What's going on, everyone? Sam here with late sports cards. We're up in 23 Bone Baseball Sapphire edition hobby, 10 box full case break, number 11, random team style. Here's a look again at your random results. As always, you can find those on the website under the results tab, as well as the link that's currently in chat. So good luck here, guys, let's do it. It's good Sean can't keep up, right? Who, Sean? Dude's better than a creative player. Yeah, I saw the video of it when I was in the break room before I came back for this break. And the caption was, Ellie De La Cruz steals second, and then third, and then home. Dude, that's so ridiculous. I did, I did, I did. All right, first pack here. Stopping a bot. Stopping a bot? From not just a bot. Nelson, Rada, Jake likes that one. Edward Hulian, nice one there and is your first auto for the twins. A lot of Edward Hulian in this, which is pretty cool. Take that for sure. Grats on that twins. And Averton Artega, Artega. Clioca Grego, there's a Brock Jones first, 17 of 60 on the green. Nice one there, and Daniel Diarte. Yeah, true. Foneo Cruz is healthy, that'd be sweet. Frayme De Leon. The purple, how you Lee? 25 of 25, nice one there for the Fills. It's not about how I Lee, it's about how you Lee. Nice one there, 25 of 25. I didn't miss any of this, I swear. It's Camino first, nice one there. Jake, Nelson, Rada. I told you. Andres Mesa, Lionel James, Anel Jenao. Secret, oh man. No, I'm not so sad you're leaving. That hurt. Orange, Ariel Almonte, 38 of 50, nice one there for the reds on the orange. I mean, play for it, I like that. Juan Alonso. Yes, dang it. Fine. Jerry with another spot, thanks Jerry. Select H2, that's down to I believe 13. No, 12 to go, now, 12 to go. Which guy's his link, I'll put it on the old Twitter. What's up, Dan? Mirrors, Jayce Young. Ooh, is that a red? That is a red. Matt Mervis, four of 10, Merv the swerve, going to the Cubs. Jeffrey H, congrats on that one, buddy. It's a pretty big one right there. We'll take that all day long, four of 10. It is Matt Mervis, Mervis, Mervis. Get that into a mag for you, congrats on that again. Jeffrey, thank you as always, my friend. Mervis action there. Joshua Baez, Mike Romero, nice one there for the red socks, 15 of 55 on the teal. Well, there are top like five prospects, I think, likes to turn me around. I'll never forget, with Mike Romero, there was a Spencer Jones first in there. He played with Blake, and there's user redemption in Bowman Draft, I think, or Bowman Chrome, one of the other. His auto, and I remember Blake texted me, he's like, sound your cards. And he's like, I sent him in already, don't worry. Vincent Peruzzo, Ryan Acunia, nine of 60 on the green, for the twins. Juan Chacón. Lazaro Montez, and a Matt Mervis base, solid pack there. Scome, Tony Blanco. Is Blake so I don't need? No, I don't think he would, he and I bought us in this, in that product. Daniel Montesino, 79 of 99, teal auto for the Padres. Nice one there. And speaking of, there it is, Blake. Lubea. Pull the red, actually, pull the red Blake. Yeah, I think that was pretty cool. I think we did like a divisional thing for this or something, the red Blake, which is pretty sweet. Brendan, with two spots, not gonna stand to 10 to go. 10 to go now on select H2, everybody. Get that filled up, then we've got select hobby, Dustin Crawford, there's a green Xavier Isaac, four of 60 for the race, probably for our junior. And then we've got select hobby, pick your team, two half cases of that, and then penini one. That's all we've got left on our schedule tonight, guys. So thanks again, appreciate that. Henry Davis, 27 of 55, nice one for the pirates. On the aqua, tomorrow, Brian Acuna. Purple, Tony Blanco, junior, three of 25, nice one for the pirates, Kenny K, on that one. Good stuff, Kenny. Got that, and a Henry Davis in one box, very nice, very nice. Auto Drew Jones, base auto for the Diamondbacks. Don Alas, congrats, buddy. Nice one there, we'll take it, we'll take it, we'll take it. Very, very solid case here, so far. Red Mervis, now we got the Drew Jones first auto. Very nice, whoa, Kenny, okay, baby, be calling me, Hercules, whoa, Kenny, it's like a producer tagline, whoa, Kenny. Never again. Whoa, Kenny, okay, baby, be calling me, Hercules. I hope you did it again. Okay. Chat, you won't stop. Nope, now it's stuck in my head, so. Is that a re-upage? That's the end of you. Gilbert Herrera, green, Edward Julian, the 60, nice one there for the twins. Another Edward Julian, Marco Luciano. Blame Vaughn on that one, Vaughn got me started on that, so, Vaughn's usually on your side, but now Vaughn blew it this time. Dang it, Vaughn, why? Purple Blake Lubie, three at 25, for the Red Sox, Paul M, nice one there on the Purple Blake. Gotta pull this rainbow now. T-backs in first at the All-Star Break, first time in 10 years, that is kind of nuts, Kim Collier as well, that is kind of wild to think about, especially in that division with how much it's been dominated by three teams. Well, really two teams, but the Padres as of the last few years.  Dude, what a case so far, good Lord. Four of five, Kim Collier, good God. On the Red Auto, Mom, get the camera. Box is right, good Lord, dude. What a just case in general, this is nuts. Orange of Yenir Fernandez, 14-50 for the Dodgers, nice one there, Dodgers. And a Sedan Rafael, only half way through the case, yeah, that's scary part, good Lord, man. Major League of Bull Durham. Angels in the outfield, there you go. Field of Dreams, Jorge Burgos to 60, 51-60 on the green, for the Guardian. Johnny's Guardians, Josue de Paula, no way, Josue. Kevin Verrata, that is a teal of Jose Rosa to 55, for the Metz, nice one there, Metz. On that, and Jay-Z on Auto, Jesus Baez, 96 of 99, for the Metz, on the first Auto, teal. Luis on Alecunha, Zack Neto, Alex Ramirez, Spencer Jones, Christian Hernandez, Seehearn. Orange, Marcus Lee Sang, 37-50, nice one there for the Phillies, what did Marcus Lee do? Ice-geed. He sang, nice to Orange, and Wanchacone for the Red Sox. Again guys, we're down to just 10 spots to go on Select H2, Random Team Style, 10 to go. Let's get that filled on up, how much a bot? It's like 6.50 a box I think, but this is a full case group break, Random Team Style, it was like two something a spot, I believe, 260, something like that, I think so, yeah. No, maybe less, maybe less, no, 240 a spot, yeah, it's not bad at all, that's really good. Purple, Peyton Graham, 10 of 25. What is that, third, fourth purple of the break? Fifth purple, nice one there for the Tigers. Everybody eating here, Chrithy and Becaro. Trying to pick a Bowman Auto, a first Bowman of Becaro up too.  Axel Sanchez, like 17 or 18 years old, something like that, he's already like a top 10 prospect in the system, he was the highest signed guy at a DSL in 22, and it was like 5 million to get him over, something like that was nuts. Green, Abel Bastidas, one of 60, nice one there for the Tigers, Spraley and Carnasio, and the National spent all their international signing on Becaro. Why not? Yeah, he's that good. Green, Elijah Green, a green, green, 23 of 50, nice one there for the Nationals. Irish Spring, green, green, green, nice one there, congrats Washington. Phillip R again on that one, Phillip just killing it right now. Frias, Jason Churio, that is 46 of 55 on the teal for the Guardians. Yes sir, Mercedes, who Jones first, Gavin Frost, and Jordan Lawler, couple of big Diamondbacks prospects in that box. Let's see how much time this we have on this, that's by awesome, all right, perfect. Don't worry, you're probably fine. I am, I'm fine. Matt Mervis. Looking for a comeback. What'd you say? Looking for a comeback. There's Manuel Belcher, 23 of 55.  He's definitely got some potential. Kumar Rocker, nice one there. For the Rangers on the Sapphire base on the Blake. Hey, what up Scorpio, how you doing buddy? Doing well man, doing well. Luis Lara Marco Luciano. Purple again is Jason Dominguez, eight of 25 for the Yankees.  Either Sean picking up a spot in select, Denny picking up a select spot, down to eight, under 10, into the single digits now. Into the single digits. Luis on Hella Kunya, another stud, another stud. He's gonna be good. Middle child of the Kunya brothers. What do you do this time? Great, what do you do this time? Let's see if he steals only him. Orange, Averson Artega. Nice color match 35 of 50 for the Giants. Crushed it on your top spinus case. Let's go Scorpio, that's what I like to hear man. Glad you did well on it. Another red is Miguel Blaze, four of 10. Nice one for the Red Sox. One of their top prospects, Kratz on that. There you go, Boston. You go into Paul M, there you go Paul. William and Lugo, you're really in Sedania.  Oscar Colas, 34 of 60, green for the White Sox. Like he was touching the plate as the ball was passing the catcher. Yeah, that's insanity. Krithian Vicarra, Krithian Vicarra. Krithian, Krithian. Drippin' some Rojas space. Green auto is Jacob Berry, 47 of 50. Or of, yeah, so 50, going to the Marlins. There you go, Miami. Nice one there, one of their top prospects, Phillip R. A Robert Taken 3 and select John Taken 1 in a soccer break later, Axel Sanchez. Rick Brown Jr, 34 of 50, downtown Eric Brown. Yeah, that's a really good case too. This is outside of that like broken Drew Jones case. This might be, oh, there is a broken Junior Caminero case too. This is one of the best I've ripped. A lot of color. Yeah, a lot of color, a lot of, A little number of color. Yeah, a lot of numbered autos too. Usually you get like two or three a case. We already have like six, which is nuts too. There's a green, Nelson Roda. Eight of 60 for the Inns. Who did that? Wait a second, what? Hold on, hold on, hold on, hold on. I don't know if somebody said something shocking or something bad. No, something really, really freaking cool. Hold on, this is actually sick. Hold on. Breaking news chat, maybe. Sam's being hard. Dude, that's sick. Ryan Clifford's in chat. He's in this product. He's on the Astros. Yeah, Ryan Clifford is in TikTok chat from the Astros. What up, Ryan? Dude, that's so cool. He just goes find me. Come on, we need a big Ryan Clifford now. And well, Beltray, Brian Acunha. Red Autos, maybe has Autos, I don't know. Dude, that's so sick. Jason Churio, Xavier Isaac. There are Jackson Holiday Base Auto. Nice one there for the Orioles. Grats on that Baltimore. There we go. That's so sick, dude. That's so cool. Nice Jackson Holiday. And Oscar Colas. I would look it up. Yeah, I would look it up. When do you get the chance? Over Sanchez, 54 or 55. Nice one there for the White Sox. And Yoan Jalaponte, the Astros game against the Rangers in a couple weeks. Pretty cool, René. Nice, man. Ariel Amante, Josue De Paula. We got a fucking, fair Tron. Kenny Gomez, Henry Ramos. Orange, Kennedy Corota, 30 of 50. Nice one there for the Stros. Very cool, congrats on that Houston. Nice little color match there. Kevin Parada, the double layer's Parada. Yeah, that's so cool. All right, bunch more spots coming in.  Thank you there, Robert taking the Falcons in our first select break as well. More select H2 spots coming in. Appreciate all of y'all, that is awesome. Do you have the rays in this, I'm assuming? Tron, I figured it was definitely because it's Sapphire, potentially. That was a regular Bowman, I'd probably say no. It's right on the reticle. Leandro Arias, base first auto for the Orioles. Yeah, I would say, frame de Leon. All right. Again, guys, last box here, see some big color. See Kat Purash or Ryan Clifford real quick. Junior Caminero, Deon Frias, 15 of 25. Nice one for the Guardians on the purple. There's a lot of purples in this, man. That's awesome. Here is Mesa, Trey Sweeney, Angelinao, Juana Lanzo, Max Muncie, Michael Arroyo, 51 of 55. Nice one for the Mariners. That's really cool on the teal. Nice old color match there for Seattle. Got a green of William Burgoyah, 48 of 60 going to Phils. Leather top prospects, he's stupidly young too. Nice one there, Christian Serda, Drew Gilbert, Michelle DeSone, and a, Deon Frias. Do a quick recap, this is green, then teal, then the orange, purple, then red, then autos. Then next, there we go. All right, quick recap of all of our color and our autos, greens to 60. William Burgoyah, Nelson Rada, Oscar Colas, Abel Bastidas, Jorge Burgos, Edward Julian, Xavier Isaac, Brian Acuna, Rock Jones. Now teals to 55, Michael Arroyo, Wilbur Sanchez, Manuel Beltre, Jason Cirio, Jorge Porosa, Henry Davis, Mikey Romero, the oranges to 50, Kennedy Corona, Eric Brown Jr., Averson Artega, Marcus Lee Sang, Yenir Fernandez, Ariel Almonte, purples to 25, Deon Frias, Jason Dominguez, Peyton Graham, Blake Lubier, Tony Blanco Jr., How You Leap, red to 10, Miguel Blase, autos now, we have Leandro Arias, Kumar Rocker, Edward Julian, Jesus Baez to 99, Daniel Montesino to 99, Elijah Green to 50, Jacob Barry to 50, and we had our Magged Cards, we had a Jackson Holiday, Sapphire Auto, we had a Drew Jones, Sapphire Auto, both base, we had a red Matt Mervis base, four of 10 for the Cubs, and then a red Kam Collier, four of five, auto for the Reds, a red, red. Gotta do it for the break, guys. Thanks again for the film. Coming up next is basketball. Yes, basketball.


Sentinel-2 satellites are the second constellation of the ESA Sentinel missions and carry on-board multispectral scanners. Mission is to provide high-resolution satellite data for land cover-slash-use monitoring, climate change and disaster monitoring, as well as complementing the other satellite missions such as Landsat. This article was authored by Darius Fyrri, Matamio Simwanda, Siraji Selkin, and others.


My name is Kendra Skeen. I'm the director of product for Georgia Interactive, where I oversee the State of Georgia's Enterprise Drupal Platform. Today, I wanted to tell you a little bit for you, Georgians, about how open source is benefiting all of you for the state level. So at Georgia Interactive, we're a small division within a larger state agency. And our primary focus is providing web services to state of Georgia agencies and elected officials. Now, you probably know that state agencies provide information services to Georgians. You may also know that most of them do it with limited resources, right? They can't do everything, you know, tax dollars, all that. You also know websites at this scale require a lot of resources. So on a traditional model, each agency is going to have their own web shop, or they'll hire out to manage all of these different pieces. We've got the hosting, usually it's on their own networks. They have to do the networks and security, maintenance and support, design development, the strategy, and the content for those websites. Now, for most of these agencies, the content is really the only place that they're the subject matter expert, right? That they are really focused. This becomes a huge duplication of effort when you consider that every state agency is doing something like this. And again, IT is not most of their areas of expertise. So the strategy and the, you know, actually thinking through how to iterate on that, it just doesn't get thought about at all. So usually when they design their site or develop their site, it's just set it and forget it for years other than updating that content. So that's where we come in. So at Georgia Gov Interactive, we are able to centralize the IT and the strategy, the experience part, all under one open source Drupal platform. So we handle this hosting and security and the code and the design development and the support and the training to those agencies and the strategy. And then each of our agencies is able to focus on the part where they're the subject matter experts on that content. So this really is able to help us out, here we go. And then again, we're able to focus on the strategy piece for that. So this really is model speeds innovation, right? We can in one place figure out what our agencies need next, how we can prioritize an enhancement roadmap and build things out and set that across all of these state agencies. So some of the more recent things that we've done a couple of years ago, we converted all of our themes to mobile friendly responsive layouts. Could do that once, could set it across all of these agencies. We recently completed an accessibility initiative to meet WCAG 2.0 level two A standards. Again, we could do that once for our code and design, set that across all those agencies. And then we've also prioritized performance and security. Now open source takes us a step further, right? We're really able to speed innovation because we don't have to be the experts either. We're able to tap into this amazing community of expertise where you all have had similar problems and shared those solutions. And so we're able to tap into that. That's gonna save taxpayer dollars that also speeds innovation. We're able to more quickly react to security concerns, innovations and just new technology needs. We're also really lucky being a state agency, we are not requiring to turn a profit. So our goals are to really help agencies realize cost savings rather than generating a lot of income. We can also focus on how to best serve our agencies and most importantly, all Georgia constituents. So for example, we could prioritize accessibility because it matters to our customer base so much. What that looks like right now is that we manage a platform with over 75 state agency websites and that number grows fairly regularly. We're adding a few more every year. And then we also provide training and support to the over 400 content managers that maintain the content across those sites. We also maintain Georgia.gov with the code and content for that where we're the online face of Georgia representing the state. So you don't have to know the inner workings of state government to find the services that you need. We're able to look at our analytics to find what constituents in need the most and provide information on those services. So in that way, we're able to really focus on serving the community of Georgia and that's using tools developed by the open source community. So you can see why we in Georgia really love open source. Thank you.


Hello and welcome to if ETD data falls in a general's repository. Does it make a fair sound. My name is Andrew McKenna Foster, I'm a product specialist at fig share, and happy to be presenting this poster at the US ETDA conference 2022. So we're looking at a zoomed out image of the poster. I'm going to zoom in and go through each section here. But as an introduction. We conducted this study because we were interested in how graduate students are sharing data and other research outputs related to ETDs. It's especially important that researchers in all disciplines understand how to share research outputs in a fair way, findable accessible interoperable and reusable publisher mandates and policies funder mandates and policies are expanding. We just saw that with the Office of Science and Technology policy memo that came out recently. And so graduate students who are just starting their careers can benefit from sharing research outputs associated with their thesis and dissertation. It's good practice. It is something that can be cited, and it proves it gives them credibility as they begin their careers. So we set out to assess metadata for objects that have been shared in relation to an electronic thesis or dissertation. And we were looking specifically at metadata projects in the fig share repository universe. Individual researchers can use fig share.com. They can have a free account and share outputs there. Publishers, government funding, government and funder agencies, institutions like universities can license fig share and have their own repositories. All of these repositories are searchable through a federated search interface and the API. So we collected records for data sets, figures and media, where the metadata contained the words thesis or dissertation. We collected 1000 records searching for each of those outputs, output types, and we ended up with 2,606 records. We cleaned them to match to make sure that they were part of an ETD as best we could tell. We assessed them for fairness and we were looking at things that the platform doesn't do automatically. So fig share will automatically provide a persistent identifier. It'll provide a license or it'll give you the option to apply a license. So standard metadata schema. So those are all checking boxes for fairness. What it doesn't do is it doesn't know what the research is about. And so it relies on the user to enter that information. So we were looking at findability. Specifically, are the files described with rich metadata interoperability. Are there lots of references or some references to related objects, especially the thesis or dissertation. Are the, is the metadata reusable, making the file reusable by richly describing the research. And we had proxy measures to assess these. So we looked at the length of the title and description or metadata richness. We looked at the number of keywords and categories. And then we looked at the number of reference links in the metadata. So that's for interoperability. Our records came from fig share.com. And we assume to those were shared directly by students. We also had records shared through institutional repositories from universities, and we assume to those had some assistance from curators. So we were actually able to compare the fairness of each set of records. Here's what the records looked like. Just briefly point out that, you know, on the left is a data set. Don't worry about reading the tiny text from a university, University of Sheffield. On the right in the upper right is a media record for a video and in the lower right is an image. What picture refers to as figures, you can view all these for the QR codes for them. And the metadata is down below. And the red text that you see in two of the images is one of the links to a related record, perhaps the thesis. So here are some results. These are box and whisker plots showing the counts of words in the title and description counts of categories and keywords counts of references and the views per month of the records. The left boxes are for institutional related records. The right boxes, the darker color are those shared directly on figshare.com, we assume by the students directly. The asterix indicate significant differences. And you can see that records associated with institutional repositories have longer titles, have longer descriptions, more keywords, more references. There was no difference in the number of categories between the different record types. And records in institutional repositories had more views per month, whether that's related to the richer metadata. We don't know, could be just because the repositories related to a website that has a lot of traffic already in the university's website. These were mainly published in the last three years for both figshare.com and institutional repository records. But there were many more records from past years on figshare.com, and the fair principles were published in 2016. So, you know, these records could be a reason that the figshare.com numbers are lower. However, if you look over time at those measures that we looked at, there is no real pattern. So in this lower image, the four charts of length of title, description and keywords and references, you can see there's no obvious patterns. Institutional records have seemingly always had more references and seem to have longer titles in the recent years. But the figshare.com records aren't necessarily going up or necessarily going down. Perhaps in a couple of years, if we redid this analysis, we'd see hopefully an upward trajectory for both. So our conclusions are that ETD related data and other outputs shared in institutional repositories are fairer than those shared directly by students in a generalist repository. And they seem to have higher views per month. So that's a benefit to students. There doesn't seem to be an increase in the metadata richness or interoperability over time for student shared records. There are a lot of trainings out there workshops. Increasingly, you know, student mentors have data sharing skills. Perhaps it's still too early to see the effects of those programs and workshops in published metadata. Figshare has been able to use this information to produce some materials and plan materials that might help students in the future. So, you know, we look at descriptive or fair metadata as having descriptive titles, a background and methods in the description, five or more keywords, and of course reference links. And so we do have a new user interface coming in development that may help here. It may be easier for students to use it may affect this swap to account for that in the future, we redo this analysis. We have launched a help page to help students and curators fill out metadata related to their thesis or dissertation, and we are planning webinars for both students and curators around this as well and incorporating some of this information. If you're available at this figshare record and please be in touch if you have any questions about this and want to talk about etd data. Thank you for viewing this presentation.


Now as gunshots echo across the windswept snow-covered reaches of the wild Northwest Quaker Puffed wheat and Quaker Puffed rice The breakfast cereal shot from guns Present the challenge of the Yukon It's Yukon King Swiftest and strongest lead dog of the Northwest Placing the trail for Sergeant Preston of the Northwest Mounted Police in his relentless pursuit of lawbreakers Gold gold discovered in a Yukon a stampede to the Klondike in the wild race for riches Back to the days of the gold rush with Quaker Puffed wheat and Quaker Puffed rice Bringing you the adventures of Sergeant Preston and his Wonder Dog Yukon King as they meet the challenge of the Yukon Here's what's up. Here's the greatest offer ever made by Quaker Puffed rice and Quaker Puffed wheat While it lasts you get five yes, five pocket-sized Bugs Bunny comic books all new never before Published and they're yours for only 15 cents and one box top from Quaker Puffed wheat or rice What an offer keep listening hear all about it later on It was fall in the Yukon and the crisp air gave a hint of the cold and snows that were soon to come One night Hazel Crest owner of a cafe in Selkirk sat in her private office going over her accounts She was a large Buxom woman of middle age Her efforts to preserve the prettiness that once was hers were evident by the heavy use of cosmetics Hazel could be sharp with their words and quick with a gun when the need arose She looked up as someone knocked on the door of the office come in Well, what are you? And last your god This is Frank Austin glad to meet you ma'am glad to meet you too Frank pull up chairs both of you We've got a lot to talk about Ah Took you long enough to get up here. It's been a long trip. Hey, I better took you long enough to when you come up here On the boat from Frisco it took plenty long I can tell you you mean you left a place like Frisco to come way up here in his rough territory. Oh I had my reasons Frank You see 22 years ago. I got married in Frisco to an umbra named Harvey Baldwin He was a quiet type from a nice family in st. Louis. I was in Colorado then so I never met him. That's right Well, we had a son When the boy was a year old my husband went broke trying to find gold we needed money mighty bad Then what happened? Well, I was offered a job to do a song and dance act in the cafe So I I took it Harvey was a proud type and he was plenty sore about it He should have been glad you were helping out. Well, it wasn't I hired an old Indian woman to stay with the baby and One night I came home and found that Harvey had gone away and taken the boy with him gosh Left a note saying I wasn't fit to be the mother of his son Never saw either of them since It was tough as well. Oh, I was used to hard knocks in those days Oh Finally, I gave up looking for Harvey and the boy and took my own name back and Hazel's done all right for herself here That's right. How nothing matters now to me, but gold. I don't blame you for that Hazel. Yeah Tell wrote me that you were quick on the trigger and didn't give a hoot about lawman Frank. That's right There's a deputy back in Arizona He took a bullet because he was pushing me too close Then you'll do fine for the job I got planned for you in hell and you'll get well paid for it, too. Good. What's the job? well Couple of my men held up a prospector near a settlement called Indian Creek some miles north of here They made the mistake of shooting me even though I told him to be careful. That's not good. I know Well, there's a young constable up there. He's fairly new in the mountains names Jack Harvey What about him? Well, he's out to find the killers Now I'd like him to have an accident You know what I mean, but there'd be other mountains to continue the hunt Hazel Oh, I got a tip that the constable hasn't notified headquarters yet. He's out to solve the case himself to get a record Now if he has an accident before he does call in any other mouth But they'll investigate if anything happens to him. I know that's why it has to look like an accident Yeah, but how are we gonna do it? Here's a way to do it. Let's go ahead Are you and Frank right on up there? You ask around about Eric Atkins? That's the name of the prospector that was shot say that your friends are his Now people tell you he's dead Then go and see the constable. What do we say to him?  Are you sure to say you can then what what can we do out there? Just before you get to the cabin There's a high narrow gorge with a bridge made of rope and planks heavy enough to hold a man on a horse You cut the ropes almost through And then one ear go back to the constable and tell him the other is at the cabin and it's found something the constable ought to see Now the one who goes to town can make an excuse to stay there The constable right out there start across the bridge and Be hurled to the rocks below and When he's found it'll be called an accident Might work at that. Well, if you play your cards, right now Go on out into the cafe and get yourselves a good meal after that you can start for Indian Creek You can have that accident happen tomorrow afternoon The following morning one of Hazel's men entered her office hurriedly Hazel I just found out sergeant Preston's in town got in this morning from Whitehorse, and he's on his way north He'll be riding through Indian Creek today Alan Frank don't know anything about Preston and that dog of his They try to pull their job while he's there Just too bad. Yeah, I know What are you gonna do? When do you think he'll be leaving? I hear he's leaving right away. There's no chance for one of us to get there ahead of him Go ask sergeant Preston if I can ride to Indian Creek with him. I'll be ready in 10 minutes. All right. I'll go ask him right away As they rode out of town and hit the trail toward Indian Creek Sergeant Preston held his horse to a leisurely pace as King ran alongside He knew a great deal about Hazel crest and he'd often had the suspicion that she was responsible Indirectly for some of the lawlessness around Selkirk, but so far there'd never been any proof He noticed now that Hazel was tense and seemingly worried about something Finally, she spoke impatiently Sergeant can't we ride a little faster? Mosey and along like this is kind of foolish when you got a definite place to head for Relax miss crest. We'll get there before supper time. There's no use wearing out our horses I'm in a hurry to get there. Don't forget. I have to come back. I thought of that Won't you feel nervous coming back alone miss crest? How about calling me Hazel and be done with it? All right Hazel But you haven't answered my question Maybe I'll find someone there to ride back with you mean one of your men's over there on some sort of business Give you that idea nothing nothing at all just a thought Is there any reason why you couldn't send someone there on business? You mountains are always so suspicious. Have I reason to be? What gave you that idea you asked that question before and stop trying to get Rattled just because I want to hurry you go asking a lot of crazy questions. Maybe I could ask some go ahead Oh, why are you riding the Indian Creek? If you were heading for Dawson City, you'd take the boat one thing I want to see how the new constable is getting along my young friend Jack Harvey Oh You have to go around playing nurse made dollar rookie. Oh, not at all Well, I have a special interest in Jack. I knew his father and was with him when he died a year ago I got Jack into the Northwest melted police In fact, I received a telegram from Jack asking me to come by to help him on his first murder case Yes, he's anxious to get it solved before he goes on leave to San Francisco What do you want to go there for just before his father died? He told Jack and me the Jack's mother was alive as far as he knew You see he'd taken Jack as a baby and deserted Jack's mother Jack wants to find her You mean the ombre ran out on Mrs. Harvey and took Jack with him. That's right. It happened 20 years ago 20 years ago Smoke us just wouldn't I mean that that was tough. We learned that Jack's father had changed his name so he couldn't be located You mean the constable's father let out from Frisco taking the baby with him and changed his name. Yes, that's what I just told you Why are you so interested Hazel? What was the mother's name her maiden name? We didn't find that out, but Jack's real name is Baldwin His father's name was Harvey Baldwin. We'll continue our story in just a moment What's up, Jack? You've seen him in the movies. You've heard him on the radio and now Here they are fellas and girls they're just off the presses your brand new Bugs Bunny pocket-sized comic book. Yes, here's your chance to get five Not one not two not three not four, but five Bugs Bunny comic books And best news of all they're yours for only 50 and cents and one buck's top from delicious Quaker puffed wheat or Quaker puffed rice. 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Remember. They're all new all different Yes, as Bugs Bunny says hurry don't miss out send only 15 cents your name and address and One box top from a package of Quaker puffed wheat or Quaker puffed rice meal to Bugs Bunny Chicago 77 Illinois get that address Bugs Bunny Chicago 77 Illinois Now to continue our story Hazel wondered if Sergeant Preston suspected her plot against the constable and she waited intensely as he related Jack's background But the totally unexpected climax had come like a bombshell when Sergeant Preston had said but Jack's real name is Baldwin Father's name was Harvey Baldwin Harvey Baldwin What do you say that? I thought you were in a hurry while you're stopping for a brief moment Hazel didn't answer She turned her head away and stared across the desolate countryside Fearful that Sergeant Preston might see the emotion of Drifter as she realized she had planned a trap to kill her own son Instantly calling the panic that welled inside her she forced a strange smile to her lips Then looking straight at the Mountie shrugged and spoke Took me by surprise when you mentioned that Harvey Baldwin. That's all I Never wondered by that name once Couldn't have been the same one though It's the one you're talking about calling self something else Well your dog's the one that's impatient to go now. Let's get moving. I'm still anxious to make faster time How about it? Maybe it is a good idea to hurry event. Let's go Oh Meantime Hal and Frank arrived at Indian Creek and went to the constable's office pretending to look for their friend Eric Atkins They expressed surprise and anger upon hearing he'd been murdered Frank acted his part. Well, and they got permission to visit the cabin Following the constable's directions Hal and Frank rode the trail that led to the bridge When they reached the bridge they dismounted and walked to the edge of the gorge Just across the gorge Man live that gorgeous sure do look down there. I'm glad it's that constable and not me That's gonna end up down there. Yeah, we better we get busy with our knives on the ropes of the bridge Got to figure it just right So the way to the console nurse horse will make the ropes snap after we get things set You better find a good hiding place nearby You can watch and make sure he has that accident. We're planning to be waiting back there behind those boulders You go back to town and tell him we found something important out here at the cabin Meet you at the cafe in town later. Let's get busy on those Frank returned to town and told the constable they discovered some clues that he should investigate He said his friend was at the cabin that he'd wait in town to get supplies The constable decided he'd better go to the cabin immediately Ten minutes after the constable left town Sergeant Preston with King and Hazel crest reached Indian Creek as Hazel waited Preston entered the costals office Jack's not here. The Mountie walked to the chair behind the desk followed by King Reaching out Preston patted Jack's chair then spoke to the big husky. Oh, follow Find him King find him. Come on Is he gone? I mean, isn't he there? No, but King will find him for me Looks as though Jack left by the trail at this end of town once more sergeant Preston glanced sharply at Hazel He noticed that the woman sat tense that her hands shook as she held the reins. Maybe Jack picked up the killer's trail I'd better hurry and catch up with him. Yeah Yeah, maybe a better I I'm going on to the cafe. Get up there Something tells me the quicker I find Jack's a better steady bliky Hazel found Frank and told him about Preston and then riding at breakneck speed Hazel and Frank took a branch trail shortcut that would bring them to the cabin side of the gorge Finally they reached the clearing where the cabin stood Monies haven't shown up yet.  I'm worried about now I got to warn the constable not to cross that bridge. What are you crazy? If you do that, he'll know we plan to trap him and him and that other money will get us for attempted murder I know what I'm doing Here hook beats coming up the trail across the gorge right now must be the constable this gun says you keep quiet Understand wait a minute shut up right behind that big wood pile over there get going It's you got the upper hand We can just see over the top of the wood pile watch for them to come around that bend and ride down to the bridge It's coming around the bend over there now Stopping about a hundred feet back in the bridge once more panic welled up inside Hazel she knew she had to act fast if you were to keep Jack from riding to his death She held a short heavy riding crop in her hand and as Frank momentarily relaxed his vigilance Hazel moved quickly She raised the riding crop and putting all her weight behind the blow struck Frank squarely across the back of the neck As Frank fell from his horse completely stunned by the paralyzing blow Hazel urged her horse forward Meantime Jack rounded the bend and came within sight of the bridge and the cabin beyond as the young constable started Forward slowly toward the bridge. He was startled to see a woman ride into view and stop at the other end at the same time She shouted a warning Oh strange Woman is threatening me Better find out what's what I have a gun and I'm coming over Though Jack had misunderstood and had taken Hazel's warning as a threat Someone else heard the cry of warning and immediately understood Sergeant Preston with King had come around the bend behind Jack Sergeant Preston saw Jack spur his horse forward toward the fatal bridge and a flash of intuition told him why Hazel called the warning Preston spoke sharply to King's coming for us Intelligent dog sprang into action and sped after the constable like a streak of lightning Meantime Hazel saw with rising horror that Jack misunderstood and intended to cross. She decided there was only one way I won't let him get killed. I won't get up there Across the gorge King reached Jack's horse about 20 feet from the bridge jumping and snapping furiously Great dog caused the horse to swing to one side rearing to a stop Sergeant Preston that woman should be killed. Hazel go back But his shout came too late Hazel was on the bridge as the structure began to sag the two Mounties watched helplessly Then they saw a strange thing happen The stricken look faded from the woman's face giving way to a smile of relief as she gazed straight at Jack Then the bridge gave way with a resounding crash For a moment the two men stood staring into the gorge Then Jack spoke shakily She did it to save you from a trap Jack She didn't realize King already turned you from the bridge. I don't understand. Don't think about it now We're here steady blankie. I Go down into the gorge and see if she's dead. Oh, I guess there's not much thought about that easy boy Call me if you need me sergeant as the two men walked to the edge of the gorge and stood momentarily staring downward Howl behind the big boulders Realized that things had gone wrong. This is my chance to gun them both He raised his gun and took careful aim, but he had forgotten about the dog Just after the crash King had sniffed the air and catching a strange scent coming from the direction of the boulders Had quietly gone to investigate as the great dog came around the boulders He saw the gun and howl's hand aimed at the Mounties King had learned that a gun meant death and without hesitation He sprang forward There's gonna shoot his in the back. Yes, I know he's one of the men who got me to come here The other one stayed in town. They planned to trap you Jack But I him up and I'll go see about the woman a short time later Sergeant Preston with King stood beside Hazel down in the gorge Depressed in the basement. She was still alive and though he could tell she was failing fast He tried to comfort her by giving what first aid he could and by saying she'd be taken to a doctor Done for I know Hazel I have an idea why you did it you were willing to sacrifice your life for Jack Guest yes, he's really your son Jack Baldwin, isn't he? Take it easy Sure, he never knows if you think that's bad Yeah, it is best Promise me won't tell it He'd be proud of you Glad to hear you say that Very good Other man you want He's over near the wood file Tried to stop me from warning Jack and knocked him off his horse Noticed his head hit a rock Should be out cold for some time. We'll get him Hazel Killers Jack is hunting for They're in the town of 79 just across the border the Yukon River aims Benson and Finley thank you.  Don't worry about that Knew what to expect when I made my decision Yes Always remember me Never think I had another name Jack's coming down. He wasn't no How is she so I think she's going to be all right. Oh Hello Why did you do it man? I'll never forget Jack. I shall always remember Hazel crest Are we sure will man always? She's fainted.  I see well sergeant Hazel crest has done a great deal for me She gave her life to save my yes, and she solved the murder case for you. I'll tell you about it later She's vindicated herself for any wrong. She may have done in her life I'm sure we can say that because of her In just a moment sergeant Preston will give you a preview of Friday's adventure What a ride of laughs what excitement what spine tingling thrills in the five bugs bunny comic books we have for you Remember they're offered only by Quaker puff wheat and Quaker puff rice while supplies last not one not four But five bugs bunny comic books for only 15 cents and one box top from Quaker puff wheat or Quaker puff rice Each book is 32 pages thick so with five of them you get a hundred and sixty pages crammed with action Each book is a complete story, and they're all stories. You've never seen no read before Here are just a few bugs bunny lion tamer bugs bunny meets the dwarf ghost Bugs bunny lost in the frozen north bugs bunny outwits the smugglers Bugs bunny captured by cannibals and all these swell comic books are just off the presses We'll send you five different books, and we'll send you full information on how easy it is to get 10 more Send for yours today send only 15 cents. That's all just 15 cents your name and address and One box top from a package of Quaker puff wheat or Quaker puff rice address your letter to bugs bunny Chicago 77 Illinois I'll repeat that send to bugs bunny Chicago 77 Illinois and as bugs bunny says look doc you better hurry Listen Friday when Sergeant Preston and Yukon King meet the challenge of the Yukon in the case of Rescue in the forest when King and I were on our regular patrol. I learned to the young friend of ours named Peter Hudson Had run away from home because he was afraid of his father's dogs King followed Peter's trail and we saw the boy on a ledge beside a stream But our road ahead was blocked by a huge wolf and King dashed forward in a terrifying battle to the death Be sure to hear this exciting adventure Friday These radio dramas are feature of the challenge of the Yukon incorporated are created and produced by George W Directed by Fred flower day and supervised by Charles D. Livingston the part of Sergeant Preston is played by Paul Sutton They are brought to you every Monday Wednesday and Friday at the same time by Quaker puff wheat and Quaker puff rice the breakfast cereal shot from guns This is Jay Michael wishing you could buy good luck and good health from Quaker puff wheat


Back. This is Think Tech. I'm Jay Fidel. We're doing life in the law today here at the noon, the noon hour on Tuesday with Bob Toyofuku. And he runs Pacific Law Institute, does a lot of training. As a matter of fact, he's been training lawyers and arbitrators and, for that matter, judges since the 70s. I want to be clear about this, the 1970s. Okay. That's right. Why not a long time ago, Jay? I remember it well. I remember all those seminars and conferences and continuing legal education programs you made in Waikiki and the day when they were all in Waikiki. Then the Bar Association would come down en masse by the hundreds and all get trained up. And not only that, it was more than that. It was a kind of a gathering. And everyone loved to be there. You set a tone. You set a level of professional education that was really unforgettable. Thank you. Yeah. And you've been doing it in different ways ever since. So the first thing I want to ask is, how do you feel about my statement, my statement of principle here, that the rule of law begins with the lawyers? What do you think about that? Well, I think that, you know, the lawyers, I think the public really, especially with what's going on on a national scale, the rule of law, the topic and the issue and the principle is more important than ever before. And lawyers always stay loyal to the rule of law, hopefully anyway. Yeah. Well, I want to talk about that later in the show about what, you know, what lawyers should be doing these days to protect the rule of law. But let's talk about, you know, the evolution of your legal training programs from the 1970s. I know this is a big question, but how has it gone for you, Bob? It's been terrific. You know, I'll just give you a little history, since you just reminded me of it. I was the president of the young lawyers section back in 1970-71. And I made sure that we had continuing legal education programs when I was the president. And subsequent to that, I went up to the law school, I was practicing law, but then I left the practice and I went up to the law school with Ms. Richardson School of Law, which was still then the University of Hawaii School of Law. And I was teaching a legal methods course, but the reason I went up to the law school was to organize and start the Hawaii Institute for Continuing Legal Education. And that was in 1976-77. And so I just loved doing seminars. So I prepared all of these seminars. I think one of the largest seminars we had when I was still at Hickel, H-I-C-L-E, I think we had about 600, which included lawyers, paralegals, secretaries. And we had a seminar on the new rules of the circuit court. And so we filled up the top of ballroom at the Hilton Hawaiian Village. But since then, you know, I left the law school and did other things. And I started lobbying in 1984. And at that time, I started the Pacific Law Institute. And I continued doing seminars for lawyers. And so that's evolved. So I've been doing seminars since really on a regular basis since about 1984, except recently in the last, oh, I would say seven, eight years, I haven't been doing as many except for the court and ex arbitration program trainings. I got too busy lobbying. And hopefully I'll be able to continue doing more seminars since you and I have hooked up. And plus just for the audience, I've known Jay Fidel for many years. We were on the same floor when we were practicing law and became friends with Jay and his partner at that time, Ed Bendette. And so now we are not reacquainted, we hooked up again. And so I got fairly excited about doing seminars with Think Tech, moving into the future, hopefully. Yeah, I really looking forward to that, Bob.  It always struck me how much law you knew. You know, if there was a seminar about something, you knew the area, you knew so many areas of law in detail. And I guess that's because you started it in preparing for the seminars. And therefore, when you did the seminars, it was at a very high level. Do you remember? Oh, yeah. Thanks, Jay. Yeah, before each seminar, and in certain areas, because I was a general practitioner, when I was at the Hawaii Institute for Continuing Legal Ed, I had background in many legal areas. But I always said that I was a jack of all trades, master of none. What I would do is I would get the experts in an area. But I always researched that area and devised a curriculum and created a script for the lawyers so that we would stay on point and not get diverted when they were making the presentation. And initially, I did not moderate. And then I started to moderate a lot, which I enjoy. But anyway, yeah, I study each area and talk to the expert speakers that I got to do the program. And I had an understanding of the law. At least, I consider superficially. But it worked out because I could pick out areas that I felt that the general practitioner or the practitioner should be aware of. Yeah, and that was very valuable. You know, there are other legal training programs emanating from the mainland, I think, national programs where they try to cover everything about every state. And it isn't limited to any one state. And of course, in the law, all the states are different. So there was a great value. There is a great value in having a local program. And so if I had to choose between a program that you were moderating, that you had organized, and a program that came from somewhere on the mainland, I would always choose your program because it would help me much more to deal with, A, the law of Hawaii, and B, the people who were involved in the law of Hawaii. Find out who the experts were. Find out who was sitting next to me. This was much more valuable than something far away. Well, thank you, Jay. You know, I'll give you a quick example. When I did a course in the first year on debt collection, I knew that it's very simple to file a complaint to collect the debt. And the defense attorney would file a answer. And the attorney for the creditor, let's assume he or she got a judgment. The problem was that many attorneys, journal practitioners, were not as familiar with the processes on how to collect on the judgment. You know what you did, the garnishment, the execution, the attachment. So when I did the seminar, I created forms that they could use to execute on the judgment. And so that made it better for the attorneys, better for the clients they represented. And that was part of the goal that I was, I always used as a basis to do these seminars. If you made it better, more practical for the attorneys, then they would save some time and do a better job, I felt anyway, for their clients. I have a recollection, Bob, of being there with Dave Ezra, lady became a federal judge, and you and a collection seminar, and a manual of collection forms. I have this recollection, probably out of the 70s, huh? Yes, I did one. And at that time I did, well, I would hand out a binder or a just a forms, an explanation of how to do it as part of the seminar. It wasn't just a verbal lecture. So people went away with, the attorneys went away with something they could use. And then later on, I started doing these books and binders. Yeah, which are very valuable. I mean, I don't know if the public realizes that lawyers need to have legal forms. They can't reinvent the wheel every time. And they can't go back looking through their files for forms, although that's one way of doing it. If they had a book of generally accepted forms that saves them so much time, it makes their product so much better. Weren't you one of the authors on the collection, source book? I think I was, Bob. It's a long time ago. A long time ago. I think you were, Jay. Anyway, let's talk about the evolution of the Pacific Law Institute into its current partnership with the state judiciary, because that is something. You have done training, if you will, for judges. I remember seeing some of that. I remember there was a training program on, for example, social media back when you did that for the judiciary. The judges came down to participate, so they could get a handle on social media for judges. But in the process there, you became kind of a partner with the state judiciary. Can you talk about that? Well, I formed the Pacific Law Institute in 1984, and basically doing seminars for lawyers. But in 1988, to be specific, the late Justice James Wakatsuki, who was a justice on the Hawaii State Supreme Court, called me up. And if you recall, he was the former speaker of the House of Representatives. So Justice Wakatsuki called me up and asked me if I could do a program for the judges. And because I had contact on the mainland through national groups, especially California, I said, oh, absolutely, I'll do it. So I started doing training, so seminars for the judges. I would bring in other judges from the mainland initially, as well as use judges from local judges. So that evolved into me helping the judiciary start up the judicial education program. And so that evolved over the years. And I was involved in helping them do at least two trainings a year conferences. And they had an executive director. And then a judicial education committee was formed, made up primarily of judges. And they asked me, because of my experience in setting up seminars, to be on the committee. And there was no conflict because I was not practicing law anymore. And I never appeared before the court. And so I still sit on the committee and I help the executive director and the committee with courses that they decide to do. And every year, geez, it's been at least 10 years. I do a legislative update for the judges after the session is over. Another thing people don't realize is that judges come into the job. And it's not that easy to become a judge, of course, the subject of another discussion. But judges come into the job, they don't know about being judges. They may know about life in the courtroom, but they don't know about being judges, you know, when you're the guy who calls the shots. And you have to be trained, you have to get training, federal judges and a lot of training like that. And state judges need to have that too. And the reason is to be more confident to make better rulings and to avoid being reversed by making silly mistakes. And so this is very valuable not only for the judges, but for the litigants and for the community. Am I right? Yes, you know, and the judiciary has a mentor program. So when a judge is appointed either by the governor or the chief justice and then confirmed by the Senate, before the judge really steps into the courtroom, the Judicial Education Committee actually assigns a mentor judge to that judge. So let's assume the judge is going to be assigned to the criminal bench, then you would have an existing criminal judge on the criminal bench mentoring him or her. And so that really helps. Very valuable. Yeah. And there is a special training and the National Judicial College also on the mainland also has courses for new judges. And so most of the judges at some point go to the college to get more background on particular issues. Yeah. So it's really a combination of things to make a good judge and one of them is to get trained as a judge. Oh, yes. Somewhere along the line here, we need to segue into arbitrators because there's a thing called the court annexed arbitration program. And you're going to do a program on that to train or do an annual training of arbitrators in a few days time, which is really the subject of our collaboration these days right now. And I'd like to ask you to explain to our viewers what court annexed arbitration is, who does it, and of course how they're trained. Sure. Now the court annexed arbitration program in short called CAT, C-A-A-P, was created by the legislature in 1986. And basically they created this in conjunction with the Hawaii State Judiciary to provide mandatory non-binding arbitration to provide a process to have quick and equitable resolution of certain types of cases. So the cases that go into this program are civil action cases that affect tort, which is negligence cases.  And all of the, this is a voluntary program. So arbitrators to be qualified to be an arbitrator, attorneys must have at least five years of experience. In other words, has passed the bar at least been in practice or some former practice for five years. You know, preferably if they have litigation experience, that's even better. But so the program was formed in 1986 by the legislature. A judicial arbitration commission was created. And each circuit has a arbitration administrator and an arbitration judge. And there is a judicial arbitration commission, which is all five judges and members, plus they have about nine different attorneys who are members of the commission. And they oversee the program. So the training happens every year. So because I was a member of the commission as well, so I've done our trainings now, Jay, for the past 30 years. And we used to do it live. Obviously, I did it in Honolulu, Kauai, Wailuko on Maui, Kilo and Kona. So we would do it live. So I would take certain speakers with me to the neighbor islands or use attorneys from the neighbor islands. Say I go to Wailuko, whoever is depending upon the topic, I would pick attorneys that I felt were good communicators and knowledgeable in the area. Say we did one on premises liability law to give arbitrators a background on it. And we would present the program for two hours. So that's been going on now for 30 years. This year, because of COVID and the pandemic, we're not able to do it live. So fortunately, for Pacific Law Institute and a judiciary, knowing ThinkTech and UJ to help set this up, we are going to do it virtually through, and maybe you can explain, but basically through Zoom. So I have picked three panelists, you know, Judge Peter Keohel from Maui, Judge Dean Ochiye from Honolulu, and Retired Judge Rikimea Mano, who was a judge on the Third Circuit on the Big Island to be the panelists. And they all have experienced doing hearings, whether court hearings, or in the case of Rikimea Mano, mediation and arbitration virtually. So the topic for this session is not on substantive law, but we're going to teach, hopefully educate the arbitrators on how to do a virtual hearing. So basically, once a case is set up in CAP, you should have a hearing according to the rules within nine months. So it goes through a process, and then the arbitrator schedules a hearing with the plaintiff and the defendant and the attorneys, if they have attorneys, and they, it's like a regular court hearing, except it's a lot more informal, it's arbitration. And keep in mind, it is non-binding arbitration. So depending, then the arbitrator makes an award, and either the plaintiff or the defendant can appeal to a court and what they call a trial de novo. So in other words, the arbitration award is not viewed by the judge, and it is, they have a brand new trial. So that's the appellate process that is built into the CAP program. So this is an interesting inflection point, because you're talking about changing the rules, procedural rules of the traditional CAP arbitration to account for COVID. How would an arbitration hearing be different according to the training you're going to give? Well, by the way, let me backtrack just a little bit, Jay, in that we may have, or the arbitrator may have an instance where it may not be possible to do a virtual hearing. You know, let's assume that the defendant in a case, right, does not have an attorney and is self-represented, what we usually call pro se. And let's assume that defendant does not have access to a computer, really does have no technological background, and would not know how to participate in a virtual hearing on Zoom or Microsoft or whatever, all the different programs. So the arbitrator has to figure out, okay, how are we going to accommodate that self-represented defendant, or plaintiff could be plaintiff. So we are going to present to the arbitrators various alternatives that they can use to do an in-person hearing. Now, keep in mind that there's risk involved, and you have CDC, federal, state, county restrictions, you have to wear a mask, you have to have distance, six foot distance. So how are you going to actually do an in-person hearing? You know, you have to have the right space. Do you have to disinfect the space? You know, you have a lot of issues. So we want to at least advise the CAP arbitrator about what they may need to do. Then we thought about, well, can we do a hybrid type of hearing where part of it would be live, that would be risk-free, and part of it would be on virtual, on Zoom, say. So that's going to be part of the program that we're going to do live this Friday, but most of it will be on how to do it virtually, because there are issues that will come up. For example, what about exhibits? What about the pre-hearing of discovery, etc. How do you handle witnesses that may not have a computer?  Go ahead. Go ahead. No, go ahead. Well, it just strikes me, Bob, that this is really extraordinary. You know, Chief Justice Mark Recton-Wald is working hard to facilitate the continuation of justice in the judiciary and access to justice by the people of our state. We have to keep on abiding by the rule of law. We have to keep the legal mechanisms going, because once they stop, once the public loses confidence in them, that's a tremendous loss. You know, backbone of this country is the rule of law, and respect and confidence in the judiciary and the systems. It strikes me that what you're doing is so timely and so important. You're continuing a very important program, the CAP operation program, but you're adapting it to the crisis we have at hand, which may last a long time. And so I'm very impressed with the fact that you're doing this, as I am impressed with the fact that the CJ is doing similar things for the judicial courtroom process in the same way. You know, Jay, speaking of that particular topic, I did talk to the Chief Justice several months ago and said, CJ, I think I'm going to do the CAP program, but we can't do it live in person. So I am going to do it virtually somehow, and this was before I contacted you, or right before I contacted you for some assistance, which has been, Jay, invaluable. Okay, but then so the CJ was very happy about that, that I was going to continue the training. And he and I talked a little bit about what you're referring to as the rule of law. I think as you know, that especially in criminal trials, a criminal defendant has a right to a jury trial. So how are you going to set up jury trials with people live, right? Or can you do it virtually? So Chief Justice, I just talked to him just recently, and he is working on that to get it set up so that the rule of law and the current law is abided by. So important. So both are doing this and that Hawaii is flexible and creative enough to handle these issues logistical and otherwise in the time of our crisis. And in a funny way, it seems to me that Hawaii is a leader, a national leader, as states go in doing these things. And in fact, the arbitration you're talking about it, that's leadership stuff that other states will like to see. So I hope they come around and watch the way you handle this. I hope other states adopt the same kinds of lessons you're teaching the arbitrators. And I think you're in a great spot. I envy you with the contribution. So anyway, Bob, we're out of time. And I just wanted to thank you for coming down today. Thank you for explaining this and people will have a better understanding of how the CAP program works and how important justice and the rule of law is for our state. Aloha. Thank you very much, Jay.


go Monday away? We had a very nice potluck with our writers, our merging writers group. It was lovely. We love potluck. Yes. And so good to see. What a beautiful day today we're having. Right? Right. And here we are. Hi, everyone. Everyone. Thank you. New work development. Amazing people. Hey, folks. It's five o'clock. It's Monday, which means it's time for Watch Me Work. We're the me and the title is you. We've been doing this show for like 14, 15 years. We started in a little theater on East Fourth Street in Manhattan, and we quickly moved to the public theater lobby. And then when COVID came, we moved on to Zoom. And we have been on Zoom ever since. Loving it. We love technology. What we do, we do every week. We work together for 20 minutes. And then we talk with you about your work and your creative process, whatever your work might be, while we don't have the time or the bandwidth to have you read aloud or share your work. We do have plenty of time for you to talk shop, talk process, things like that. And the questions you ask and the conversations we have, everybody help everybody. Yes. Okay, new work development. What do you guys got to say? Tell us. Yeah, thank you for being here once again. Once the 20 minute work session is up, we'll ask you to please go ahead and use your raise your hand function at the bottom of your Zoom screen. And we'll get a nice little cue going and then we'll ask you to unmute and then we'll go from there. That's as easy as it gets. This is as good as it gets. Here we go. And interesting. All right. The eggs are cooked. Now's the time when we talk with you about your work and your creative process. Anybody got a cue? I'll find an A somewhere. Yes. So as a reminder to what Zoe shared everyone. Yes, please raise your hand using the raise your hand function. We'll call on you. So we're going to start with Sharon. Please unmute yourself. Hi, SLP. Hi, everyone. Hey. So my question is I have a solo show. I made for a commission for a one night only opportunity. I performed it once a year and a half ago in front of an audience. And and it was great. And I, I loved it. But it also felt like it was a commission and it was a one night only. And I sort of felt like me and my director, we kind of rushed and putting it together. And I have had the dream for a while of revisiting it, revising it and putting it up again. But I find myself as I'm as I'm about to begin. I am really about to begin. I start tomorrow to the revision. And I know what I'm going to do on day one, which is actually something I got from advice, you gave somebody else at a different watch me work, which is I know that on day one, I'm going to stand up, read it out loud and mark it up with what I love, what feels funky, and take it from there. But I also find myself with this feeling of like, but I already finished that I did it, I memorized it, it's done, it feels like a sculpture that's already been like fired and finished. And it feels weird to go back into it. I don't totally know. Does that make sense? It feels like it's already stuck in my head as what it is. And I also know that I want it to be something new. And I'm trying to work with that resistance. That's great. That's really great, Sharon. Yeah, I mean, there are different ways you can look at it. And I'm taking from what you said, but you can either, if it's something that you finished, that's done. And if you felt like, Hey, it's done. I'm good.  You don't have to give notes to the artist, you know, meaning this time yourself, right? That's not what you want to do. You want to go, it sounds like you want to go in and rework it and you're feeling resistance, which isn't coming from a feeling of it's exactly like I want it to be. The resistance is coming from somewhere else. That it's already in my head as what it is. So how do I undo this like stuck idea of it? Right. Yeah. Right. Just, you know, pour some water on it. I don't know. It's we have just to know that you, however old you are, I think you're older than the age of 12. I'm guessing, you know, we all have stuck ideas in our heads about things, you know, and if and what's beautiful about your question is we have people in the world right now who have ideas stuck in their heads about the way some people are, the way some kinds of people are and this and all that, right? And we are hoping through our our love and service and challenging as a world culture that we can move some of their thoughts around a little bit, right? So here's where you have an opportunity to do the same kind of loving service to yourself. You have an idea of something that's dear to you that you made that stuck in your head and you want to you want to loosen it up a little bit so that you can grow so that you can improve it so that you can make it better so that we can make relationships better. We do that so that we can make countries and world systems better so that we can make all kinds of things. But that's what we do. Okay, so here you are. Yay, you have this opportunity. I would say just acknowledge it. Hey, I've got some resistance. You know, you know, where you where you have places where you're where as you go through it and say, this is perfect. I don't want to change anything.  Have the paper, you're going to stand up, you're going to read it aloud, looking at the paper, right? I really love that I don't want to change it. Fine, don't. Oh, but this line, I could improve. Just circle that line, you know, and maybe your first pass, you'll only have two sentences that you want to change. Then see, but the water's already starting to do its work, right?  This is you saying, Hey, you know what? I could, I could make this better. Okay, so be gentle with yourself. Be proud of yourself that you did the work. You know, you gotta pat yourself on the back. It's not like you're, you're, you're no good. You know, it's not anything like that. You're just going, Hey, great. I got to this stage and now I'd like to, to, to work on it. So, it's, it might take a couple of weeks of reading it aloud two or three times a day all the way through. Circling something, writing something in the margin, you know, a hands on, you know, paper and pencil or a pencil and paper are very helpful in this kind of thing. It might help to get away from the screen, you know, and do it on the screen.   Get some space in between those words, you know, and know, know that you're doing the kind of work that we ask of the whole world.  So it's cool. So you can have compassion for yourself and you can have compassion for everybody in the whole world who's kind of stuck, you know, in the way that they need to go. Yeah, it's interesting, isn't it? Yeah, I think like who have changed my mind about and how can I relate that to this? And, you know, then you can also be proud because you will be in the world of rewriting and that's where the real, that's where the other kind of courage is, let's say. You know, people say, oh, rewriting is where the writer's really made.  Rewriting is the other kind of courage. You know, writing is one, getting it down for the first time, performing it is another one. That's, that takes a huge amount of courage and performing a solo show takes another level of courage and rewriting takes another level of courage, especially after something's been appreciated and celebrated and, you know, applauded, you know. So go for it. Thank you, thanks so much. Thank you, it's great. Cool, cool question. Thank you Sharon. Hi Crystal, you can unmute yourself. Hey, hey girl, how you doing? I'm good, hi everyone. I'm really good. How are you? Good, good, we're here. Good, good. So you, I took a lot of notes on what you were saying about revisions, because I've spent a lot of time away from the play that I finished. Oh, great. Yeah, a lot of time, maybe like two or three weeks. Uh-huh. Now that I'm coming back to it, and I still have to present it on the 8th. Right. It's been a little bit harder to, to, to, to see what I, what needs to be revised regarding now the research part, like the, the historical events that would have taken place in order for the relationship to work or not work, the friendship to work or not work. And so I'm, I'm, I'm also having trouble finding the right, I don't, it's that rabbit hole of like, you know, finding things but not really, it's not really, so you just keep looking and looking and you're kind of digging and digging. So I guess my question is like, how can I infuse the right historical context without compromising too much of the story? You know, still stay true to what the story is, but like, I think I'm just, I'm, I, I had, I had so much trouble writing this in the first place that it's like, oh man, like now we're adding another level to it. So I, I'm just, I'm just, I need a little guidance, just a little bit. Yeah, I, now I hear your crystal and it's, it's tricky because it involves a historical situation. What would be the idea, your ideal outcome right now? The ideal outcome? That the, the events, the events that take place in the play, right? Because I, what I've figured out is that the, the protagonist is actually their friendship and the antagonist is their society, their world. And so if I could get more of their world kind of in the, like the slice of life part, you know, like maybe they might not be affected tremendously by World War II or after World War II, but how does it trickle down to like a woman working now where she might not have been?  What, can you make up what you can't find in a book?  So we're on a, we're on a road, you know, we're on a road and you have a draft, you had a draft two weeks ago and you had a draft two years ago and you have a draft today and you'll have a draft tomorrow and next week and you'll continue to rewrite it and revise it. So I think we, we're trying to get it all right all at once, now and forever and I think that's part of the problem. I think we need to acknowledge that we're in a process, we're in a process of revision and rewriting and especially plays get written and rewritten and rewritten and rewritten all the time.  So, so we're allowed to do that. So for the, for now, since it's due soon, if you can't find what you need in some kind of history book, you know, you know, craft it for the purposes of getting it across the finish line now and then maybe find it later.  I mean, it's a, it's a rewriting process, isn't it? Yeah. Okay. So give yourself some space and some grace to get the work done and, and enter into the workshop or presentation situation where you're allowing yourself the opportunity to rewrite, revise, get notes from your collaborative team and go forward that way. Yeah. Sounds good. Yeah. Thank you. Thank you, Cristal. Thank you so much, Cristal. Rebecca, please unmute yourself. Hey, Rebecca. Hey, SLP. Good to see you. Good to see you. So reporting back on the rabbit hole I was diving in and out of and I feel like that I, I have some resolution. It, it changes parts of the narrative and, and it's okay because it's actually a more interesting place to go than what I was trying to make happen with kind of different parts of the family story that goes into the longer manuscript. So. Oh, cool. Yeah. So, yeah. So I'm, I'm now, you know, rewriting that section and, and moving into a section that more naturally follows. I was constructing, I was trying to construct a narrative that links the rise of the Black press in the Midwest with the event, the main event of the manuscript and, and my family history. And that is, there's no linkage there. So, but it's, it's led me into really, I think, fruitful reflection on, on kind of endurance and what endurance was like in the 1860s after the Civil War and choices being made that are unknowable and just from a historical context of there being no records and, and also family secrecy. So, but that family members endured and, and the ways they made those decisions that are visible is that, that I can find is important, I think, to the work that. That's what my, it's definitely important. So, so now my goal is to have a, I think I'm in draft two and a half, so to have a third draft completed by May 4th, which is the 20th anniversary of my father's death and the anniversary of when I, he started, you know, you know, old, old black men of his generation didn't always talk a lot. And so I'm, until the very end to tell you things. So, so I want to, I want to have that draft done and I'm, I'm doing other things around kind of the business of writing and it's, it's in a place where I feel like I can pitch it effectively and, and have some solutions for the holes that are, are still, bless you, informational holes that are still there. That sounds good. I like, also, I like that you've got, you've got a self-imposed deadline. I think that's really smart, you know, and you'll move toward that. That sounds great though. And then, yeah, that sounds great, Rebecca. So that's my report. Sounds great. Congratulations. Yay. Yay. Great. Thank you, Rebecca. Larissa, if you could please unmute yourself. Hi, good afternoon. So thank you for this entire awesome experience and so far. I am part of an emerging playwright program and the, the end result of it will be a production of the short play that we're writing in June, like in two months. And so, my, I'm trying to, with the writing, because we're still kind of in the writing and the workshopping process, and I'm, I'm, I'm telling a story of a very specific subsection of Jamaican family life. Very tiny subsection of Jamaican family life. And I'm trying to balance that, what it, to, to portray it accurately. I'm also trying to balance what the producers are pushing on me and saying, hey, this is our budget, like this is, this is, so we can only have this amount of actors and things like that. So how, I'm just struggling with the rewriting process in not sacrificing the, the, the actual story for what, the limitations of the production, I guess. So how, I'm just, I'm really kind of in a, in a, in a place where there's a push for me to edit in a certain way. And I'm like, but that's not what it needs to, you know, that's not the accurate. So how do I, how do I, how do I rewrite? I think is the question that I'm asking. And yeah, that's it. Yeah, I think it's a great question. I love your blue wall background. That's very beautiful. That's very pretty. It's gorgeous. Yeah, yeah, yeah, yeah. It's beautiful. Um, yeah, that's a great question. Um, excuse me, my sniffles, I have allergies. I've had allergies for years. I haven't bad today. Um, let's see. I would suggest that you encourage yourself to believe that the, what you're calling now the limitations, right? Is that the word that you used? I think, I figure, the limitation, I'm sorry, I think you're muted. Sorry, yeah, the needs, I was like, the needs of the budget to like, we, you know, I want to have four actors, they're like, we need three. So, um, yeah. Okay. Okay. And, okay. So, there's a couple of things. One, know that this is not the be all end all version of your play, like we were talking about. It's not a continuum. So, this is one version that you're doing for this specific set of circumstances, right? Okay. Okay. Also, so that's number one, know that you can write a, a, a three character version that, well, you can write a version that's going to fit within the, the means of this producing company. You can do that and you can write a more fleshed out for character version, for example, you can do that. That's one thing. You have to sort of, we, we constantly need to, to engage our minds in a more imaginative way. We are people who are imaginative. We're, we're artists, right? Writers, painters, choreographers, what have you? We need to use our imagination. Okay. So, number one, you're on a continuum. You can write several versions of this play, right? Number two, encourage yourself to think of what you're calling so far limitations, which you said a little earlier, as opportunities. Flip, flip the script. Flip your mind around. Okay. Limitations. Okay. Opportunities. Hey, it's an opportunity to figure out how I can do, how I can do this with three characters. Because in, at least in my experience, and everybody has a different experience, in my experience, no matter what you're making, there's a limitation. There's 24 hours in the day. There's, you know, if you have a show on Broadway, there's a budget. If you're making a TV movie for, for, for Hulu, which I mean, there's a budget. There's always a budget. There's always a, oh, we can't afford such and such, right? When you, when you get into a mindset where you're going, huh, another limitation. Well, now I won't be able to realize my vision. That's, that's the limit, the biggest limitations between your ears. And you will do yourself a great service if you reframe it and start saying, okay, here's an opportunity to tell the story with three characters. Okay, you just, you flip it around. Okay. And it, it's not, because otherwise we can I would suggest you spend your writing time on a letter writing campaign to get yourself that fourth actor. You can do that. Sure. But then you won't have learned how to work within the limitations. And the next show, if you have a show at the public theater limitations, Broadway limitations, the Atlantic theater limitations, every theater in the country, in the world, every situation, a movie, a Hollywood movie, it's going to have a budget, right? A certain star needs, it's only available for six days limitations. She's not available for seven days. How are you going to get her shot out in six days? Right? How are you going to film her, her part in six days? Always, always, always. We, you're from Jamaica, my, my step-grandfathers from Jamaica, you know, we learn, we, we are a beautiful and brilliant people because we learned to work within some limitations that are, as you know, there is some much more difficult, we're much more difficult than this. So call on your people. There's a hand of God right there. Hold the hand of God, Narissa, and say, this is an opportunity for me to, to write my play with three characters. That's ma'am. And you can figure it out, it's going to be beautiful. And then next draft, hey, you got your four characters. Yes ma'am. But ain't nobody going to turn you around, Narissa? Who are you? Right? Okay? And then it's joyful, and then it's like, okay, here we go. You know what I'm saying? You know what I'm saying? Right? I mean, and just, we gotta, we gotta practice that liberation, right, with each other and remind each other, like your back, your wall, the beautiful blue wall you have in the background, reminds me how beautiful it is out there. We gotta remind each other that. So I know you can do this. I know you can do this. It's going to be beautiful. You're going to get it done on time. People are going to love it. You know? I'm just, I was just scared. I'm just scared to your point about Jamaican. I just want to make sure that the people, my people in the audience who almost never see themselves in the theatrical play, like, they won't haul me off. I know. I know. And hug me tightly, but like, not, not hugging me. I know. Your people are my people. I know. I know.   You're going to make them proud.  You know that. You're going to make them prouder than you know.  Okay? And if you have to refer to somebody, think of like, think of what's that play. I forget the name of that play. Anyway, Hippolytus, Hippolytus. Yeah, we're, you know, Poseidon, the god. He, you know, and the messenger talks about how Poseidon roared up out of the sea and took the chariot off the path and all this stuff. There are so many creative ways to have scenes and characters that you never have to actually cast in a play. You know? Oh, we do that all the time. We practice economy and, and brilliant. So just, yeah, you do it. Do it and tell us how it went. Tell us how great it was when you're done. Thank you. Thank you. You're welcome. Thank you. Thank you, Narissa. Hi, Kimmy D. You can unmute yourself. Hey, Kimmy. Hi. Thank you. Apologies for yawning. I haven't been sleeping so well. So it's not anybody putting me to sleep. I'm just old and tired. So there's that. So there's my disclaimer. I, um, I came across a book. Um, it's out of print. Uh, it's about a woman who, she wrote this about, uh, herself. She has since passed away and I'm wondering where do I go to get the rights for an adaptation if someone has passed away? I know, uh, bless you. Thank you. Sumeric and raw honey.  Uh, said. Thank you. Said the girl who's had allergies all her life too. Um, but I am, I'm just, I don't even know where to go, where to start to uh, find out where her estate even is or how to, how to go about that or even if she has an estate that would be interested in giving me that. Not, not, not, I'm not sure about that one, Kimmy. It's a great question and I'm not sure.  There's, there might be some information about the writer there. Um, and you can do some digging on the internet and they might well have some kind of, you could call, you could contact the publisher. Okay. Okay. You know, of the book in question. Um, I'm assuming that it's, it's not yet in public domain, so you do have to make some, some inquiries. Yeah. Um, but I would start the internet, contact the publisher. It might have a, a link to her agent on the internet, you know, maybe, um, you could look on the, for her agent who represents, you know, this writer and, and, uh, yeah, kind of go about it that way, I think. Okay. Oh, that's a big help. Thank you so much. As always, thank you so much. Welcome so much, darling. Thank you. Thank you. Thank you. Hi, Colette. You can unmute yourself. Hey, Colette. Hi. Um, I'm going to be very brief. I read the New York Times article yesterday about Susan Lori Parks and it was, it brought me right back into this room and, um, your, your compassion and your humanity and your vision, um, elevates us all and I want to thank you for that. And it really was lovely and I felt so privileged that I got to be in this room, not to be, I know you're wonderful and all that, but it makes me want to be my better self and my braver self and, um, I'm actually, I'm pretty emotional today. The thing I got today, the question I got today, because I'm not writing enough, I, you know, I wrote, I wrote a poem, you know, I'm changing genres, but the question I got today, um, yeah, by surprise, you know, who knows, but, and I stayed in the poem, which surprised me because, you know, yeah, I wanted, I stayed and stayed in, but the gift you gave me today is where is your courage? You know, where is your courage? And I think it's very brave, um, to put the pen to paper. I really do think it is. I've been in a struggle at work with the woman who's a reading writing teacher and no one has a pen in their hand ever, um, but that's what I'm going to take away today in my life from this session. Where is my courage? And I, I want to thank you also for the way you listen because the noise in my head sometimes keeps me from listening to other people and it's just, it's a facade of fear. So thank you. Thank you, Colette. I just want to comment. I really appreciate all the things you, you said and the things you're bringing, you're lifting up for us, um, and for, for me and just to remind us, uh, and I might have shared this, I have a 12-year-old kid, you know, the culture is designed these days more, more so than when I was growing up to distract us, to distract us, um, it really is designed to distract us and we need to do, uh, what we can if we want to be focused on, on the beautiful things that we have and the beautiful things that our community can offer, our world community, our universal community, if we want to be focused on those things we need to do what we can to, to, uh, listen to as so many, you know, spiritual leaders have said that small still voice within or just listen to your gut or listen to your, your friends and, and that takes work, that, that takes some, some work, not as much as you think, not as much as you think. I, Kole, I, I love when you said pen, writing instrument in hand and this, this is a good way to slow it down. I say as much as you can take a news fast, a, stay off your gut, you know, first thing in the morning, don't be picking up the crack pipe, sorry, I don't mean to diss anybody who might be on the substance, but I'm saying that this, while it is wonderful, it's a phone for anybody who doesn't know. Do some meditation before you check and see if your best friend texted you back about those new shoes she bought, you know, you know, as much as you can and to your, your, what you're meditating on today, Kole, where's your courage, just something about my, I wrote, I was writing a song at my little band, writing a song about John Lewis and the Pettus Bridge and there's a refrain in there that goes where are you from, where's your courage, right, and I think a lot of us can find our courage in the folks who were, we are the stuff that their dreams were made on. Oh, beautiful. We are the living proof, we are the living proof and maybe all your relatives weren't great, maybe most of them weren't, you know what I mean, but maybe there was one, there was one who was wonderful, if there wasn't, there weren't any wonderful actual blood relatives, maybe there was a neighbor who was kind or someone you saw on the street today who smiled, just that is enough to get you through, just think Kole of yourself, remember, remind yourself that you are connected to not just the people you see on the screen right now, but to so many people energetically you are connected, that's where your courage comes from, you know, that's where your courage comes from and just lean on that and draw from that and give to that, living in the dead doesn't matter living or dead, you know, I was telling somebody in class today that when they had a dead character and they said, you know, the dead character was giving them things and I said and we need to also give the dead character gifts, you know, the lifeline works both ways, the love works both ways, that's and that I feel like is the only way it works and we all know that hate will only get you so far, love will take you all the way and we have to practice that, it's not just something we sit around and talk about and and we don't just talk because, you know, we're hunched over our notebooks or computer screens or in the dance studios making our beautiful things or painting our pictures and, okay, just remember you're deeply and profoundly connected to so many things that's where your courage comes from or that's one of the wonderful places from which you can draw your courage, thank you, yeah, thank you, yeah we've got so many people around us who love us, it's true, it's six o'clock, oh my goodness


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