Married couples responded positively to emotional bids 86% of the time and those that did not respond positively to emotional bids 33% of the time or less ended up in divorce. In 1999, Dr. Gottman designed a lab at the University of Washington that looked like a bed and breakfast and he invited over 130 newlywed couples to spend the day in his retreat where he would observe how they would interact with each other. He discovered that throughout the day, partners would frequently make requests for emotional connection with each other and he called these emotional bids. After six years, he followed up with these couples and discovered that there was a big difference between how couples behave that stayed married and those that were no longer together. So he surmised that the secret to fulfilling relationships is responding well to your partner's emotional bids. It actually is the fuel for longevity of those relationships.


From Hollywood, the NBC Theatre presents... Screen Directors' Assignment. Production, the Ghostbreakers. Director, George Marshall. Star, Bob Hope. The Hollywood Screen Directors present a comedy of terrors. The Ghostbreakers, starring Bob Hope in his original role and introducing the director of the film, George Marshall. Our guest screen director tonight might be said to have some small knowledge of motion pictures. He's been an extra stuntman, prop boy, actor, film editor, cameraman and assistant director. And 34 years ago, he launched his brilliant career as a director of some 385 films. We proudly present the president of the Screen Directors Guild and the director of such fine entertainment as Tap Roots, The Perils of Pauline, Destry Rides Again, and tonight's story, The Ghostbreakers. Ladies and gentlemen, Mr. George Marshall. Thank you very much. When we made The Ghostbreakers, the set bore a pretty close resemblance to a case of galloping nightmares, including included in our Chamber of Horrors where such things as ghosts, bats, zombies, witches, and Bob Hope, which you can imagine is probably one of the screwiest parlays on record. And here's the result. And on the air for the first time, The Ghostbreakers, starring Bob Hope as Larry Lawrence and Shirley Mitchell as Mary Carter. If ever a name struck terror into the heart of the underworld, it's the name of Larry Lawrence, intrepid radio reporter and crime buster. Yet only his closest friends know that behind his simple, vacant, foolish smile hides the real Larry Lawrence, simple, vacant, and foolish. We find him now in his office preparing a last, thrill-loaded bloodbath before leaving on his vacation. Oh, so you clam up on Larry Lawrence, huh? Come on, open up. Open up, I say, or I'll drill a hole clear through you. Okay, you ask for it. Take this. And this. And this. Lawrence? Yeah, I can't get this window open. Let me try. It's no use, Miss Coles, it's stuck. I'm a strong man, but... There you are. Miss Coles, I thought I warned you about weightlifting on office hours. There's a Miss Mary Carter to see you, Mr. Lawrence. Miss Carter, is she a redhead or are you wasting my time? You know, I'm due on the air in 15 minutes and I'm waiting for raspy Kelly. Well, she says it's very important, Mr. Lawrence. And she's a blonde. Oh, then put her in category 7B. I'll see her when I get back for my vacation and tell her to leave her telephone number and waist measurement. Mr. Lawrence, please. Please, I'm Mary Carter. I'm sorry, Miss, but I'm working on my secret invention. A real invention? Yeah, but it's a bottle preparation for women who want to get their face lifted. How does it work? I mix nitroglycerin with cold cream. That just goes to show how tough a woman has to be when she deals with Larry Lawrence. Oh, then you're really Larry Lawrence, the brave, strong, dashing Larry Lawrence I've always heard about. Well, what are you waiting for, Miss Coles? Go somewhere and flex your muscles. And tell me when raspy Kelly comes in. Yes, Mr. Lawrence. Mr. Lawrence, I need your help. Ah, yes, don't you all. Poor girl. But I'm dated up for the next month, perhaps some day in May around apple blossom time. You don't understand. Mr. Lawrence, your famous is a crime breaker and gang breaker. And there was that wonderful week in Duluth when I was a home breaker. Oh, I want to purchase your services. I want you to become a ghost breaker. Ghost breaker? I'm sorry, but the only spirits I mess around with come equipped with olive is not shrouds. I'm serious, Mr. Lawrence. I've inherited an island off the coast of Cuba, Black Island, and there's a castle on it called Castillo Maldito. Oh, sure, I've heard of that. Isn't that where Cugat raises Little Maracas? Now, Miss Carter, you're not going to tell me that castle is haunted. Well, this afternoon the deed was turned over to me by a Senor Parada.  You mean there's no post-toasties because of the ghosties? There is a ghost. Senor Parada says it's the ghost of Don Santiago, my great-great-grandfather. That's why I'm afraid, Mr. Lawrence. Now, if you'll come with me to Castillo Maldito, I'll see that your time is well paid for. Yeah, but why let a few ghost rumors frighten you? After all, what's a ghost just a clue-cluck that's lost his clan? What do you need me for? Here, I received this card in the mail today. Let's see.  Well, here's your card, Miss Carter. Thank you and good night. You mean you're afraid? You, Larry Lawrence? Afraid? Me? I'm one of the bravest gum shoes in the business.  Okay, so I'm one of the bravest bubble gum shoes in the business. It's just that I don't like spirits to send fan mail, and besides, tomorrow I'll be in the mountain, so take your ghost postage to somebody else. Ah, that mountain there, that's the life. You go to the window at six o'clock in the morning, open it, climb in, and go to bed. Ah... Oh, fine, I'll see you right away. Miss Carter, if you want an expert in things that go boo-boo-boo, I've got a friend named Crosby. No one else will do, Mr. Lawrence. I'm sailing for Cuba tonight on the rexitania. If you change your mind, I'll be waiting for you in my state. You say? Well, hello, raspy. Say, you sound better. Did you get the frog in your throat a fresh lily pad? I got another Frenchy Duval story for you. It's a killer. Yeah, and so is Frenchy Duval. Say, does he know you're giving me these stories? Sure, he loves it. Good publicity. I know, I plug him or he plugs me. What have you got? Frenchy has himself a new racket. Here's how it works. And now folks, here's the last minute scoop. Frenchy Duval has a nice new racket, baby laundries.  This is the little one's laundry mat. Frenchy discovered that there were about 2,000 of them in the state all making money. Without even telling his closest pals, he moved in a three-cornered the market. And so today, Frenchy is really cleaning up the hard way. This is Larry Lawrence saying, goodnight. Larry Lawrence will return to the air two weeks from tonight with more low down on the underworld. Now a word about Cronin's coffee. Well, that's that. One more week on the air without a rest and I'd begin to look like Bob Hope. Mr. Lawrence. Oh, hello, Miss Cole. Did you hear the broadcast? Wasn't I great? Wasn't I terrific? Frenchy Duval is on the phone. Wasn't I just leaving? Wonder if he saw her. Courage, Camille. Hello, Frenchy. What's new? Got a tip for you, Larry Boy. Shoot. I had to open my big mouth. What was that? That was Raspy Kelly saying goodbye. Raspy Kelly. But you're not mad at me, are you, Frenchy? No, no, no. I told you, I got a tip for you. A sight and radio reporter was found in a ditch riddled with bullets. Yeah? When did it happen? Probably tomorrow. Wow, that's what I call hot news. Tell me, hey, Frenchy. Oh, not me, not little old Larry. I'm going to put somebody on the spot, boy. Miss Cole, hand me that bottle of spot remover. Hey, Lawrence, I'm taking care of myself, personally. Oh, Frenchy. Frenchy Boy, speak to me. Hello, Mort. Come to think of it, hello, mortician. Why did I bother paying this year's income tax? Where are you going? Cuba. Miss Cole, when it comes to ghosts, I'd rather see one than be one.  Some state room you got on the ship. You ought to see mine, and so far down I can use a propeller to whip up my shaving cream. Say, did you see President Truman in swimming when we passed Key West? No, which one was he? The one in evening clothes. Yes? Radio gram for you, Miss. And there's one for Mr. Lawrence, too. Oh, thank you, Stuart. Who'd know I was aboard? Here's your telegram. Well, isn't that nice? Mind me, it must be from the Cuban Chamber of Commerce. What does it say? See Cuba and die. Hey, wait a minute, signed Frenchy Duval. Stop the ship, man overboard. Stop the ship. Guzzle a manzo. Larry, Larry, please. What? Larry, look at my telegram. What are you excited about? It just says an empty coffin waits on Black Island. Jesus, Pierce Brothers know about this? You think we should make the one friendly call that covers all? And it's signed Senor Mertus. Morte. In Spanish, that means death. I know, I know his brother, rigor mortis.  I'd be in a lot more trouble without you to help me. Yeah, I'm brave. Two gun Larry Lawrence. When I find out who's threatening you, I'll break him in two and use half in the castle and half in the bathroom. Sure, that's me. Courage on the loose. Only it isn't so. What do you mean, Larry? I'm running away from myself from some gangsters in New York. Oh, I didn't know. Look, Mary, we're both in trouble. Let's play it together, huh? You stick by me and I'll stick by me, too. Seriously, Mary, I... You know, you're beautiful. I'm frightened. Hello? This is Senor Parada. Mary, it's Parada, the guy you were telling me about. Who is this peaking? Never mind about me. What's the idea of scaring Miss Carter with all that ghost stuff? Ghost? I'm sorry, but I must have the wrong state room. Hello? Hello? Hello, Senor Parada? Yes? Oh, I noticed Miss Carter's name on the passenger list. Is she here? Miss Carter? Who are you? That's right, Jeff Montgomery. May I come in? Oh, please do. We met at the store club a few weeks ago. Yes, of course. Mr. Montgomery, this is Mr. Lawrence. You traveling to Cuba, Mr. Montgomery? Yes, my home's in Havana. Oh, we're going to Havana, too. And then on to Castillo Maldito on Black Island. I'd heard that Jinx was wished off on... not you. Yeah, we won two glorious weeks there on Ladies Be Seated. That place is evil. There's the legends about the ghosts. And there's said to be a zombie on the island, the son of a native woman who looks after the place. Zombie? Yes, some voodoo priest seemed to have the power to bring the dead back to life. You see them once in a while walking around with despondent, hopeless, staring eyes. You mean like Republicans? Please be careful, Miss Carter. If you insist on going to Black Island, be sure you go well protected. Well, what do I look like, an egg beater? There's nothing in that island but ghosts, evil spirits and zombies. Ghosts, evil spirits and zombies. When's the next boat back to New York? But what about Frenchie de Val?  Between Black Island and Frenchie de Val, I'll take... Yes, Larry. I'll take... Darling. Black Island, here I come. You are listening to the Hollywood Screen Director's presentation of The Ghostbreakers, starring Bob Hope with Shirley Mitchell, and introducing the director of the film George Marshall. It's silhouette broken by the menacing outline of Castillo Maldito against the night sky. And approaching the island, a small rowboat carrying Larry Lawrence and Mary Carter. Boy, no wonder the native boatman won't come here at night.  Looks like CBS pulled a raid on it. Just a few more strokes, Larry. We're almost there. I've been hauling in these oars along and my blisters are forming pyramid clubs. Here's the dock. Here, let me help you out. Oh, thank you. There. Lafayette, we are here. I think Lafayette's here, too. The old woman caretaker that Jeff told us about. She may be just trying to scare us. She's wasting her time, we're scared already. There she is, mother zombie. Action strike, huh? What do you want? Could we interest you in a subscription to Weird Stories Magazine? Here, I did the Castel Maldito. No, my island. Sounds like Robin and Rose mother. Gee, great night for a murder. Who told you? I was going to get the laugh. Other men come in. Tell me, does the Greyhound bus make a rest stop here? You guys, to Boris Karloff. Let's get into the castle. Hand me the flashlight, Mary. There. I wonder who lived here last. Must have been Jolson, the front porch is down on his knees. Turn your flashlight to the left. A suitcase. It's almost new. One of the people who came to the island must have left it here. Let's see the initials. FD. Frenchie du Val. Frenchie, come on, let's get out of here. There he is. Put out the light. Okay, here, behind this post. Come out. I'm not here, I'm over there. Let's go. Here in this room. Now we know who one of our guests was. What about the other two, huh? I don't know, but I think I could spit and hit one of them. Oh, it's just the wind. If it is, it's the first time I've ever heard a breeze with adenoids. Strangers. You never played Philadelphia. Hey, strangers, that's us. Zombie, kill! Sorry, but I got to see your union card. Where are you stunned him with your flashlight? Help me drag him into the closet. Okay.  Yeah, what do you know? I'm brave. Hey, Zom. Everything okay? What did he say? He said, with men who know their castles best at zombies, two to one. Come on, let's see what else is going on in Nightmare Alley. If this is a short interlude of organ music, let's switch to another station. Come on, Larry, let's find out who's playing that organ. Yeah, and those things are on it are either coffins or boxes of king-sized Cuban cigars. Nobody here now. Wonder who was playing it. Patrillo won't like it either. Maybe somebody put a nickel in it. There's no one there. Boy, that's ridiculous. Only a ghost could do that, and there's no such thing. If there really are ghosts, I'd lose my mind. I'd end up in the snake pit. Move over, Olivia. Do you see what I see? On the organ bench. It's coming out of thin air. Too many reducing tablets. Maybe they're drafting again. What's he talking about? I don't know. Ask him. You ask him. I feel too ghastly to be ghostly. March. And floating toward that empty coffin. It's getting in. Gee, that ghost gave some performance. Yeah? I'm going to find out what's really in that box. Look, on the side, there's a plate. It's the coffin of Don Santiago, my ancestor who built the castle. Let's get the lid up. Larry, there's nothing but a skeleton. Yeah, old man Moe sure is dead. Larry, I think he was trying to tell me something. Something about the marching men. He wants me to look for something. Look, if he forgot anything when he left, there's no sense looking for it now. Let's go. Don't forget the Frenchie de Val is looking for us, and there's two other characters around somewhere. Larry, turn your flashlight over there, above the organ. Isn't that an inscription? Can you make it out? I think God's treasures in abundance lie.  There's more to this than meets the eye. The ghost. It said something about a key, Larry. How can we look for a key? We haven't even got a keyhole. Well, keys could mean music. Look, let's keep moving around. If we stay in one spot, we're dead. Dead. I wonder who thought up that expression. The marching men must have something to do with it. We'll ask them on the 4th of July. Come on. Larry, there. On the wall. Aren't those marching men? Those little figures carved into the stone? Now, if I draw a horizontal line through this marching man, and one parallel to it through this one, and another one, and two more... This is a fine time to start playing tic-tac-toe. No, don't you see? It becomes a bar of music. That's what the ghost was trying to tell us. The key is a... Keep playing. Look, down Santiago's coffin. It's shifting off its base. And I don't feel so good in myself. Keep playing. Higher, higher. Light of stairs. There's nothing down there but some dusty old dungeons. Let Jack Benny keep his money. Come on. Go first. Okay. But remember, I'm a lead-off man on the way back. Say, there's a lantern down here. Yes, and railroad tracks, like in a mine. Yeah, railroad tracks. It reminds me of my hotel room in Scranton. Come on, keep going. Look out. You'll trip over that rail. Oh! Oh! Oh, did you hurt yourself? What did you land on? This is a comedy. What do you think? I'm... Mary, look at this. What is it? I've seen this stuff before. Silver ore, the real thing. Mary, you're rich. Congratulations, Miss Carter. It's in your pirata.  What's the gun for? You can't get away with it. I'll shoot. Now listen, pirata. No! Not you! Behind you! Look out! Yes, it's Jeff.  Miss Carter, I came here to warn you. He's mad. Insane. Against the wall, all three of you.  What's this all about? About a vein of silver as wide as the island. I discovered it, and it's mine. You hear? This mine is mine. And what's mine stays mine. Thank you, Gertrude Stein. Okay, so it's yours, but let Mary go. No! Nobody's going to carry any tails out of here. All right, come on out of there.  Come on. Who's that? Frenchie de... It's the police. They've got you trapped, Montgomery. They'll never get me. Not now. This is mine. They'll have to shoot it out. You tell them, kid. Get through. Finish. Never! Frenchie and Jeff. I'll match you to see who faints first. Move over. Stop hogging the floor. And a fun farewell to Cuba. We leave your castle to Mother Zombie and her bouncing baby boy. Yes. And with Pirata taking care of the mine, we'll never have to come back. And now that I'm rich, I'm going to back you in a television show. Yeah, after all those ghosts, it'd be nice to try out a new medium. With a hundred million dollars. What, honey? What will we do with a hundred million dollars? Well, we can always open another hotel in Texas. Get Dorothy Lamour to broadcast. You don't understand about the ghost. It must have been real. No, honey. It was just one of Montgomery's tricks. There's no such things as ghosts. I think we have her set in the audience. NBC Theatre brings you a motion picture of a man set against the background of memorable music. The story is Music for Millions, and our star will be June Allison. And now here again is tonight's star, Bob Hope, and screen director George Marshall. Tell me, Georgie Boy, you used to be a fast man with a set of golf clubs. Do you still linger on the links? Sorry, Bob. We don't have time to give lessons. Why don't you buy a good book on the game? Buy one? I wrote one last week, and my life's blood on the six-hole at Palm Springs. There I was. See, George, a four-iron shot from the green. I was standing like this. You're standing wrong. Get this kid. I was a director. I'm standing wrong. Who taught you how to play golf? Bobby Jones? Right, he did. Who taught you? Some little Scotch caddy called Crosby. But I don't play with him anymore. Why not? Why not? There's a fella who puts grease on your putter, cheats on his scorecard by making his nines upside down, builds a furrow on the green with an electric shaver so that the ball has to roll into the cup. For love. Well, neither will he. Good night. Good night, Bob. Thanks a lot. Good night, folks. Good night, Bob Hope and George Marshall. The Ghostbreakers was presented through the courtesy of Paramount Pictures, currently releasing Elias Nick Biel, starring Ray Malan, Audrey Totter and Thomas Mitchell. Bob Hope will soon be seen in the Paramount picture, Sourful Jones with Lucille Ball and Mary Jane Saunders. George Marshall's next Paramount release will be my friend Irma, starring John Lund, Marie Wilson and Diana Lin, and NBC's Al D. Martin and Jerry Lewis. Included in tonight's cast were Shirley Mitchell, Donald Morrison, Sheldon Leonard, Jack Edwards, June Foray, Ken Christie, Betty Moran and Dan Riss. The Ghostbreakers was adapted for radio by Richard Allen Simmons and original music was composed and conducted by Henry Russell. Production was under the supervision of Howard Wiley, associate producer Ray Dietrich. Your announcer has been Frank Barton. Listen again next week when the NBC Theatre presents Screen Directors' Assignment, Production Music for Millions for June Allison. This is NBC, the National Broadcasting Company.


Hi everyone Joe for jazzy's case race calm time to give away some money if These breaks sell out by Monday nights Monday afternoon, and we sold it out Got to knock out these following breaks only the number block counted for the definitive The pristine the immaculate collegiate the immaculate first offline plus any fillers the break itself and any fillers And only the filler for that hit parade the blaster box and the Chronicles draft and the NT Team random only the team random and associated fillers counted and take all those names Randomize everybody top three win money Spot two and three can get two hundred fifty dollars a break credit grand prize thousand dollars a break credit We've been keeping track of everybody here. There's the definitive the pristine the collegiate etc. Etc. There's chronic draft. There's the blaster box for a hit parade There's the NT team random filler one of them the immaculate first off the line filler The pristine break the number block for definitive The other the second filler for immaculate first off the line Then we did the break itself the breaks included There is the other team random filler for NT basketball then the team random itself and then we just knocked out that collegiate recently So that's everybody so a total of 285 names. Let's gather everybody up Let's copy all those names new dice new list. There's everybody's names again Let's roll and randomize it six and a two eight times Eight times top three after eight fingers crossed. Good luck one two three four five six We had 285 is correct, right? Yeah, 285 just making sure I got that right two more times There's 285 right there seven and eighth and final time good luck So a lot of sad faces here, but I appreciate you getting into the action. Hopefully we got you some Some breaks some some hits from the breaks that you were in But it can only be the top three with the money the worst spot spot is coming up spot for oh Raymond just on the outside of break credit, but I appreciate you getting in Thanks for trying Will Happy times for you sad times for a lot of people, but happy times for will 250 bucks break credit going your way Niko's happy 250 bucks break credit going your way and the grand prize Jeff Hen congrats to Jeff $1,000 of break credit going your way And we'll email that to you as soon as I finish this video check your spam folders if you don't see it Congrats again, so Jeff thousand bucks of break credit to jazby's case rakes comm Niko and will 250 of break credit Put those to use every spot that you buy for those national promo breaks is an entry for another promo So you can turn this promo parlay that into another big promo. That'd be pretty nice all the details jazby's case rakes calm Thanks everyone for watching. I'll see you next time for the next one. Bye. Bye You


Remember a hallmark card when you carry enough to send the very best Night from Hollywood the makers of hallmark reading cards bring you Meredith Wilson on the hallmark Playhouse in his own story And there I stood with my flick alone Each week hallmark will bring you Hollywood's greatest stars in outstanding stories chosen by one of the world's best known authors They distinguish novelist mr. James Hilton Good evening ladies and gentlemen, this is James Hilton Tonight on our hallmark Playhouse we present as our star and author and our story is taken from his book Now his name is Meredith Wilson better known perhaps as a composer songwriter a ranger Instrumentalist conductor actor lyricist raconteur man about town and he has also I understand invented talking people talking people However in his spare time Meredith Wilson has managed to write a book a book that I myself found curiously fascinating Contrary to what you might expect it doesn't deal wholly with music But it's really the story of Meredith Wilson himself and in writing it He has given us a fragment of the great story of America a story in which sincerity ambition and merit can triumph over every Obstacle now this book is called and there I stood with my piccolo Meredith there must be a reason for that Well, Jimmy an old Moravian flute player once told me a story that went like this a Very important King hired a whole orchestra to play for him one night during his supper just because he felt lonesome This orchestra played great and the King was so delighted that before going to bed He said a boy's you're playing gave me the whips and jingles and just for that You can all go into my counting house and fill your instruments with gold pieces And there I stood with my piccolo Isn't that interesting and Before we begin our story Frank us. I know you have something interesting to say about hallmark There are hallmark cards for every memorable occasion on your calendar for birthdays anniversaries holidays Yes for every occasion that calls for remembrance for a friendly greeting a word of good cheer an expression of sympathy There is a hallmark card that says just what you want to say the way you want to say it And that identifying hallmark on the back that says you cared enough to send the very best Now hallmark Playhouse Presenting Meredith Wilson's and there I stood with my piccolo starring Meredith Wilson longer than anything else seems to me The older I get The clearer I can hear the sounds that were the dimensions of the world during my early days back in Mason City, Iowa Sounds like mama scraping the toast that all was burned Papa's derby hitting the Newell post in the front hall almost a dead heat with the six o'clock whistle The smooth roller skate sound in front of Glanville's house where it was new cement and Rough roller skate sound in front of our house where the cement was old Sunday sounds began with mama Playing the church in the Wildwood on the black upright piano in the parlor But the sound I remember best was the first sound of the flute my cousin Walter Who was the postman on our street brought me from the mail order house in Chicago? Pucker up your slip son and try it again It's just a small flute and you must learn the flute first now I'll show you how hold on since when are you a flute teacher mama one side, please Who's going to teach you? Maybe you mama give me that flute No, when I make up my mind to do something I do it be still Meredith I'll blow this that redded skinny sidewinder if it's the last thing I ever do yes, Meredith When I began my freshman year in Mason City High School, I started playing first flute in the school band. I Was dreaming almost out loud at the first rehearsal Meredith Wilson first flute for John Philip Suzer Suzer's band and Then Marion McGuire from behind her big tuba nudged me and I came back to earth Playing with the band. It's almost too much to bear aren't you trembling aren't you dog? Oh, no, Marion You see I'm practically a professional. I'm gonna play with Suzer's band Why you're practically a genius Child projedy. Oh, I wouldn't say that I'm past 14, you know That's true Meredith you have music in your soul and you're so wise for your years musically Why is it that I'm always the beat behind the orchestra? It seems I never catch up with the rest of the instruments Well, I'd suggest that when mr. Gorman says begin just start one note before he says begin But how will I know when he's gonna say it again? Well Boys and girls Ready Begin but my britches were getting too big for Mesa City. So I decided to expand New York was just about the right size And as quick as you could doubt an eye or maybe just a might slower cross a tee I was at the railroad depot waiting for the train to New York Of course mom and papa were there, but I didn't expect the whole band I'd like the idea of you're going out on your own. Don't say that Papa. I don't I'll miss your boy. Oh mama. Don't worry. I'll write to you every day Meredith I want to tell you a little something about America and that includes New York It's a land of challenges and country of pioneers whether you be a musician or a homesteader What I'm trying to say is folks warm heartedly applaud any man who breaks new ground or Attains new heights whether he be a rocker fellow or just a boy like yourself But you've got to work hard for it. It's there to be had You know son Sort of got to be a pioneer Thanks Papa.  Oh mama There's a lot of big-city people on the train and well, how would it look? Don't think I'm a hay seat. I Don't know about that son Maybe it'll look like you came from Mason City, Iowa, and that's nothing to be ashamed of After two weeks in New York I finally found my way to the musicians Union over on 86th Street where I hung around waiting for a job That didn't seem to come My funds were on the shrinking side and I was a very frightened boy. I Couldn't find any Iowans any place The pic oh you mean the piccolo. Yes, sir, and I play the flute too. Ah, that's a very good Then maybe you'll be my substitute tonight at the winter guard if I can't find a nobody else you wait to hear maybe a comeback Suspitude at the winter. Oh Substitute at the Winter Garden Al Jolson's Theater. What's the excitement wastes wastes?  Well, uh, excuse me, but I have to make a telephone call to my family in Mason City I may be a Suspitude at the winter guard save your money fellow. You'll only be embarrassed later Winter garden you're talking about is over a delicatessen on the east side.  I double a piccolo.  I'm a violinist You never heard of me, but someday you will you'll hear about Sammy Gardner My name's Meredith Meredith Wilson wastes fits you better. You've been working much I I don't have time to accept many jobs. You see I'm composing a violin concerto I'm gonna play it to guest artists with the New York Philharmonic Orchestra in Carnegie Hall. Gee that's Wonderful, I'd like to be there if you'll tell me the date I'll get a ticket laughing at me. Aren't you like everybody else? No. No, I meant what I said Wish I could leave you See, I know I'm not a hypheter of Brahms, but I'm gonna keep on studying scales chords How many theory counterpoint until Until someday I'll get my chance to play with a Philharmonic and I'll bet on you Sammy. I'll bet my last nickel You're what my father calls a pioneer Thanks, how could I arrange to make you head of the Philharmonic? Tell me what are your plans? What do you want to do? Well, I've composed little things ever since I was a kid and I'd like to conduct but right now more than anything else I'd like a job playing flute with a man that I've dreamed about all my life. Oh, who's that? Oh, I'm a little embarrassed to tell you, but you see out in Iowa. We think he's great John Philip Suzer only in Iowa. You think he's great. My friend better multiply Iowa by the whole world Suzer is great. Yes, mr. Enrico That's too bad. I'm a chemis area. No luck. I don't find anyone to play the flute about you Mr. Enrico, thanks. And don't forget the pickle or see because oh, hello, Sammy. Hi, Enrico What's the matter with you, Sammy? You get the skin here every time I see you when you eat the last, huh? Come on. I buy you dinner. So long wasp waste. Say hello to Suzer for me, will you? Suzer? Okay. He's my saucepatoot Mr. Enrico, would you advance me a nickel I want to make a bet on a man About six months later the world was my apple Just imagine how I felt the morning I went down to brooks brothers to get measured for my suzer uniform I drew for three seasons for mr. Suzer from new york to san francisco And from ottawa to havana and every time I walked down to the footlights to play that famous piccolo part and the stars are strived forever I got the thrill of a lifetime Tomorrow's kids won't ever have the chance to hear suzer's band But all good things must come to an end Thank you, mr. Suzer. What can I do for you? Well, mr. Suzer I know how you a great deal of loyalty sir and gratitude now if it's a raise you're looking for you're using the wrong approach Be brave come up to me and say mr. Suzer.  Suzer. You've always been more than fair with me. It's just that well I want to compose and I want to conduct I have an opportunity to go to seattle where I'll get the chance I've never stood in the way of a friend especially when he felt he could better himself Good luck young fellow and remember there'll always be a job here if you ever cared return You've been my ideal for a long long time and I guess you always will be Thanks, mr. Suzer. Thanks for everything. Hey, mr. Wilson A little suggestion Keep your instruments handy. You know just in case Oh, no, sir. I'm changing my flute and piccolo for a baton I can't honestly say that I took seattle by storm But I can say seattle took me by storm I was set to conduct a series of symphonies in an outdoor bowl Well The weatherman double-crossed me and I laid a very large egg in the shadow of mountaineer I returned to new york kind of shortened the pocket Unwrapped my flute and my piccolo and accepted the job playing as a Suspitude and the band in central park The weather was beautiful and I decided to walk to the concert Well, mr. Wilson, how's the young american conductor mr. Suzer? Just fine mr. Suzer and how was your debut in seattle? You see it was wonderful. You know they have the most wonderful apples there And the the campus of the college. You just can't beat it. What are you doing in new york? Well As a matter of fact, mr. Suzer, I'm Giving a giving a concert there in central park. I I'm sorry. I'm such a hurry. I'm on my way there now Well, good luck to you mr. Wilson And gentlemen, hip suzer's unforgettable stars and stripes forever I walked down to the footlights to play that famous piccolo solo I looked out into the audience and there in the front row Was the great mr. Suzer His eyes caught mine He smiled gently And there I stood with my piccolo In a moment james hilton will return to present the second act of and there I stood with my piccolo starring meredith wilson In fleet prison london more than three centuries ago A man spent long hours in his cell writing letters that he never intended to mail But the letters were destined to be read by the whole world For the prisoner was james howl the renowned english scholar and these letters have become a part of our literary heritage Across the centuries comes this thought of his Words are the soul's ambassadors How true that is words are ambassadors your means of communicating to others the things you feel in your heart And a great many people must share this belief because they choose hallmark cards to represent them to their friends There is a hallmark card that always will truly express your own feelings Whether you want to send the message of sympathy Congratulations on an anniversary or a friendly holiday greeting There is a hallmark card that says just what you want to say the way you want to say it And when you select your card look for the hallmark on the back That tells your friends you cared enough to send the very best And now we present act two of meredith wilson's and there i stood with my piccolo starting meredith wilson Unproductive years passed and i guess i had written about a hundred songs that were turned down by every publisher in new york Then finally i hit the lucky trail No, i didn't sell a song But i did get a job with that obstinance stubborn spoiled conceited pampered Superb instrument known as the philharmonic symphony society of new york A job as second flute and being conducted by the greatest of them all The maestro Arturo Toscanini And that wasn't all the luck i had I met a fella called aid meyer who was about my own age and what a friend I was practicing my flute one day when aid made his usual quiet entrance Go away. That's the way i played Bach form Bravo, that's the way i played Mendelssohn form gimbals macy's who cares i got something important at that important who cares And that's meredith wilson meredith go back to Bach Look, you've just sold a song song who cares Song song you sold a song my song Hallelujah.  I'm a published composer. Let's go out buy all the copies Let's give him a chance to print it for us Oh, uh something else. I uh, I got an appointment for you with Toscanini. Abe You're going to deliver your symphony to him in an hour To Toscanini? Abe you're out of your mind. Which symphony do you mean? How many symphonies have you written just one? That's the one I'm not going look who are you to give Toscanini a stand up. He wouldn't do that to you Meredith if you're going if I have to carry He was wonderful to me. Oh great, great. When's he going to conduct your symphony? Never I'm afraid Turned it down Well, i'm going to find out the reason. No, he didn't turn it down, Abe I never showed it to him. You didn't show it to him, but why not? It was a chance of a lifetime I just couldn't do it, Abe Meredith come on this time. I'll go with you hand me that manuscript. Please, Abe not now Someday maybe someday. I won't be afraid to show to him Mr. Halsey, I'm Meredith Wilson. You published a song of mine, you know How could I forget you? Well, here I am. I was passing by and I thought I'd drop in say hello and pick up my royalty check at the same time I hope you brought a basket with you. Yes, sir. It so happens. I have a statement and your check on my desk I'll bet you sold plenty copies. I know that mason city, Iowa That's my hometown at least 75 copies were sold rara for mason city Here's a rundown. Sales recorded for the last six months in the united states, england, europe, south america and points north east south and west Gosh, I must be rich. You certainly are.  I'll say I did. Your song sold 88 copies And I neglected to mention that includes cuba, mexico, labrador and hawaii Now take your check and get out and if I ever get my hands on abe meyer Didn't she even like the waltz? I didn't like the waltz or the eight other tunes. I'm sorry, mr. Wilson. I'm busy But I can rewrite the second movement of my symphony young man. I don't care what to do with it as long as you don't bring it back here But sir, you promised that this year I could be the first flute Wilson if you don't pay more attention You'll be lucky if you have a contract next year to play second flute I guess I was a total bust My songs were a flop my symphony Nobody wanted to play it As for my flute playing I was on probation I started to go into rehearsal that day at the philharmonic with my mind made up to resign after this performance Maybe I wasn't cut out to be a musician There were plenty of other things a fella could do Gentlemen gentlemen I should like to present our guest artist for this week. Mr. Samuel Gardner The rehearsal will commence in three minutes. Sammy Sammy all over was wasted. It's been a long time over five years. Sammy you did it You did what you said you do Listen How could I miss when a guy bet his last nickel on me? Yasha hyphens was playing better fiddle and anybody in the world before he was old enough to blow his own nose You couldn't have held back that flood of genius anymore than you could have plugged up the cloud burst of melody that poured out of bronze Those two gents were gods. All right. There's no question about it Sammy Gardner on the other hand was not from olympus at all He was not even from olympus junction But he rose to heights that night because he was determined enough. He lived for one goal And when Sammy Gardner human being walked out onto the stage of Carnegie Hall The only strings to that show were on his fiddle Nobody helped him to that triumphant himself And to me that night Sammy was greater than hyphens and Brahms put together And if Sammy Gardner could do it Then there was no reason why Meredith Wilson human being mason city, Iowa couldn't do it too I was going to compose. I was going to conduct. I was going west to hollywood There was something called talking pictures out there and radio was booming. Maybe they could use a fella like me Like papa once said You've got to be a pioneer In just a moment james hilton and meredith wilson will return Right now I have a reminder as if you needed any that next thursday is the day for the wearing of the green St. Patrick's day Now there's a day for laughter and wet and shamrocks and a bright green ribbon in your buttonhole And you know, it doesn't make much difference whether you or your friends are irish They'll like hearing from you on this friendliest of days and you can wish them good luck in the best old irish tradition Hallmark cards make that mighty easy to do because there's a st. Patrick's day card for everyone for the rillies O'briens o'mallies and rions and all of your friends from erin There are humorous cards written to bring a new twinkle to laughing irish eyes For someone especially dear you will find a sentiment as lovely as the lakes of kilarney And for a friend who may be just green with the envy of the irish There's a card to make him glad he can share in the festivities of the day So don't forget next thursday first thing tomorrow plan to see the special st. Patrick's day cards at the friendly store Where you buy your hallmark cards Here again is james hilton Meredith, this was an unusual occasion in the playhouse You were the author of the story. We dramatized the central character the actor And uh, tell me why didn't you conduct the orchestra too? Well, I like to listen to lin mary's music the truth is jimmy. I hid his baton I was a little afraid he might try it But seriously meredith is one of the most talented musicians i've ever known And as you've been able to see tonight his talent doesn't stop there Well now lin that sounds pretty impressive Truth is i've been doing what I like to do trying to do it. Well, sure But I got the chance to do it because people were nice They helped gave me pat on the back and said go ahead kid. We're behind you They were thoughtful and kind and sympathetic They practiced all the things those fine hallmark cards of yours encourage understanding thoughtfulness friendliness It's pretty easy to make people happy by just remembering to say something nice to them once in a while Well, I've certainly had fun reliving my life here tonight and thanks for listening and thank you meredith Wilson for a delightful evening Now I'd like to tell you what's going on here next thursday when our star will be Barry Fitzgerald in an irish-american story appropriate to the feast of st. Patrick Edward McSawley's our own kind And in following weeks, we will bring you such stars as richard conty and margaret o bryan And stories by such outstanding authors as Irving stone and betty smith Our hallmark playhouses every thursday our director producer is d engelbach And our music is arranged and conducted by lin marie and our story tonight was adapted by jack rubin Until next thursday then this is james helton saying good night Cards that are so lonely in stores that have been carefully selected to give you expert and friendly service Remember hallmark cards when you carry enough to send the very best This is frank goss saying good night to you all and inviting you next thursday and every thursday To tune in one half hour earlier and listen to the adventures of kc crime photographer followed by the hallmark playhouse This is tv s a columbia broadcasting system


M-zines have emerged as potential antimicrobial materials. Here, the authors report on the creation of a stocky junction to increase the charge separation between M-zines and semiconductor to increase photodynamic creation of reactive oxygen species under near-infrared irradiation for antibacterial purposes. This article was authored by Zhen Fang Li, Zhao Yan Li, Xiao Mei Liu, and others.


The federal government has reassured Nigerians of its unweathering commitment and readiness to provide the needed resources to bring to an end to terrorism, banditry and other forms of insecurity in the country. The Minister of Police Affairs, Mohammed Lingyadi, while speaking at the commissioning ceremony of the West Africa Police Information System WAPES in Abuja, says the Center in Nigeria will help promote interagency's collaboration towards intelligence sharing that will provide the security architecture of the country and the West Africa region. He says progress achieved in the implementation of the WAPES agreement signed by the federal government in 2019 will also help build the capacity of national law enforcement agencies. With outeducated police force that is well equipped, trained, motivated and technology driven, whatever facility we put in place to assist in fighting crime will not facilitate the desired results. I would therefore like to reassure Nigerians in that particular officers and men of Nigerian police that President Mohammed Bahari is fully committed to the fight against all criminalities and stables of peace in the country. Government is therefore determined to provide the needed facilities for police to assist them in the fight against all the crimes done in the country. The facilities and technical expertise provided will remain a source of breakthrough for Nigeria police in tracking major crimes during the West African subregion. The operation of WAPES program at this critical period when Nigeria and West African subregion are faced with critical security challenges will graciously enrich the Nigeria police force in our effort to combat organized and trans national crimes. As today's inauguration illustrates, we have the means, we have the people, a huge strong political commitment that Nigeria has already demonstrated to take the influence of the police. For the WAPES center to be fully effective, some work still needs doing. So we need an adoption, as was mentioned by predecessors as well, of the law on data protection applicable to the WAPES system. We also need to ensure that staff continuity exists and the request of Nigerian staff that is trained for the use of WAPES should remain in place for at least three years. We also would like to see making the WAPES system mandatory for rapid national ownership. I'd like to draw your excellency's attention to the fact that the WAPES program is due to come to a land in June 2022. However, most of the activities could not be accomplished within the project period as a result of bureaucratic obstacles in the operationalization process at the national level and the absence of national budgets to support the project, which have also been compounded by the COVID-19 pandemic. On behalf of the Air Force Commission and our 15 member states, I'd like to appeal to the European Union, our funding partner, to kindly consider extending the implementation phase of the WAPES project beyond June 2022 for at least a period of 18 to 24 months in order to ensure its successful implementation in the remaining member states.


Hello and welcome, this is video three in a series tour, check out the previous ones, especially this one we're going to build on to the exact script we were running last time, last time we wrote a program called name, it asks for the user name, I can type in my name and it says hello whoever and then it's supposed to continue the message there, but we're using fgets which is capturing, when I hit enter it's capturing that new line character and adding it into the variable name. We want to get rid of that. And there's a number of ways to do that, what we're going to do is it's going to, we're going to basically look at the length of our string that we're capturing, our name variable, we're going to look at that and basically cut off the last character of it which would be the new line character. Depending on what variable you're working with, you may want to do it different way, but since we know that we're using fgets and the user is going to hit enter, it will cut that off, although I guess if you set it to 20 characters like we have it set and you type out 21 characters or anything above 20 it's going to cut off that last character. So keep that in mind, again there's lots of different ways to doing this. Let's go ahead, I'm using vim as my text editor, you can use whatever text editor you want. So here we are, we're including our standard input output header here, we've got our main function, we're setting our variable name, we're printing out to the screen asking for the user name, we're getting that user input and then we're printing that, but again with the problem of the new line character, so before we print it out we want to remove that, but to do that we're going to use a header, so we're going to pound include what's called string.h, string header, and that lets you do certain things with strings, and in here what we're going to do is we'll leave this print so we can see what's going on here, but we will copy that, whoops, copy that, and what I'm going to do here is now we're going to print out once with that line break, that new line break that it's capturing in fgets, but then we're also going to use this size underscore t, and we're going to create a variable called length, and we're going to say that's equal to string length of name, and so we're using here this function comes from this header, that's why we've had to include that, so we're basically saying get the length of this string, and we're putting into a variable called length, short for length, okay, hope you're with me so far, now we're going to do an if then statement, and actually let's not do that, let's see if we can skip that, I'm going to say name because technically our name variable is an array, which we haven't really talked about, but we're going to get more into, we're going to say minus minus the length equals backslash zero semicolon, so what we're doing here is we're replacing our name variable with name variable with the same thing without that last character, so do that, we're going to say compile gcc.name-o for output name, no errors, we're going to say name, and now I'm going to say Chris, so it should do, it should print the line once with that line break, and then should remove that line break and print that message again, there we go, so you can see that we have here hello Chris, and then that line break from what we're capturing from when the user hits enter, it's saying comma how are you, then we're removing that new line character, and we're saying hello Chris how are you, originally I was going to check the length of the variable name, and if it was empty, basically skip over the length, and we don't need to do that, let's see if it causes an error, no it doesn't cause an error if I just hit enter, it just removes that and now the variable is empty, so again let's look at that, again we're doing fgets, which is saying get from the standard input, put it into a variable called name that is the size of name, which is a maximum of 20 characters, then we're printing out the message with that, and then we're saying here get the length, we're creating a variable called length using a string function, string length function from the string header, and we're saying look at the name, how long is name, that's what we're putting in length here, and then we're saying minus minus length, so basically that's saying okay, look at the length of it, if it's 10 characters, we're going to subtract one for it's going to be 9, so it's going to be cutting off that last one, it's basically what we're doing, we're saying take that last character and just bleed it, and then we're going to print out here that same message, but this time we don't have that extra line break, so I hope that made sense, again gitlab.com forward slash middle x 1000, forward slash my bin, capital M, capital B, there you can look through the project, there's a C folder that brings you into a folder, so this is the C folder here, this is the tutorial folder, and then the code that we're looking at here, at least very similar code, is written through here, you can look through our examples here. I do thank you for watching, and this is the one we just looked at here with the if statement, I almost did, thank you for watching, and as always I hope that you have a great day.


The teams have just completed four stages in and around 2J this morning. We're just off the main street in the service park here. All the service crews waiting for their crews to arrive, work on the cars for a 25 minute service. Also a perfect chance for us to catch up and see the news of the morning. One thing we are hearing though is that Brett Wilkinson who took over the lead with Peak Majors Dramas is out.  Brett Wilkinson that is an empty parking bay mate and unfortunately he's got your name on it. Yeah, unfortunately not the way we want to go out. I think the remainders of our engine is in the bottom of the sump but I can't help mechanical dramas. It's motorsport. At least we went out on a high. We still had a little bit of a lead there. It was looking good but nothing we can do. Adrian in the front bump and not quite matching the rest of the paint job but back out there was just fantastic mate. Yeah, it's good to be going fast again and I think we're getting back up to speed as we should be. Unfortunately with your incident it did sort of cost you the lead but you're now able to run through these stages great experience and really get into grips with this car. Yeah, well the car we raced on the circuit and everything so it has a bunch of different roles and because of that I get to drive it fairly regularly so mistakes come with it. You get used to it. Mate, days like these, these cars, they're fabulous. You've got three of them lined up in your team. They are absolutely beauties aren't they? Yeah, we've had a pretty good run so far this year with the two Mustangs, the sprint had a bit of a problem with the fuel pump yesterday but back I'm going and so far mine's been sweet as so I'm happy. Great social media work for me. I didn't know it was your birthday mate. Happy birthday. Thanks very much. Third year in a row actually it started off my first target on the Thursday. Yeah, last year was obviously on the Friday for my birthday and yeah today's my birthday so what a better way to spend it you know. Beautiful sunshine out here in 2J hitting the hills at speed. Yeah, it should be a good day.  Yeah, so we don't care what we do now, we just want to chase him to the end so it's going to be great. This is one of the great things about Tiger, we see you are chatting to one of Australian racing legends and you're in the same event competing against him isn't it? It's unbelievable, I mean I never thought that this would actually you know I could come into an event like this and say well we're chasing Jim Richards now and he was chasing us this morning. You know, when I tell people that they're just going to blow their minds. Jim, you enjoy that it's a camaraderie of rallying that you really do enjoy don't you? Certainly do, yeah. I mean in circuit racing you sort of just tend to keep to yourself and your own little team but here everyone's mixed up together like we're kind of the service and the chair's lined up everyone's sitting there chatting but walking past talking, that's great.


So to complete the topic of writing the equation of a line, let's consider what we really need. To write the equation of a line, we need two points, which is what we might expect from geometry, because two points define a unique straight line. But, actually, the first thing that we do when we have those two points is to find the slope of the line, and so what we really need to write the equation of a line is one point and the slope. And as soon as we have that, we can write the equation of the line in point-slope form. And it's worth remembering that the point-slope form is the easiest way to write the equation of a line. So if I want to find the equation of the line through a given point with a given slope, we can immediately write down the equation in point-slope form. And if we're bored and need something else to do, if we have too much time on our hand, we can write this in slope-intercept form by doing a little bit of algebra. But why bother? Since we can write the equation of a line given two points or a point in the slope, you'll always be given two points or a point in the slope. Ha! The universe isn't that kind, and neither am I. All we know what the point is. We just need the slope, but we don't have it. What we do know is the line is supposed to be parallel to another line, and that tells us something useful because we know something about the slopes of parallel lines. Parallel lines have the same slope. So all we have to do is figure out what the slope of this line is. So the thing to notice is that the equation of this line is given to you in slope-intercept form. And as the saying goes, if there's a gift course, use the mouse. Or something like that. Since the given equation is in slope-intercept form, we can read off the slope. The line has slope two-thirds. And so this means that we want a line with slope two-thirds that goes to the point one-four. So its equation will be... And since the problem doesn't specifically ask us to write the equation in slope-intercept form, we'll put off rewriting in that form until we have to.  The problem is only one of them is actually on our line. The other two tell us something about the slope, but not about the slope of the line that we're trying to write the equation for. But we do know that we want the line to be perpendicular to another line. So let's bring up what we know about the slopes of perpendicular lines. And that means we should find the slope of the line through the points one-five and three negative one. So we'll calculate that. The line perpendicular will have a slope that is the negative reciprocal. So that perpendicular slope will be... So I know the line will have slope one-third and go through the point three-five. So its equation will be... And again, we can leave it in this form until we have to do something with it.


was a moment after the game, Shams LeBron's rushing to watch the end of of Bronies game. Did we miss something? What was it? A great ending? Yeah.  I think people around the league, when I talk to NBA people, they know defensively he's a lot more further along than offensively. So I'm sure LeBron is wanted to get back into the locker room.  And Kevin Durant was in the stands. And when I talk to people on the league, he's on the draft boards of multiple teams.  What if he gets drafted somewhere not in LA? LeBron James does have a player option this summer. So I'm sure LeBron James wanted to get to the locker room as soon as he possibly could. You know what I want to see happen? LeBron said he would never play for the Orlando Magic under any circumstances. Bronie gets drafted to the Orlando Magic. Do we have a change of heart? I would love to see how this play out.


Welcome back. So, in the last lecture we had discussed the operation of a multistage rockets is performance and we derived an expression for the velocity increment for a multistage rocket. What we have shown is that the overall increment of the velocity of a multistage rocket is the algebraic sum of the increment attained by individual stages, where subscript i represents the stage and n is the total number of stages. And since we know that for a given stage the velocity increment is function of equivalent velocity and the mass ratio given like this. Therefore, the total velocity increment can be written like this and now the equivalent velocity we have shown again and again is the function of specific impulse of that stage. So, therefore, this is equal to i 1 to n i s p i g e l n r i, where i s p i represents the specific impulse of individual stages. We have shown this last time apart from that we had shown some relationships which we said will be useful in optimizing the performance. So, before we go to optimization let us recap what we had discussed and list the relationships that we had obtained. So, one such relationship was relating r i to the payload factor lambda i and the structural coefficient epsilon i for different stages. We had shown this before where lambda i for a multistage rocket is the payload for ith stage which is equal to the initial mass for the i plus 1th stage divided by all the mass of the i th stage except the payload. So, it is given like this. So, this is the payload factor for i th stage. Similarly, we had looked at the structural coefficient for the i th stage which is defined as m s i divided by m naught i minus m naught i plus 1. So, this is the structural mass of the i th stage, the initial mass of the i th stage minus the payload for the i th stage. So, this is the structural coefficient. We had also defined the payload mass fraction for i th stage as m l i divided by m naught i, where m l i is the payload mass for the i th stage and m naught i is the total mass for the initial mass for the i th stage. So, once again since this is the initial mass for the i plus 1th stage, we can write this as m naught i plus 1 by m naught i. So, we had defined these parameters and we had proved that r i is equal to 1 upon l i 1 minus epsilon i plus epsilon i. So, these are the things that we had discussed in the last class. Now, let us continue from here. What we want to do today is optimization of multi stage rocket. Today's topic is multi stage optimization. Now, what is our goal when we are designing a rocket? The goal is to get to the most economical design, which attains a given mission. So, first of all to attain a given mission is the most important thing. We want to attain it in the most economical way. So, this is most economical design. We have gone to get the most economical design to attain a given mission. So, this is our mission objective or design objective. So, when we are doing optimization, these are the things that we have to keep in mind. So, the given mission becomes our constraint and the economical design is our goal. So, therefore, what is the overall goal for the design effort? First of all again for a given mission. Now, what is a given mission? Important to know what is the given mission? What is the program director has given a designer? The given mission is to put a given payload into a given orbit. Now, that payload when it is in a particular orbit, in order to remain in that orbit, it must be delivered with the given velocity only then it will take that orbit and remain there. So, therefore, the given mission as far as the designers point of view is considered can be considered to be a given velocity increment delta u and the given payload ml. So, this is my given mission is overall delta u and overall ml, the velocity increment and the payload. So, this is the given mission. The overall goal is that what should be the relative sizes of these stages in order to minimize the initial mass. Let me explain what I mean by this. This is the design objective. We have to attain this mission. We have to get a certain delta u and certain payload we have to deliver, but we want to do it in such a manner that our initial mass is minimum. If we have to carry the initial mass, the lowest initial mass, therefore, if I look at the mass ratio, overall mass ratio or this factor r, this factor r is going to be higher. So, therefore, we get higher delta v or if I reduce this, it is more economical operation. So, therefore, if I have to if I can reduce the initial mass, we can now reduction in initial mass keeping the payload constant means either we reduce the structural mass or the propellant mass. If you are reducing the structural mass, we have to carry less. If you are reducing the propellant mass, we have to carry less propellant at the same time, we are saving on the propellant cost. So, both of them taken together essentially improves the rather economy of the operation. Now, how do we attain that without compromising on this? That is the crux of this optimization of design. We do not want to compromise on this, but we want to have the minimum initial mass. We can attain that by distributing this masses, relative sizes of different stages. We can distribute the structural mass and the propellant mass in such a way among different stages that the final overall mass of the rocket is minimum. So, that is the design of objective. Equivalently, we can restate this that this is equivalent to essentially finding L i's. L i is our structural sorry payload mass fraction. So, it is equivalent to finding the L i's such that delta u is maximum for a given overall L. So, this statement here that we want to minimize the initial mass is actually equivalent to finding the payload mass fraction. For different stages, the optimum payload mass fraction for different stages such that the velocity increment is maximum for the given overall payload ratio. So, essentially here what we are saying is that we keep this constant and M L is constant. We can reduce M naught so that we get the best possible performance. Here what we are saying that this is equivalent to saying that we have the given M L, we have the given initial mass M naught. What will be the distribution that will give us the maximum delta u? Now, I am claiming that these two are equivalent statement. Let us now see whether it is truly correct or not are these two equivalent statement. For that what I am going to do is I will take an example. So, to show this equivalent of statement let me consider a two stage rocket. I am considering a two stage rocket. Now, for this rocket since it is a two stage rocket the overall payload mass fraction is given as the product of the payload mass fraction for the first and second stage. This we have proved in the last lecture. Now, for this rocket let us say what we do is let us say for a given value of L 1 what we do is we consider a value of L different values of L. So, let us say we consider L equal to C 1 or L equal to C 2 L equal to C 3 etcetera. So, let us say for a given value of L for example, let us consider L equal to C 1 is a constant value of L. So, overall mass fraction is constant what we do is we vary L 1 and then estimate the corresponding delta u and plot it. So, we see that the variation will look something like this. This is for L equal to C 1. Let us now increase L say C 1 is less than C 2 is less than C 3. So, now we increase L and again repeat the same thing that is we vary L 1 and estimate L 2 for this given L and plot the variation in delta u. So, this will be like this and like this. This is L equal to C 2 L equal to C 3. Now, this is our increasing L. Let us see now on this curve. What is happening? First of all let us look at the variation of for a given L 1. Let us say let us look at the variation of L. What we are seeing here is that as we are increasing L as we are increasing L delta u is decreasing. So, as L increases delta u decreases. This is seen for all the values of L. Now, how we are increasing L? How do we increase L? If you have to keep our the final payload mass M L to be given we do not want to change this. Then the only way we can increase L is by reducing M naught. So, here what we are seeing is that if we have to increase L, if we increase L delta u decreases or in other words if M naught is increased keeping M L constant delta u decreases coming to this then this statement. Here we want to keep this constant. We want to minimize the initial mass delta u M naught. Therefore, delta u will decrease. Now, the question is but we want to keep this same. How can we do that? By we are decreasing it at the same time we want to keep this same. Now, that is possible if we work along the horizontal line like this. If I work here let us along this horizontal line. At this point this is L equal to C 1. From here and to if I come to this line I have reduced L in increased L which means I have reduced M naught initial mass I have reduced, but I have kept the same delta u. So, if I come from here to here to let us say this point I have achieved this. See attaining that delta u was by goal M L was given to me which I have to keep constant. So, I have achieved this statement by moving like this. Now, this is one of the conditions of the first statement that we have looked at. Now, this value here then which we are getting here is now if I look at this point this point is optimum L 1 for given delta u. Now, if I look at this delta u value and compare it with L 1 what we see is that if let us say if we are on this curve this value of delta u L 1 is here, but as I go up there is one point here at which L 1 there is a value of L 1 for which delta u is maximum. If I increase L 1 beyond that delta u starts to drop similarly for this L up to this point if I increase L 1 delta u increases is reaches this maximum then delta u starts to drop same here. So, therefore, if I look at this point then for this value of delta u this is the optimum delta L 1. So, for any value of now instead of plotting like this if I take any value of delta u for that value of delta u there is a value of L 1 which will with the optimum for a given value of delta u and therefore, this is the value we are trying to find. What we are getting seeing here first of all that when we are increasing L when sorry when we are decreasing L delta u is increasing right when we are increasing L delta u is increasing sorry when we are decreasing L delta u is increasing and that increase is that because how do we increase L by reducing just a second from here to here L is decreasing. When we are decreasing L for this constant we are actually increasing M naught and then that increase essentially is because of increase in propellant mass. So, we are having more propellant here. So, if you are burning more propellant we get higher velocity right. So, therefore, this is obvious that increasing the propellant mass will give us higher velocity on the other hand decreasing L will reduce to reduction in will lead to reduction in propellant mass therefore, delta u will decrease. So, now from this curve we see that there is a point here this point this point here corresponds to both this statement right. First since we are moving horizontally here it satisfies the first statement if I look at this statement we are finding a value of L i this is this optimum L i L 1 right. Now, from this plot if I can get L 1 and my L is fixed here L is equal to C 2 therefore, L 2 is equal. So, L 1 is obtained from here L is equal to C 2 according to this curve. So, therefore, L 2 is equal to L by L 1 which is equal to C 2 by L 1. So, L 2 is already fixed once we have chosen this point right. So, therefore, what we see is that this point here also corresponds to a distribution of L i that is L 1 and L 2 such that delta u is maximum at this point for this given value of L. So, therefore, this discussion shows that both this statement are equivalent and that is what we want to use because minimizing initial mass essentially is something that is difficult to work with because then our expression for velocity increment it includes initial mass because that becomes more complex whereas, the expression for delta u is pretty straight forward right. So, if we say that our objective function is maximizing delta u it is a straight forward approach. So, therefore, we will look at this statement that we will find out different distribution for which delta u is maximum. So, this discussion is for a two stage rocket if we generalize it for n stage then we will have an n minus one dimensional plot this is a one dimensional plot if we increase it to n stages there will be n minus one dimensional plot similar plot can be obtained. Now, with this discussion where we have shown that the multi stage optimization essentially leads to fulfilling this requirement our objective function then is maximizing delta u and the constraints are either this or the overall because m l is known. So, having the overall payload fraction these are the constraints. So, we have now defined the problem let us look at the mathematical way to optimize this problem for that we will consider some specific cases. So, first and foremost let me consider a case where we have say n stages with certain conditions. So, first let us look at case once in case one what we will say is that let us say all the stages all n stages all have same equivalent velocity which essentially means that u equivalent i is equal to u equivalent and we know that equivalent velocity essentially is ISP which implies that ISP for all the stages are same specific impulse for all the stages are same. So, for this then we will have another condition that we have same structural coefficient for all the stages which essentially means that epsilon i is equal to epsilon all the stages have same structural coefficient. Then we want to get the distribution of L i or lambda i which will give us the maximum delta u. So, for this delta u i which is the velocity increment for ith stage is equal to u equivalent l n 1 plus lambda i upon lambda i plus epsilon right this is something that we have shown before. Now, if that is the case then for the n stages for the all the stages the velocity increment total velocity increment is delta u which is equal to sigma i equal to 1 to n u equivalent l n 1 plus lambda i upon lambda i plus epsilon right epsilon is epsilon i is constant therefore, we write it as epsilon only. Now, in this equation u equivalent is constant. So, we can take it out of the summation sign and then take it to the left hand side then we can write delta u by u equivalent is equal to sigma i equal to 1 to n l n 1 plus lambda i lambda i plus epsilon. So, in this expression the only dependence on the stage comes through lambda i right every other parameter is independent of the stage. This then is essentially a function of lambda i nothing else. So, we can write this then as sigma i equal to 1 to n a function of lambda i let me call this first of all let me call this as equation 1 let me call this equation 2.   Now, before we progress proceed further I would like to derive another expression relating l and lambda i why we want to do that because we have a constraint on l like we have discussed here the product of all l i is equal to l. So, we have a constraint at l. So, therefore let us first derive an expression relating l and lambda i because here our objective function is in terms of lambda i. So, let us first define get an expression relating l and lambda i for that let me first see what is lambda i lambda i lambda by definition is m l upon m naught minus m l that is how we have defined lambda.  So, m l will cancel off right.   You can see that the function numerator denominator for both of this will cancel off. Then what we will be left with is equal to m l upon m naught and that is equal to l the payload my fraction. Therefore, this shows that l is equal to lambda upon 1 plus lambda which is now applicable to any stage. Therefore, I can write that l i equal to lambda i upon 1 plus lambda i. So, this relationship is going to be useful when we try to maximize this delta u. So, now let me look at the expression for l overall l. We have proved the relationship between l and lambda i. Let us now look for l. l is our overall payload fraction. Now, this is something as far as our optimization is concerned is the given quantity. So, this is equal to m l upon m naught. This is given to us. We know that we have proved that l is equal to the product of the payload mass fraction for all individual i stages. Therefore, l is equal to pi i equal to 1 to n l i. Now, if I put this relationship into this equation then this is equal to pi i equal to 1 to m lambda i upon 1 plus lambda i. Now, this is now our constraint because we have said that this relationship is always valid for any multi stage rocket. Therefore, this must be satisfied at the same time we are saying that l is given to us. So, then this becomes a constraint. So, this relationship now what we are saying is that we want to maximize this delta u, but this maximization must be according to this rule. We cannot violate this at the same time we have to maximize delta u. So, how do we achieve that? What we do is we will form a different function.  What I will do is I will take logarithm of l l n l equal to now this is a product. So, logarithm of product is essentially sum of logarithm of individual variables. Therefore, l n l will be equal to sigma i equal to 1 to l l n lambda i plus 1 upon lambda i. So, now what we get here is l n l is equal to the sum of all of this function lambda i upon 1 plus lambda i. Let me say that we define another function g of lambda i which is nothing, but lambda i 1 plus lambda i. We are defining this as a function. Then this constraint that we have now can be written as l n l equal to sigma i equal to 1 to n. So, now what we are having here is our what we want to maximize is delta u which is nothing but sigma i equal to 1 to n f lambda i where f is a function of lambda i. Here this is our constraint that l n l equal to i equal to 1 to m g lambda i where g is again a function of only lambda i. So, now what we can do is we can define a new function which includes both of this. So, we will define this because essentially what we want to do is we are trying to maximize this. This is what we are trying to maximize with this constraint. So, we will define a new function let us call that l which is also a function of lambda i which includes both this maximization variable as well as the constraint. So, if I define a new variable here or the sorry a new function here we can write it as l lambda i. So, this is just an algebraic sum of f lambda i plus some fraction alpha times g lambda i. What we can see is that there is a linear relationship relating this to get a new function l. Now, this equation again let me call this as 3 and let me call this equation as equation 4. Here this parameter alpha is called Lagrange multiplier. This is an undetermined constant. This is an undetermined constant Lagrange's multiplier. Now, when we combine all this we get this equation as we see that is a function of only lambda i. There is a function l lambda i which is the sum of f lambda i plus alpha g lambda i. So, alpha is a variable or a parameter which will actually dictate what is going to be the maximum value for this rather the what will be the maximum combination will be dictated by alpha. So, we can maximize this equation. Once we maximize this we will find a relationship between alpha and lambda i. So, then for a given value of lambda i we get the alpha. So, that is how once we get the alpha we had the corresponding best possible combination of lambda i. That is what is the optimization all about. So, essentially now this becomes our objective function l lambda i which we want to maximize. So, for a maximum what we do is we will differential l with respect to lambda i. Now, as we can see that is a linear function this and this are adding together the linear operator.  So, in order to maximize then what we do is we differentiate this expression with respect to lambda i and then we equate it to 0 that gives us the maximum. So, now what we have is essentially d f d lambda i plus alpha d g d lambda i equal to 0 where our f is given by this and our g is given by this.   So, now we can differentiate this with respect to lambda i this will be equal to 1 upon 1 plus lambda i minus 1 upon epsilon plus lambda i. So, if I differentiate this is what I am going to get. So, now the first term here is taken care of let us look at the second term. The second term here is this g lambda i. Multiplied with an alpha. So, first of all what we do is let us get d g d lambda i.  So, g lambda i is equal to lambda i 1 plus lambda i sorry here one thing is missing l and z is equal to l n sign. I forgot to write the l n here there is an l n that is why we get this expansion. Sorry this thing is missing from this expression there will be a normal coming here in this expression. So, this will have an l n term. So, now here also we have l n d lambda i l n lambda i 1 plus lambda i. Now, if I do the if I differentiate this expression with respect to lambda i I will get this is equal to sorry d g d lambda i equal to d d lambda i of l n lambda i 1 plus lambda i. So, this is equal to then 1 upon lambda i minus 1 upon 1 plus lambda i. So, after differentiating we get this expression. Now, let us take this and this and put it back into this expression for maximization.  Let me call this equation 5. We got it by putting this and that expression back into this equation. Now, we have this expression here what we see is that is a function of essentially relationship between lambda i and alpha for constant value of epsilon. So, this can be reduced to then after some algebraic manipulation to alpha epsilon 1 minus alpha minus epsilon. Let me call this equation 6. So, the optimum value of alpha will be obtained for like this. So, now if lambda i is given we can get it like this. So, this expression then gives us the value of alpha or rather if alpha is known we get lambda i. If lambda i is known we get alpha and I will come to that how do we get this two different parameters little later. So, just to conclude what we discussed today is that this is our expression for the final velocity that we get which in terms of lambda i and epsilon is given like this. What we say is that this term here within the summation sign is a function of lambda i. We defined it as f lambda i equal to l n 1 plus lambda i upon epsilon plus lambda i. Therefore, if you maximize this we maximize delta u as well. Now, this is our objective function and then we had the condition that the product of l i is equal to l overall payload fraction. From there we got relationship relating g and lambda i. Then what we say is this is our constraint. So, the objective function and the constraint together multiplied by a Lagrange multiplier gives us a new objective function which we want to maximize. So, in order to maximize this we differentiate this expression with respect to lambda i. Well, lambda i is our variable differentiate this and set it equal to 0. Once we do that we get this expression which after simplifying gives us lambda i as a function of epsilon alpha and epsilon. Therefore, this is the optimum combination that we are looking for because now the objective function is optimized with the constraint. So, this gives us this is the method for optimization and here what we have considered is a specific case where equivalent velocity was constant for all the stages. That means, we have the same specific impulse for all the stages and the structural coefficient was considered to be same for all the stages. So, under this assumptions this is the optimization. So, let us stop this lecture right now. In the next lecture we will continue from here and we will discuss little more on the multi stage optimization. We will look at some other cases as well. Thank you.


Hey, Psych2Goers. Here we are with another brand new video. Let's begin. Does motivation feel like you're nemesis lately? Is your drive to achieve your goals and objectives weakening as time goes by? Believe it or not, this happens to everyone. You might experience this when feeling stuck and unable to move forward in life. You might still experience this even when you're steadily moving towards your goals. Motivation is affected by a huge number of factors, with each person's motivation depending on different ones. However, there are some common habits that can easily kill your motivation. Before we proceed, please remember this video is for information purposes only and should not be used for any self-diagnosis. With that said, here are six habits that are killing your motivation. Number one, you try to jump straight into your final goal while skipping the process. How often do you envision yourself already reaching your goals and succeeding? Do you skimp on necessary steps in an attempt to fast-track? Skipping through the process might make you even more frustrated because you still don't seem to be getting the desired results. And of course, not having a proper foundation for what you want to be is the perfect recipe for a failure. You might start feeling as if your goal is completely out of reach and start to lose faith in yourself. Covering the fundamentals sure helps prepare you for the journey ahead. When you have the ground covered, you're equipped with the knowledge of what to expect and when. Shaping a roadmap for the journey. Number two, you desire to be perfect. Are you someone who has always tried to do things perfectly? Why should I do it if it's not going to be perfect? Or why should I waste my time and effort on something I won't be satisfied with? Are these beginning to sound like the motto of your life?  Your pursuit of perfection can make you not want to do anything at all. Expecting the first attempt to be perfect and falling short can be demotivating. Starting with a rough draft and improving on it until it reaches a point where you are satisfied will surely move you closer to your goal. Number three, you compare yourself with others. How easily do you compare yourself with others when doing something? Does the grass seem greener on the other side?  You think about all the steps and effort that you have to make to reach your goals while others seem to have achieved it with lesser effort. This can foster feelings of discontent and resentment. So you end up focusing on these emotions and losing sight of what truly matters. Treating someone as your mentor because they've succeeded in reaching a goal that you would like to reach is very helpful as long as you don't lose track of yourself and your own ambitions. After all, all of your attention should be focused on building your own success. Number four, you get distracted and procrastinate. How often do you stop what you're doing to scroll through social media? In an era where distractions can be found literally anywhere you look, losing motivation and getting sidetracked has never been easier. You constantly feel like you get distracted and start procrastinating just when it matters the most. This may delay you to a point where moving forward seems impossible to you. Distractions are almost unavoidable, but a break is essential. So it's imperative to figure out when your break is more of a distraction. It will happen from time to time and even the best of schedules can fail. Sticking to a schedule that is less rigid and has breathing space allows you to remain refreshed and is a great way to keep the distraction cravings in check. Number five, you don't have a plan. You want to do something but you don't know where to start. Do you have a clear goal but have no idea how to reach it? Being there, done that, like all of us, right? Not having a plan to follow can be one of the main things killing your motivation. When all you know is the final result but not which step to take to get to it, it blurs your vision. But not having a plan does not mean forsaking the goal. Really. Alternatively, it helps to start with small achievable goals that you think will move you one step closer to your final goal. When you overcome these small hurdles that you set yourself, it will boost your confidence and motivation. And number six, you neglect your health. How often do you pull all nighters? How much priority do you put on your health? Not being in a proper health condition can easily kill your motivation. When your body does not have the energy necessary for you to do tasks, how can you then take steps towards your goals and objectives? This can be very demotivating because you feel like you have the right mindset and the right intentions but your body can't keep up.  Finding the right motivation is a highly relative process. It's normal to run low on it at times. What matters is that you don't let it run dry. These points mentioned aim to show the general direction to consider when you feel you're running low on motivation. These are intended to tick off the appropriate places you should look into. There is no magic spell that works for all. Rather, it's dependent upon how these can be customized to suit your own needs. Do you think we covered all the points? What are some ways you use to refill your motivation levels? Leave a comment down below about your experiences if you'd like. Please feel free to share any thoughts you have as well. If you found this video helpful, be sure to hit the like button and share it with those out there looking to refill their motivation. Don't forget to subscribe to Psych2Go and hit the notification bell for more new videos. And as always, thanks for watching.