and I think it's really important that when we're talking about We feel like people don't Have the same values or the same urgency We need to address and maybe that happens in theater where we play out a series of You know the the physiological needs the food like really necessity needs Then the next one is Safety right so we need to feel safe And I think we can all agree that we don't feel safe everywhere then the next one is Belonging and and and need for love and then the next one is esteem So we need to feel like we're accomplishing something and I think we all are getting frustrated today because we're like Well, what are we accomplishing? You know, we just every everything's mixing up. It's all one But I think maybe going back to the very beginning and thinking of what communities you actually want to meet because if it's all of us We're really privileged. We've heard that a bunch of times So maybe we don't need to start right at the physiological needs But maybe we go to a steam right away and jump straight to the top because I think before we can get everybody involved with self-actualization Which is the top where? Relationships relevance and responsibility come into play We still need to make sure that we're meeting those other levels and so it does go back to who our audience is I Wanted So we're gonna have an opportunity to Ask about reorganizing ourselves, but I'd love you to close out if you have another sure It's not a great closing outcome it Okay Okay All I wanted to say was that in response to the third group Is that something that came up in our conversations about how we were gonna share what we're talking about is someone in our group was like Oh, but what we want to do here as a group is something that I already do I have the structures for this I have I created the you know and then we were like that's great How can we draw on that and so I want to just point out to the group that's speaking that this work this place this type of Thing that you're imagining is something that I know personally I am my own work and me and my organization's work has been striving to do for years and I know that's true for others in this room as well other people who have organizations and Practices that do that want to do this. I mean like quite literally our mission is to unite theater and ecology To enact justice cultivate hope and inspire of a thriving future And I know that's true for and I'm not saying that to say this is my thing I just mean that there's so much to draw on and the thing that's exciting about that is that This is people who have an incredibly incredibly similar interests and desire And look at all the capacity we have now it's it's it's eight times the capacity that I have as a human You know as one person so I think that's Just to think about what we can draw on as we build these action plans to recognize the amount of Work that's already going on of this of the kind that's informed and infused with these Disconscious ecosphere of consciousness and to give it a home and a platform to share Your work and these best practices with others and then inroads for people just beginning or enriching Materials that others can who are really deeply engaged with this can learn from so thank you because it must not have really We must not have expressed exactly. I think we're a platform and I hope all three of the groups are Working together. I feel that we wouldn't be able to work without the sort of radical ideas and placement that you're talking about and maybe just a Close on that from us. I forgot the one word that thank you Georgina Just took a lot of wrangling we came to this word, which is absolutely we recognize that As as Julie just said this convening is an embodiment of what we're talking about The notion is to then take those tools that have been developed and are being used by people and organizations like yours and Amplify them Greatly So we're gonna take a 15 minute break and then we're gonna come back and discuss how to reorganize or to intensify what we've identified as possible avenues


So a loop is a repetition of activity so going into a hive to inspect I look at a frame and then I put it back and so I repeat that same activity multiple times so it's looping around doing the same activity multiple times. This is the repeat block. Whatever you put inside this block or repeat those actions the number of times that you tell it to. For example in this level rather than drag out move forward and get nectar three times we're going to just drag them out once each and repeat the action three times. That made it easy.


Hey, so check it out, man. I got the badges on my 510 slash. I'm me dunking on everybody. I don't care what your build is. That's the goal. In reality, I'm probably gonna be doing layups. Look, look, look, look, look, guys. Look at all my holofames. The golds, the silvers, the bronzes. Hey, but I gotta do look swaggy because my guy right now looks like a bum, so. Bro, why do you look the same in every 2K? Switch it up, switch it up. It ain't broke, don't fix it. It is broke though, bro. You don't look good. Look at you. I didn't mean it like that. I didn't, come back. Vortex, come back. Remember those pump shoes where you can like click the thing on your, you remember that? Oh, they got those, man. Oh yeah, now you can be 12 years old on the park. Oh, I've been bamboozled. I have been bamboozled. I sat there and spent 10K on a suit and dress pants and I can't even wear it to the neighborhood. Oh, no, oh, man. This is for my career then? Did I just buy clothes for, I bought clothes for my career. It's the lowest moment of my life right here, man. I tell you that. Hold on, I know it's taking long, but I do wanna look fresh for the shoddies, you know what I mean? You never know. Female, my player might just pop out of nowhere. How am I gonna haul at her with a brown shirt? I miss Fat Girl, man. She was the one, I tell you that. What, me to stand out?  Oh, look, look, look, look, look, look, look, look, look. Do you wanna play the game on the five game win streak on the left? I feel like we stand a chance. Yo, I gotta go, my mom's calling, bye. Huh? Wait, where are you going? I only found somebody to play with me. And that is my best call today. Okay, okay, I'll stay. Okay, all right. I'm gonna play with them, okay? All right. Boosting? Oh, I just got your E-Chance for $10. Whoa, hands on the controller. All right, don't try and set me up now. Bleed, edit that out. Hey, anyone wanna play? Guys? Somebody? Yo, I'm literally being vetted by 89 overalls right now and they're walking away. This is the lowest moment of my life right now. What about that time you broke your bed? You know the bed was compromised, stop it. Swing me 30 now, CS. All right, let me send that real quick. Hey, Bleed, edit that out. Wow, yeah, the bed was compromised, guys, come on, man. The bed was compromised. I'm not even joking either, it didn't have any supports. Hey, what up, jazz teammate?  Oh, snipe that.  Hey, do not talk to me like that. I will drop, and you're guarding me? Catching.  I'm at least 500. You can get this one from any of you. Yo, what's up, man?  You gotta ask for consent first, you know what I mean? You can't just be doing that.  That's it. No, I'm white though, I'm different, I'm a different breed. You see how big my player is? I will dunk on you, be careful.  Whoa, what the hell? Why you sound like an agent? What? Why are you talking to the YouTuber? Everybody always says that to me. I was literally driving today, and the guy stopped me and said, are you agent? I'm like, what? I sound and look like him? That's crazy.  No way this is agent, bro. You need a bottle of wine. No, no, no, no. No, agent can't dribble, agent can't dribble. Hey, you know what, you're right.  He definitely can't dribble. Shoot it, shoot it, shoot it.   Come on now. Woo. Ah! Oh my god. 5'10". Oh, that word's behind the back in the game. Hold on, we're going this way. Woo. Don't follow me, Vortex. No, you're following me. This is my last game. Stop passing out of the shot, Jewel. No, no, I got that bailout. You ain't got to worry, G. You got the bailout, Baz.  I'm shook. Animation, but I'll get gassed about it. Imagine being Asian but can't get a center. That's crazy. I know, ain't that crazy? You know what, band together and terminate them. Ooh, I see it. Don't try me now. Thank you, bro. Hey, good stuff, Vortex. Vortex, come on, you can rebound, man. Hey, Jewel, I love you, though. I know, Bush. Hey, I love you guys, too. Except Vortex, that guy's horrible.  Yo, you turned this one against me. Can I get some of that plus 10 shooting boost? You know you got me? Hey, hey, lower your voice, G. Meet me in the back, all right? I got you. All right, we made the trade-off. Let's head out. We just came out with Ali together, so let's go separate ways. That's what it looks like. You know what I mean? We're not like... Arriva! Give me that. That's food. That's... Try me. Try... Oh, look at the defense! Try me! Oh, wow. All right, it's because I'm 5'10". That's not really fair. I literally played with two and a half men. Oh yeah, you think that was a good pass? That was a pass you went for, huh? Jump, I jumped, teammate! You know how that works? Click triangle, man! Okay, I saw, I saw, I... I saw, I saw? What? What is that animation? All these badges popped up, and I did a layup? Oh yeah, you see that? Clean. I'd never let, I'd never let the fame or the club. Bro, he's literally, he's obviously cheating, Vortex. Cut, cut, cut. Hey, what if we caught up and won? Well, we would need to have them missed shots first. And he's cheating. Why are you swearing at cheating, bro? I swear, I'm not even joking. He's shooting moving shots by accident, and they're all dropping. Bro, why y'all failing? We are down to a 20. Because that's basketball.   Stop playing with hackers, man. This is not cool. Chill out, chill out, chill out, chill out.  Don't ever impersonate another teammate again. Hey, I'm trying to show off some fantastic pure slasher gameplay here, but it's getting challenging because this build is cheeks. You see that? Can I get an easy blow by? Oh yeah, oh yeah. Actually, I'm talking shit, but the build's not that bad for a 510 slasher.  All right, watch this behind the back. Spin, ooh, hop, ooh, then go back this way. Ooh, go Asian! Get a layup, get a- Oh! I got you! Oh yeah, baby! Shoot that, VIVIII. Bro, did they change the sliders from in ranges? Pick and roll. Oh, never mind! Why am I doing those layups, man? This is a fail, bro! I'm out, I'm out! On his head! On his head! Okay, you can't shoot.  Oh, watch me. Oh my god. Yo, this build might be it! This build might be it! Okay, hold on, I got you.  You took that?  Bro, that's why nobody plays with you and you have to wait 20 minutes for games. Did you know that? Ooh! So you guys bet. Adam, they're gonna ask me questions. Yo, am I gonna get help on the screen here? Oh lord. Have you ever seen that build?  That's probably Davis' build. That is, bro. You know, Davis- Lord. Imagine Davis backing up on you. Hey, other team, I demand you turn your mic on right now or I will literally send people to find you. Okay, that's nice of you. Why do you want to throw it at them? Yeah, that's a good point. Maybe if I was not- Hello, good people of the internet. Would you mind turning your mic on to make this a more enjoyable experience? That didn't work. I'm calling my vooder. They changed shooting, by the way. You're not gonna convince me that the grand easy's are all hitting greens all of a sudden.  Oh yeah, oh yeah, oh yeah. Oh yeah, oh. You don't want that neither. They buffed shooting, Mike! I took everything he told me not to do, did he? I know, all right, Mike. Let's try this.  Do that, all right? Buffed his soul out of poking the ball. Steal, do that. Well, that was a boring dunk. You didn't want to do that. Why are they all open? Hey, bring your big man friend in the paint.  Oh my bad, I tried to be the big man for him. I mean, listen, you're doing a better job than he is. Oh wow, I had to react like that. Sometimes it's just necessary. About to begin with your pinnit. Hey, will you edit the thing and say you won? And it's edited.   It's a rat. It's a rat.


12-year-old Tamir Rice loved playing with Legos, watching curious George cartoons, and competing in sports. He spent much of his time playing football, basketball, and soccer, and swimming at local rec centers. He looked up to professional athletes. He would have challenged LeBron James, his grandmother, Majlalda, one or Davis left. Tamir was one of the tallest sixth graders in his elementary school. His family described him as persistent, disciplined, and affectionate. He was involved in arts and crafts, and sculpted pottery, and crocheted embroidery for his mother, Samaria Rice. Tamir still got scared by watching scary movies with his 16-year-old brother, and would crawl into bed with his mother at night. Tamir was shot and killed by officers in a city park in Cleveland, Ohio. Officers responded to a call of someone with a gun. Possibly fake. Tamir was playing with a BB gun. Following investigation, the officer's response was deemed reasonable. Today, standing up for the rights of those who are marginalized and discriminated against in our communities and nation is more important than ever. Please support these organizations and learn more about the countless ways racism and bigotry affect this country.


In just a moment, suspense with William Powell. Oh, Hap, here comes Harlow Wilcox. Now, Betty forgets I already have two sets of auto light resistors. Spark plugs and tries to high pressure me into buying another one. Well, hello there, friends. Hello, Mr. Wilcox.  Car not running right, maybe? Why? Spark plug trouble? Ah, listen, pal. What you need is a set of those sensational new ignition engineer at auto light resistors spark plugs. But Harlow... Get up and go. A spark weary engine gets from auto light resistors spark plugs will turn your gloom to glee. Look, Harlow, I already have. Why? When you replace your old narrow gap spark plugs with wide gap auto light resistors spark plugs, by Cornelius you can actually tell the difference in your car. Your engine idle smoother. Harlow, Harlow, wait a minute. I'll listen to you and my engine later, but... Yes, but right now let's listen to suspense. Suspense. Auto light and its 60,000 dealers and service stations bring you radio's outstanding theater of thrills. Starring tonight, William Powell in Anton Leader's production of Give Me Liberty. The tale well calculated to keep you in suspense. I embezzled a quarter of a million dollars. I want you to know that needed brains, planning, patience. I devoted three years of my life to the trick and I got away with it. Two hundred and fifty thousand dollars. Of course they caught me very easily, but they couldn't find the money. So they handcuffed me, brought me back to stand trial. The judge was as big a fool as the others. Seven years is a long time, Mr. French. The insurance company will agree to a much lighter sentence if you will reveal where you've hidden that money. But I only smiled. So my right wrist was handcuffed to the left wrist of a detective. And they put me aboard a train bound for the penitentiary. I could see that the detective had instructions to soften me up. He was much, much too kind. You're comfortable, Mr. French? You want a magazine? Anything? Well, I like to be able to lift my hand without raising yours into the air. Can't you guard me without being quite so...attached to me? Sure, I guess we can work that out.  I'll kind of box you in, and that way you can wear the cuffs all by yourself, and nobody loses. Thank you. Let me get my keys. For me, how do you? Wonder if I've made a good change. Feels clumsy. You get the hang of it no time at all. The biggest trouble is when you read a paper. Five inches of chain don't give you much room to turn a page. I better leave the newspaper for a less constricting occasion. I'll have seven years for reading. Seven years? And a quarter of a million. Say, how smart does a guy have to be to get his hooks on so much lettuce? Would you like some of it? Are you kidding? Well, let's make a deal. You drop the key to those things on the floor, and go have yourself a nice lunch. Sure. And when do I see Mr. French again? Well, I meet you to pay off. I wouldn't be taking kind of a chance there.  I looked out at the fields and brooks and houses rushing past. I wouldn't see these things for seven years. Not counting time off for good behavior. But then I'd be free again. And I'd have my quarter million. Not a bad salary, huh? I'd use my brains for myself this time. Suddenly, everybody hold on. There's a lot of trade on the track. Peter Carr. A carly on its side, and flames. And those passengers who could move, scrambled through the broken windows, say no attention to the helpless man and handcuffs. But the detective, his legs pinned by the wreckage. You move, will you? You want to see me roasted? What can I do with my hands like this? What do you carry the key? What do you want with a key? You can pull me out by an arm, can't you? You can grab me by the head.  You can use them good enough. Where's the key? I can't find it. French. It ain't in my pocket. Look on the floor.  French. My shoes, they're on fire. Please. The only weapon was a suitcase. I kicked him in the face. I flashed a suitcase on his head. And he didn't have the key. I emptied his pockets down to the last column of tobacco. But a fire got closer. He hadn't the key to the handcuffs. And I wanted it. Because this wouldn't be an escape. This would be a disappearance. Oh, what a chance. What a chance. I'd have my liberty. And I'd have my money. I threw away his pistol. I wouldn't need a gun. I'd use my head. I'd squeeze my college ring on his finger. I'd switch wallets. There was a conductor out there. A crowd of passengers. I got to the opposite side of the car. No one. Not a soul. And I wasn't a slender of glass left to the window. I slid down the side of the car, cleared the wheels, and struck the ground running. A few moments, a few hundred steps. And I was safe from the cops. I was free. They think I was dead. And I had a quarter of a million dollars. For Suspense, Auto Light is bringing you William Powell in Radio's Outstanding Theatre of Thrills. Suspense. My friend, have you ever heard a conversation between two cars? Two cocks. Hello, Wilcox.  Crazy like a fox. Listen, a sorrowful-looking sedan came up to me on the street the other day and said, pardon me, Powell, but have you got a prepotent pill for a spot-puttering engine that keeps popping along on poor-firing spark plugs? Well, this car's your come-to-the-right man, old ALRSP, Wilcox. ALRSP. ALRSP for Auto Light Resistor spark plugs, of course. Oh. Well, before I could answer this fumbling four-door, up glides a cute coupé and says, say, chum, if you want to hum and hustle on the highway, if you want to idle smooth as a satin slipper, if you want better luck with lean gas mixtures, actually save gas, why switch your narrow-gap plugs for a set of those wonderful, sensational, wide-gap Auto Light Resistor spark plugs? What's more, continues this chatty convertible, Auto Light Resistor spark plugs cut down spark plug interference with radio and television reception. Really, the spark plug of the future. Well, I was talking to a delighted television set yesterday. Wait a minute, Harlow. Now you've got a car talking to a television set. By Cornelia's app, television sets, cars, and everybody are talking about Auto Light Resistor spark plugs. And no wonder, because new Auto Light Resistor spark plugs have a 10,000-ohm resistor ignition engineered right into the spark plug and a wider spark-gap setting that means smoother idling and gas dollars saved. Auto Light Resistor spark plugs fit any make and size of car, and don't forget, Auto Light Resistor spark plugs are backed by the reputation of Auto Light and the over 400 automotive, marine, and aviation parts made by the Auto Light people. Pipe that. Okay, okay. But right now, let's pipe suspense. And now, Auto Light brings back to our Hollywood soundstage William Powell as Earl French in Give Me Liberty, a tale well-calculated to keep you in suspense. My first job after escaping was to break out of those manacles. I sat on a wheat field, holding my hands overhead so the blood would run through my hands and wrists and leave them slim. It didn't work. I tried that until my shoulders were in agony, and it didn't work. I couldn't snap the chain. I twisted it. I pulled at it. I tried to fling my hands apart, and it wouldn't break. I rubbed it against stones until my skin was torn and bleeding. And it wouldn't break. By this time, it was morning, and I was pretty desperate. I found a match in my pocket. I went into the woods that boarded the field and built a fire. First, the chain grew hot, and then my wrists. But I held them over the fire until I couldn't keep out the scream. And not until then, would I believe that I needed help. I pushed through the wheat and the corn beyond it, and I stumbled on a slope in a barnyard. Down, Jack, down.  What do you want? There was nothing to say. She had seen the handcuffs.  What do you want? I'm innocent. I swear to you, I'm innocent. Where are you from? How'd you get away? Well, I... We were going up to the prison, and there was an accident. Well, what do you want from me? Could you lend me a file, and if you could spare some food, I'll be glad to pay for... You don't have to pay me for anything. Wait here. Jack will watch you. The fool went into the house, and the dog sat down in its belly and placed its nose between its paws, and its eyes never left my face for an instant. And then, through the stillness, I heard the cranking of an old-fashioned wall telephone, and I knew what she was doing. I ran! I ran like a whirlwind! I couldn't get the handcuffs off. I couldn't get anything to eat. I couldn't show myself. Do you know what it means to see food all about you and not be able to buy it? Don't tell me I got to be eating corn and fruit and roots. I can tell you the nature of every dog in that area, and the feel of every barbed wire fence, and the spang and roar of every rifle and shotgun. I crept into a village one night, and forced up the window of a hardware store. I wanted a file, just a file. Do you know what they carry in hardware stores these days? Glassware, kitchen gadgets, garden tools, seeds, ovens, rat poisons, dresses. And then I moved behind a counter, a hardware store has to have filed somewhere, and my foot struck a wire, stretched across the floor. How tired have you been?  Ah, there were times when I thought I'd die. On the fourth day of my liberty, I crawled quietly to the garbage cans back of a roadside diner and began to paw about for something I could eat. There was a step behind me, a world about. It was a boy. We looked at each other for a long moment. He was waiting for me to speak. I said, Hello, Sonny. Hello. You live in this neighborhood? Yeah. I don't. I'm traveling. With handcuffs, son. Oh, these? Yeah, a friend put them on me for a joke. Say, that gives me an idea, Sonny. Would you do me a big favor? Well, big to me, anyway. Sonny, it's worth ten dollars to be able to have these handcuffs off before my friend shows up. Look, can you get me a file or chop them off of an axe or something like that so I can have a laugh on him? No. Look, I'll let you keep them. They're fun. No. Well, then, would you do something else for me? I'm a little embarrassed about going to the lunch wagon like this. Look, would you step in there and buy a few hamburgers for me? How much? Same ten dollars. For a couple of hamburgers? Why not? Then maybe you'd change your mind about the file. Let's see the money. I got it right here in my pocket. Ready to jump in your hand. Hey, there are lots of things that a boy can buy with ten dollars. Ah, there we are. How do I know it's good? Don't you trust me? Drop it on the ground. Drop it? Why? You drop it and back away. Then I'll pick it up. Oh, hey, that's very smart. How's that? Far enough? I guess. He picked it up and began to walk around the diner. But when he was out of reach, he broke into a run. I couldn't. I had two hundred and fifty thousand dollars buried away and it was worthless to me. Do you know what can be bought with a quarter of a million? Why, an iron soul can be bought with less than a quarter of a million dollars. And I couldn't buy a ten-cent file. I spent that night in a nest of cast-off railway ties attached to a siding. I opened my eyes in the morning. I had company. There was a hobo sitting on the top of my fortress-like bedroom. A very unusual-looking hobo. And blue jeans and a navy coat. She was counting my money, smoothing each bell with loving care. She grinned when she saw I was awake. Good morning, chum. You sleep like an honest man. What's the matter, chum? Never speak till they bring your orange juice? Listen, I'm in trouble. I want you to help me. To get the bracelets off? Ah, chum, wouldn't that be kind of silly? I might lose all this hard-earned dough. Look, there's more where that came from. A lot more. I'll make you rich. Yeah, I heard that one before. Listen, listen to me. I got a quarter of a million dollars. Yeah, I get feelings like that, too. Come back, will you? It's true. Don't you read the papers? I'm Earl French. I never heard of you, and where would you get that much dough? Look, go into town and buy one of the newspapers a six days ago. That'll tell you. Tell me what? Don't people read anymore? Earl French, the embezzler. I stole $250,000. And you're wearing those things so you won't pick your own pocket. Don't try to be clever. I died in the train wreck near Scottsville. You're so sure about that, chum. You're croaked only a few days ago.  They only think I did. Now, you get those newspapers. You come back here with a file and some food. No, no, no. Don't order me around, chum.  And if you're not a corpse, I'll poke you in the eye. Just play it easy, huh? Yeah, maybe I'll be back. Good happen. I waited for her all through that long, blistering day, crouching within those four walls of railway ties. I lay there like a trapped animal. And yet I knew she'd be back. She couldn't resist it. Cheap little thing like that. I knew she'd be back. Chum, it seems you were a very important guy in your time. You saw the papers. Yeah, and I got good news for you. Mr. French, you're now burnt to a crisp. That's the way they found you in the train. Recognize me by the ring on my finger? Yeah. Well, you're dead all right. You and 250 grand. Well, we'll come to that later. You get to work with the file. No, no, no, no.  Give me that file. It's right here in my jeans. That's where it stays until you lead me to my share of that dough. Oh, you'll get it. You'll get it. Chum, listen to mama. I can pick up 500 fish by turning in an escaped prisoner, or you can dig up that treasure chest and buy this file for half the plunder. That's 400 miles away. That's a fair distance. But I can't ride a train or a bus with these on my wrist. It's okay, Chum. We'll walk. 400 miles? A cinch. I've done it before. We'll be sane. Not at night. How do I eat? Or will I sleep? You'll sleep in the woods and I'll bring the grub to you. Me, I'll sleep in town, where I'll be snug and safe. Yeah, don't take this file from me, Chum. Not till I see my half of that dough. And that's how it was. That same evening, we started a walk. At first it wasn't so bad. It gave me time to think, and I knew I'd think of something. You know, there's kind of a sneaky look about you. What? You figure that in 400 miles a lot of things can happen. Oh, no, no. After all, I want to do what's fair. We'll split. If we don't, I'll split your skull, and don't kid yourself that I won't, little Chum. I've been waiting a long time for a break like this. We walked. But the handcuffs digging so deep into my flesh that I began to believe they were a part of it. She brought me food. But she wouldn't come close enough to hand it to me. And every time I reached for anything, it was torture. My hands and wrists were a mass of misery. And as though her pet animal were on a leash, my friend always walked six paces behind me. She was too smart. And I realized that I had to get away from her. And soon, in the morning I decided to do it, she found me a shack to hole up in. I could hardly wait for her to leave and go back into town. Yeah, this shack looks good.  All right. See you tonight. That's the way I like you, Chum. Nice and agreeable. Why not? Why shouldn't I be? See you tonight, as usual. Sure there isn't anything special you'd like me to bring you to eat? No, nothing special. Say, Chum, I think you'd better turn around. Why? Big... Hey! When I awoke with a dull ache filling my head, I found myself neatly trussed up. I could move a little, but not enough to get free. Talk about female intuition. She had guessed that I was going to try to get away from her and she beat me to it. But I didn't give up, though. She'd have to make one mistake. The next night, we'd stop for a rest. Hey, uh, French. Yeah? How can you be sure that dough is still there? It's safe. How do you know? What kind of a place you hide it in? You'll see. Hey, don't you trust me? Of course. As much as you trust me. And it's time we stop playing this little game. Now get out that fire. When I see the dough, little Chum...  How long do you think I'm...  Don't wake up the neighbors. On move. No. I said move. No. That money's mine. And you'll never see it unless I want you to. And we'll go to it the way I say. Chum, you're making me mad.  Go on, get it out. I can give orders, too. What do you think you are, an animal trainer? No, that's not a bad idea. Is it? But it happens that I'm not an animal. And it happens that... What's that for? You can't frighten me with a knife. I wouldn't drive. You use that on me and we both lose out. That's the same thing. You said never use a switch thicker in your thumb, breaks the skin, but no bones. A kid can go on working. A switch? Yeah, like this one. Nice and green and limber. That's all the knife is for. I wouldn't use a knife on a buddy. You won't use that either. Put it down. You know, this is something I wanted to do ever since I found you sleeping in those railroad ties. You gonna get up? No. This'll hurt.    Brave enough outside, but once anybody put on the pressure... You talk too much. Come on, I'm calling your bluff.  All right. Well, she was sure she'd beat me down all together because she... she didn't even bother now to taunt me anymore. She was very quiet after that. And a little careless. I stopped now, and then she bumped into me in the darkness. But she'd always stopped dreaming before I could get my hands on her. Well, all things must end. Our pilgrim agendaed one morning when I said... Here it is. What? The money. Where? We're standing over it. You up to some sneaky trek again. We're standing in the middle of a highway. You didn't do any digging here, chum. There's a culvert running under the road here. A 24-inch pipe. Come into the ditch. I'll show you. You didn't stick that dough into the pipe. Must have washed away. It's not in the pipe. It's in that deep crevice. Between the pipe and the concrete. Pull out some of those stones. You pull them out. What, with these hands? I can't touch anything without screaming. Pull them out. French, sir, help me if this is a gag. She believed me. She had to. She saw the truth in my eyes. The money was there. My quarter of a million. She bent over to tug at the stones. She turned her back to me for the first time. And that was it. That was the mistake I was waiting for. I sprang forward and I crushed her handcuffs down on her head. They were covered with blood. My poor hands. I had to wait until a shock drained out of them. Finally, I reached into her pockets for the file. I'm not being this one. No. No. No, I... No. No file. She hasn't got a file. No children. Come on.  Two hundred and fifty thousand beautiful little babies. Come on. I can't get a hold of it.  For a splendid performance, Mr. Paul returns in just a moment. Well, Hap, my friend, now that you're... Harlow, Harlow, I've been trying to tell you I already have two complete sets of auto-light resistor spark plugs. Congratulations. Everyone should have a complete set of auto-light resistor spark plugs. Those modern miracles of auto-light ignition engineers. Those monuments to tireless auto-light research. So, friends, why not drive down to your nearest auto-light dealer tomorrow, early tomorrow, and get your car a set of auto-light resistor spark plugs. They're sensational. And not because I said so either, but because they really are. Auto-light means spark plugs. Ignition engineered resistor spark plugs. Auto-light means batteries. Stay full, battery. Auto-light means ignition system. The lifeline of your car. Oh, here again is William Paul. My thanks to the fine cast of suspense actors who helped to make my appearance here so pleasant and experience. I'm a regular listener to Radio's outstanding theater thrills, and I'll be tuned in next time to hear John Garfield in death sentence. Another gripping study in... Suspense. William Paul appeared by arrangement with Metro-Goldwyn-Mayer Studios, producers of the Technicolor production The Three Musketeers, starring Lana Turner, June Allison, and Van Heflin. Tonight's suspense play was written by Herb Meadow with music composed by Lucian Morawake and conducted by Lud Bluskin. And Morrison played the part of the hobo. The entire production was under the direction of Anton M. Leeder. This is the Auto-light Suspense Show. Subscribe to your local community chest. Everybody benefits. Everybody gives. Good night. This is CBS, the Columbia Broadcasting System.


There is no place else that you would require the set of skills, the set of attention and dedication from a staff and then not pay them a living wage. You're asking them to get a four year degree and then you say by the way, for that grand prize of a four year degree that you now owe for, I'm going to pay you $21,000 to $25,000 a year. You've won the lottery. And guess what? They're waking up, these women are. Many of them are waking up and say, look, I can't put food on my table. I can't keep a roof over my head. I've met women in this profession who are homeless at 37% of our providers are having to really rely on some sort of public assistance that is highly unfair for people who are building the next generation of whether they're elected officials, doctors, lawyers, engineers, communication experts, they're building those people in these classrooms that we have right here and they deserve to be recognized for that work. As a society, we have to make a decision whether or not that is an experience we're going to pay from the public with the public trust. You know, that's the conversation. Policymakers need to step up, think out of the box and really begin to wrap early education and care around the child and get a plan going.