Lux presents Hollywood. Lever Brothers Company, the makers of Lux Flakes, bring you the Lux Radio Theatre, starring Al Jolson and Gail Patrick in The Jazz Singer with Ludwig Donov and Tamara Shane. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. I'll wager that no popular performer has so captured our American enthusiasm as tonight's star, Al Jolson, for years billed as the world's greatest entertainer. Al appears in Samson Rapleson's dramatic hit that is almost Jolson's life story. When Warner Brothers made the first talking picture, they chose not only tonight's play, The Jazz Singer, but tonight's star, Al Jolson, and tonight's musical director, Louis Silvers. With Al, we star another favorite, Miss Gail Patrick, who appears as Mary Dale. Twenty years ago, when The Jazz Singer reached the screen, it revolutionized the motion picture industry, a tribute to the American people's continual search for something new and better. In fact, it was that same national trade of ours that led to the development of Lux Flakes and their rapid acceptance throughout the country. Today, Lux Flakes are as familiar and popular in our homes as the talking picture in our theaters. And in their way, Lux Flakes have done as much to brighten the average woman's life and contribute to her leisure hours as have the many other American conveniences we take so much for granted. Yes, public approval rests on performance. And here's another example as we raise our curtain on tonight's play. The Jazz Singer, starring Al Jolson. In New York's east side opposite the Orchard Street synagogue is the humble home of Cantor of Benevits, an austere and venerable dignitary whose beard has grown white in the service of his faith. At his side is a young boy who struggles bravely with the passages of an ancient Hebrew hymn. No, Sammy, no, no. You must sing from your heart, my boy, from your heart. You're praying to God. Yeah, Cantor, I'll try it again. The words of the hymn. You know what they mean? Oh, not exactly, I guess. Is that nice? You will never sing in the choir till you know what the words mean. Now, you listen. I tell you what they mean. Oh, Lord, satisfy us with our abundant goodness and purify our hearts to serve thee in truth. Thank you. If my Jakey were here, he could show you how to sing it. The words he understood, even when he was smaller than you, Sammy. Cantor, what happened here, son? Did he really run away? Who said? Where do you hear that? Well, gee, everybody knows he disappeared. Oh, that was long ago, Sammy. I should not have spoken his name. Come, we try the hymn again. The time... Yes, it was a long time ago. And Jakey Rabinovich, the cantor son, long since has become Jack Robin. Jack Robin, who's singing in a new musical review, the Broadway parade. Prior to its New York premiere, the show is now in progress in New Haven. Turtle, turkey, goodbye. Turtle, turkey, don't cry. The little train that takes me away from you. No words can tell how sad it makes me. The audience like us tonight? Stop worrying, you were great. I mean it, Jack. I hope you'll say that next week when we hit New York. Jack, do you know the lyrics to keep smiling at trouble? Well, yes, I think so, but that's Bill Carter's number, isn't it? It was his number. It's yours now. Mine? Well, what's the matter with Carter? Oh, that isn't Carter's type of song. And I want you to be ready to sing it tomorrow night. You'll have all this week to get it down to Pat before we open in New York. Think you can handle it? Oh, sure, sure, but... Mr. Stevens, you're the producer. Say, this isn't a gag, is it? I want that number sold and you're the only one who can put it over. And where are you going? Well, I... well, try addressing them, Jack. I think Mary's in her dressing room. Ben, tell you about your new number? Yeah, just now. You knew about it? Uh-huh. Well, you don't seem very excited. Oh, I think it's great, only it's kind of tough on Bill Carter. Stevens knows what he's doing, Jack. You know, it's funny when you come to think of it. It wasn't for you, Mary. I'd still be working at that hunky-tunk nightclub in Minneapolis. Oh, I knew what the show needed and I saw that you had it. Well, I'm not going to try to tell you what it means to me, Mary, this chance. I guess I've been waiting for it all my life. It's certainly going to be funny being in New York. Funny, I thought you were born there. Yeah, I was. But I ran away when I was 16. I sang my way from the Barrett of Frisco. Is your family still living there? Yeah, my mother and father, but they don't write to me.  I can't see them, won't you? Oh, sure, sure. Before we leave here, I'll send a wire to Mama and, boy, will she be surprised. Just wait till she sees your name in lights. Jack Robin. Yeah. I guess Mama would like that. Take a telegram with you to Mrs. Joseph Rabinovich one-to-one Orchard Street, New York City. One-to-one Orchard Street, New York City. Dear Mama, I'm coming home tomorrow. Please be here. Mrs. Rabinovich. Oh, Mr. Udelson. Congratulations, Mrs. Rabinovich. Good luck. For what? For what? For the cantor's birthday. My husband has a birthday and I should get congratulations. The greatest cantor of all time, Mrs. Rabinovich. And did you hear what the Gershens are giving him? The Gershens? You remember all the pictures which are hanging in the committee room with the synagogue, the cantor's father and grandfather for four generations? Yes. Well, the Gershens made a hand painting from all the pictures. No, a hand painting. The fancy sign. The sign is saying five generations of great cantors. And the fifth is the best. Five generations of great cantors. It will make him think of Jackie. Jackie? Yeah. I had not heard. Even now I'm afraid to speak to the cantor about Jackie. Once I say to him, you know, Jackie would have made a great cantor. He had a beautiful voice. That made him angry. He says, never mention his name to me. Oh, he's lonely for him, Mr. Yudelsen. He don't say so, but I know. Tell me, why did Jackie run away? Why did he do it? Why? Because he didn't want to be a cantor. Because he didn't want to sing in the synagogue. Who knows, Mrs. Rabinovich? Someday, maybe he will come back. Someday, maybe. Jackie. Jackie, I can't believe it. Mama, please, don't cry, mama. I'm home. Only yesterday it was, yesterday. Mr. Yudelsen said, maybe someday he will come back. Like a miracle, Jackie. My boy, my boy. Well, didn't you get my telegram? Telegram? Telegram. But I didn't open. I thought it was congratulations, Papa's birthday. Papa's birthday? He's, he's at the synagogue? Where else, Jackie? How is he? How does he feel? Jackie, he's an old man. You will live here with us, no? No, no, no. I'd love to, mama. But you see, I wired for a room at the hotel. Oh, don't be fooled. Hey, wait a minute. What are you doing? I want to put the grip in your room. I put everything so you will know where they are. If you put them away, mama, I won't know where anything is. Well, I want to see what you got. All right. I'll open the bag and show you. Oh, an expensive bag, mama. That's what you call genuine pigskin. Pigskin? Pigskin you should bring in this house. Mama, mama, you're wonderful. Well, it's open. Take a look. Come on. Jackie, right there on top is a picture. A picture from you. Now what would I want with my picture? Who else? A girl, mama. A girl who did some wonderful things for me. Look, how do you like those neckties? You're such a beautiful girl. She lives in that house from the center. Yeah, yeah, she lives there in the summertime. Look at my pajamas.  For only one girl. She's got a husband. No, not yet, mama. These shirts, French cuffs.  What does she do all day in such a house? She was born there, mama. Then she came to New York and started for the opera. But if a girl doesn't weigh more than 200 pounds, they don't want her.  Ain't that the same? Such a nice-looking girl, too. Oh, mama, look, I've got a surprise for you.  Take a peek at this. Look. Jackie, diamonds with stones in it. Sure. It's what you call a diamond brooch. Real diamond. Uh-huh. Jackie, where did you get so much money? Oh, don't worry, mama. I got lots more where that came from. You don't do something wrong. No, mama. Of course not. Well, let's take a little look around. Same old apartment. Yup. Just the way I always remembered it. Everything spick and span. Mama. Didn't there used to be a picture of me over there? Uh, yes, Jackie. Um, we don't have it no more. It, uh, you see, it fell down and got broke. Sure, sure. I know. We got a new piano, Jackie. It's in the front room. Come. A piano? What kind, mama? Grander and upright. Who knows? We pay every month. You got an upright. Come on, mama. Show it to me. You still practice on the fiddle, Jackie? No, no more. I got too busy. Oh, boy, that's some piano. That's all right. You mind if I try it? Oh, good tone, mama. Good tone. Sit down and I'll sing you something. I'm sitting on top of the world. I'm rollin' along. Rollin' and I'm quit. The blues of the world. I'm singin' a song. Singin' a song. Glory hallelujah. Just hold a part, son. A pocket ready to call. Just like Funky Dumpty. I'm goin' to fall. I'm sitting on top of the world. I'm rollin' along. I'm gettin' my share. I've only got one suit. Just one. That's all I can wear. Don't make me feel good. Like a Humpty Dumpty. It wasn't so bad, was it? Hey, mama, what's the matter? Jackie, you shouldn't sing like that. It's wrong. Wrong? Why? Why is it wrong? Look, I'll sing you another one. Maybe you'll like this one better, huh? Blue skies. Smilin' at me. Nothin' but blue skies. Better. Uh, usually I, uh... Hello, Papa. What are you doing in this house? What am I doing? Why? I came home. He said hello, Papa. He's your son. Why did you come? I came home because I wanted to see you and Mama. I've been away so long. All this time, you didn't need us. You don't need us now.  Yosel, I wanted that you should play the new piano. Yeah, wait a minute, Mama. I don't think you know how I feel, Papa. I thought about you a thousand times while I've been away, and I didn't mean any harm when I played the piano. I just want to sing Mama a little jazz song. Jazz? A song of prayer wouldn't come into your head. Even when you were a little boy, I taught you to sing to please God. But you sang to please yourself, singing the streets. And you're the same now. You're right, Papa. You taught me to sing prayers, and I sang them here for you. But when I got out on the street with the other kids, I found myself singing the same songs they sang. And they're very much alike, our songs, and the street songs. Like? Yeah. Sometimes when I'm on the stage and I'm singing a song, it seems just like one of our prayers. On the stage? You're in the theater. I'm an actor, Papa. Jack Robin. That's how I'm billed. An actor. After all my prayers that you should be a candle. Wait a minute. What's so wrong with being an actor? I meet nice people. I make good money. Ah, money, money. Peak pockets make money, too. Josely, please. What kind of acting are you doing? Oh, come on, Papa. Let's not go into that. Let's celebrate your birthday. I'm an actor. What kind of acting are you doing? I sing just like you sing. Only I sing in a theater. What kind of singing? Jazz songs, Papa. Popular songs. Well, right now I'm with a show called Broadway Parade. I'm going to open in about a week, huh? You'll be proud of me. You'll see that I... A jazz singer. Does it mean nothing that Robinovich is the name of great candors? Does it mean nothing that there is a God?   Get out of here! Geeky!  Tell him you're ashamed. Ashamed, Mama. Ashamed because I worked like a slave to get a break. Did I come home broke? Did I ask him for anything? I came home because I... Well, I... I thought you'd be glad to see me. Josely. I'm all right. The doctor told you, Josely. No excitement. I'm all right. Geeky, my son, tell him. Tell him you're sorry. Of course I'm sorry. About the jazz singing, Geeky. Mama, it's all I've got. It's all I am. I've got a life to live and I've got to live it my own way. I was away a long time and I can stay away longer. Geeky, Geeky. Let him go, Sarah. Let him go. Hal Jolson and Gail Patrick will return in a moment with act two of the jazz singer. Say, Libby, I hear you've added Van Johnson's autograph to your collection. How did you manage it without getting into a mob? Oh, I met him over at Metrogone Mayor on the set of High Barbarie. Oh, my, he and June Allison make a wonderfully romantic couple. Well, if I were collecting autographs, I'd go for Junes. She's really lovely and with plenty of talent to match. This looks like the most mature and dramatic role of her career. Well, I think any girl is pretty lucky to play opposite Van Johnson.  He makes that picture one of the most touching love stories you can imagine. Claught Jarman Jr. does a fine job of playing Van as a youngster, too. He's a second movie role, but that lead has a real future. And I can't imagine a more delightful old seafarer than Uncle Fad, the way Thomas Mitchell plays the part in MGM's High Barbarie. Well, if I can dream, I'll take June Allison. She's the kind of sweetheart no man could ever forget. You know, whether she's wearing a summer dress or a nurse's uniform, she always looks so immaculate, so fresh. You just know she's the kind of a girl who would never have a crooked seam or a run in her stockings. Well, the studio wardrobe department helps her there. They use luxe flakes for all the stockings and other nice washables used on a lot. And luxe is the very same kind of care that girls everywhere give their nylons. And for the very same reason that studios use it. Luxing cuts down runs and helps stockings keep their fit. In fact, a famous laboratory recently proved by a series of strain tests that stockings last twice as long with luxe. Identical stockings that were washed with a strong soap popped into runs very quickly. It was amazing the way the luxe ones outlasted them. Well, when you get twice the wear from a pair of stockings, that's just like getting an extra pair of stockings every time you buy one. Believe me, luxe is a wonderful help to any girl's stocking budget. That's why girls all over the country make luxing stockings a nightly habit. Back now to William Keeley. Act two of the jazz singers starring Al Jolson as Jack Robin and Gail Patrick as Mary Dale with Ludwig Donoth and Tamara Shane. It's a week later. In a theater on 44th Street, the cast of Broadway Parade has been rehearsing tirelessly all day, making last-minute changes, polishing routines, waiting excitedly for one of the greatest moments that show business can offer. Opening night in New York. Wait a minute, Harry. Hold on. Stop the music. That's the way we rehearsed it before. I know that's the way you rehearsed it before. It's a lively dance number. The tempo. How many times do I have to tell you? Pick it up. Okay, Mr. Stevens. Come on, boys. We'll try it again. All right, course, girls in the wings. Clear the stage and make your entrance again. Come on, now we're opening tonight. All right, Harry, from the beginning. That's it. That's more like it. You won't be needing me for a minute, will you? No, but if you're hungry, send Jimmy out for a sandwich. Don't leave the theater. I'm not hungry. I'll be around. What's the matter? Time for my number? Oh, no, I just thought I'd drop in your dressing room. I'm so glad you did. Where are you going out there? Stevens is tearing his hair out. He better be careful. He doesn't have much. You seem pretty relaxed. I was afraid you'd be nervous on your opening night. Me nervous? No. Only I can't go over the feeling that if I don't make good tonight, you're going to be the goat. You and Mr. Stevens, why, you've done everything for me. You know, if anything should go wrong now, I'd feel like jumping off a bridge or something. You're going to be a great success, Jack. Don't you realize that? And everybody's going to be proud of you. Not everybody. You see, my folks... What about your folks? Well, I quarreled with them. My people, they'd sooner I was a criminal marrying them beyond the stage. Do you think my family liked the idea of my being in the theater? They thought I was just another stage-struck deb. But I did what I wanted. And now, for when that curtain goes up tonight, take a look at the fifth row center. Isle to isle. Relatives. Yeah. And they'll brag about you and have every right to brag. But my father's never going to brag about me. What is it, Jack? What's happened? You wouldn't be interested, Mary. I'm interested in anything that concerns you. If you haven't realized that by now, you... Oh, well, it's time you did. Mary, I... I just want to help you, Jack, if I can. Say, what makes you so nice to me anyhow? I don't know. Mary? Mary, look, if I make just half the hit tonight that Stevens expects me to make, if I go over half as big as everybody seems to think I will, then maybe I can tell it to you, Mary. I want to tell you how wonderful you are and how much I love... Hey, Mr. Robin. Hey, Mr. Robin. Okay, Janine. Mr. Stevens said he'd be ready for your number in a minute, Mr. Robin. I'm coming. Jack, what were you going to tell me? It can wait, Mary. It's waited so long, it can wait. Keep smiling at trouble for trouble's a bubble and bubbles will soon go away. Sadness. Weed weary of life like the violets that doze needs a chill winter snow and that life is what you meant. We'll rehearse the third act opening in ten minutes. Oh, just a second, Jack. Yeah, Mr. Stevens. Jack, you sing your songs tonight as well as you've been doing in rehearsal, and we'll be packing them in here for six months. Six months? I just bet Jack the short run a year. Well, I'm going out in front to check the box office. See you later. Oh, Mr. Robin. Yes, Jimmy. There's a stage door asking for Jakey, Robin. He said his name was Udelson or something like that. Udelson? It can't be. Jakey. Udelson, well, what are you doing here? Jakey-la, Jakey-la. I never put up knowing you. Over the trouble, I had to get in. First, I asked for Jakey Rabinowitz. I forgot your mama told me to ask for Jakey, Robin. Oh, pardon me, Mary. I want you to meet Mr. Udelson. This is Ms. Dale. How do you do? How do you do? Thank you. Mr. Udelson's an old friend of the family. Can't Rabinowitz and me be like this. Can't Rabinowitz? Yeah, that's my father. And he happens to be the finest candor on the east side. You never heard of cantor Rabinowitz? Oh, I'm sorry, I never have. Well, I have to make a change now. I'm glad to have met you, Mr. Udelson. By me, it's all right, too. Well, tell me, Udelson, what brings you up in this neighborhood? Jakey, your papa. He's sick. He's sick? What's the matter with him? Has he got a good doctor? The best doctor in New York. Dr. O'Shaughnessy from the east side hospital. Jakey, my boy. Tonight at sundown starts the day of atonement. Yum, keeper. And this is the first time your papa, he wouldn't be able to sing in the synagogue. So we had a meeting from the committee. Who should sing in his place? You, Jakey. Me? Sing in a synagogue? Your mama says what a wonderful thing it would be for your papa. It sure would. He kicked me out of the house only a week ago. A son is a son, Jakey. He could be kicked out 20 times. Udelson, it's impossible and I can't do it. Well, you don't forget the words, Jakey. They're prayers. What a boy learns he never forgets. Who said I forgot him? But don't you understand, Udelson, the show is opening tonight. What's the matter with you, Jakey?  Your mama is waiting. I should bring her the answer. Udelson, look. This is business, show business. Business? Making money? No, no. Well, I didn't mean that exactly. But the first thing you learn in the theater is that the show must go on. It's like a religion, Udelson, like soldiers in the army. Jakey. Now, wait a minute. These people are giving me a great chance. Mrs. Stephen, the producer, Mary Dale, that girl you just met. Well, I just can't let them down. You can understand that, can't you? I can understand that your mama is counting on you. Well, I can't do it. I'm sorry, Udelson. Sure, Jakey. All right. Let's show not over to Cusimo. Thank you. And a happy new year to you, too. Look, he remembers. What did Jakey say, Mr. Udelson? Tell me. Here. It can come, Mrs. Rabinovich. But his papa. You told him that his papa is sick. I told him. His show. It's like soldiers, he says, like religion. A show is like religion? Singing a jazz song is like singing in the synagogue? Mrs. Rabinovich, please. I want to see him. You take me where he is. He's no use. Please, all his life, Jakey said, he would do anything for his mother. And now I ask him. Oh, come in, Mary. Almost ready. Stevens wants us to run through the third act. Well, I'll have this make-up on in a minute. Look out. You're getting that burnt cork all over your shirt. And I'm kind of all thumbs tonight. All of a sudden, I don't know, and I was the guy who said I wasn't nervous. Jack, what's worrying you? Huh? That man who was here before. What did he want? Oh, nothing. He brought me some news about my father and mother. That's all. Your father. I've been thinking about that, Jack.  The son of a canter. Mary, maybe it would be best if you did get me out of your mind. Maybe it would be better if I got you out of my mind. You see, since Udallson was here, I kind of got a different slam on everything. You and me, Mary, we're far apart. We're worlds apart. Then why did you say you loved me? Because I couldn't help it. You see, love means marriage to me, and marriage means a home in kids.    I'm sorry. I shouldn't have said it. I've no right to say it. Udallson came here to tell me that my father... You got to forget it. Whatever it was, he told you. I can't forget it.  And tonight is the eve of the Day of Atonement, the most solemn holy day of the year, the big day of every canter's life. You know what a canter is? Well, he's the mouthpiece of the congregation. He sings to God. My mother sent Udallson to ask me to sing in my father's place. What did you tell him? I told him I couldn't go.  Sometimes when I'm alone, the old songs from the synagogue start wailing in my ears. And I... I cry. I get down on my knees and I talk to God in Hebrew. I ask him. I ask him why he didn't make me like my father. Why he didn't make me a canter, too. You... you'd want to be a canter? I... I think I would. Then why didn't you go with Udallson? Because you're like me. Like Stevens. You've got Broadway in your blood. Jack, I know what you're going through. No, no, you don't. You couldn't. Mary looked my father sick because of me. He said a week ago he never wanted to see me again. But I can see him now eating his heart out ever since. What can you do about it?  No. Don't you care about your career on the stage? I care. It's the only thing in the world I want. More than... than me, Jack? Yes, even more than you. That's what I've been wanting to find out. Don't you see, Jack? I don't want you selfishly. I want to see you live your own life. If the thing you want most is to be a black-faced minstrel, then don't let anything stand in your way. Not your parents, nor me, nor anything. Oh, Mr. Robin. Well? Mr. Robin. Now, man, he's back again. You do, son? Yeah. There's someone with him. A lady. Jiki. Jiki. Where's Jiki? Mama, come here. This is me, right here. Right here, Mama. Jiki, but... but it's saying to you that... that black on your face... Ha! It's only burnt cork, Mama. Jiki, I told her the same way you told me, but she says I should bring her anyway. Your papa is sick, Jiki. He's lying in bed. His face is white. Mama, sit down, please. All the time he's talking about you. He was saying to me in such low voice, I could hardly hear him. Maybe my son will sing tonight in the synagogue. He really said that, Mama? He said it. The way I'm sitting here this minute, he said it. Jiki. Jiki, your papa is dying, maybe. And God will ask him, is Jiki singing tonight? How can he say, no, he's singing in the theater. Jiki. Oh, my son, come with me home. Mama, I can't. I can't do it. Jack, get ready for your number. All right, Mary. Mama, look, I haven't time to tell you. I gotta rehearse my song. Jiki, your papa said, ask Jiki he should forgive me. He's doing things from sin, but he don't mean it. Jiki, the way I'm sitting here, before God, I swear, that's what he said. I believe you, Mama. I believe you. Come on, Jack, please. Yes, I'm coming. Mama, look, if you only knew how everyone is depending on me, they're making me a star. Mama, wait here. Utilson, please talk to her. Wait for me. Don't forget, Mama, wait. Where is he? Where's Robin? Here I am, Mr. Stevens. Well, get out there. You're holding up the whole works. Mammy, my, your little rolling stone that rolled away, rolled away. Mammy, my, your little rolling stone is home today. Day to stay. I want to see your smiling face. Smile, a welcome smile. I want to feel your fun embrace. Listen, Dixie Melody, from the heart, oh, I don't let Mason Dixon laugh. Virginia, all the soul-assie Melody, Mason Dixon, la, sing it for me. And old Blackjaw, a million baby kisses. The Swanee River. Excuse me, will you? Wonderful. Mary, I, my mother, I gotta see her. She's, she's not here, Jack. What? She's gone. She heard part of your song and, and then she... She left. She's ashamed of me. No, Jack. No. Yes. ashamed of her own son. I don't blame her. This is CBS, the Columbia Broadcasting System. Three of the jazz singers, starring Al Jolson and Gail Patrick, in a moment.  Well, J.W. doesn't speak a word, but Joan Winfield, our guest tonight, tells me that those initials have already proved lucky for us. Because they're the same as Jane Wyman's, Mr. Keely. It started when Jane was on location filming Warner Brothers' new thriller, Cheyenne. Filming some of those scenes in the Arizona mountains was a real feat. The stagecoach, Rick, is one of the finest I've ever seen on the screen. I thought Dennis Morgan was wonderfully believable as a two-gun gambler hero. You know, Janice Page and Bruce Bennett, too, helped make Cheyenne a first-rate Western. But tell Mr. Kennedy here how Jane's trip to Arizona resulted in a beautiful gift for you. Well, a fan club in Flagstaff gave Jane some beautiful hang-made lingerie, as a gift or monogram J.W. The lingerie didn't quite fit Jane and couldn't be altered, so. Jane decided it could stand for Joan Winfield just as well? That's right. I hope you'll take good care of it. Oh, you can be sure of that, Mr. Kennedy. I want to keep it lovely for a long, long time. And you'll be interested in this. Jane's maid advised me to use only lux flakes to care for it. That's what she uses for Jane's things. Well, then you needn't worry about it staying lovely, Ms. Winfield. Actual tests prove that underthings washed the lux way stay lovely three times as long. When identical slips in the 90s were washed the wrong way, they looked faded and drab in a surprisingly short time. The difference in color between them and the lux slips was amazing. Well, lux would have been my own choice anyway, because I've used it for years. I know it's safe. That's the way thousands of girls all over the country feel, Ms. Winfield. Year after year, they've trusted their nice things to lux, found lux care wonderfully gentle and safe, so that colors stay lovely far longer. Thank you for coming tonight, Joan Winfield. We hope J.W. will continue to bring you luck. Here's our producer, William Keely. Act three of The Jazz Singer, starring Al Jolson as Jack and Gail Patrick as Mary, with Tamara Shane and Ludwig Donner. The theater on 44th Street is all but deserted now. The final dress rehearsal is over, and the cast and stage hands have gone out for a much needed breather before the opening night curtain goes up. Only Jimmy and Jack Robin have remained. Jimmy guarding the stage door, Jack at a telephone. Hello? Hello, Udilsson? This is J.K. Look, I've been trying to get you for over an hour. Listen, Udilsson, I got to speak to my mother. Put her on, will you? What? Well, where is she? At the hospital. Is he very bad? All right, look, you meet me there in 10 minutes. 10 minutes, I'm on my way now. Jimmy, Jimmy. Yes, Mr. Robin? Jimmy, listen, my father, he he's sick. Tell me, Stevens, I had to leave. Leave, but you can't. Please, do what I tell you. I'm taking a cab to the East Side Hospital. East Side Hospital. Tell Stevens he can reach me there or at home. 121 Hortius Reef. I better get a pencil. No, no, no, wait a minute, wait a minute. Just tell me, Stevens, I won't be able to go on tonight. But, Mr. Robin? Well, he's got to get somebody else. I'm finished. Go in, doctor. Tell me, will you? Your father's very sick. He took a turn for the worse a few minutes ago after your mother left. Can I? Can I speak to him? Yes. He's been asking for you. For me? Asking for me. You'd better go right in. Takey, here, Papa. Here I am. You came. Sure, sure I came. You didn't think I'd stay away, did you? Takey, what time is it now? It's, oh, you shouldn't think about that, Papa. Is the sun gone down? No, no, no, Papa, not yet. Soon begins the service, the day of atonement. And I won't be in the synagogue. For the first time in five generations, a Rabinovich does not sing to God. Papa, please, you mustn't. You'll be there again soon. There'll be other days. Who? Who is going to sing tonight? Don't worry. There'll be someone, and it'll be a Rabinovich, too. I'm going to sing, Papa. I'm going to take your place. Takey, my son. Papa, I'll be right back. I got to speak to Utilson.  Tell her to get me a praying shawl and a cap, and have it ready for me. Takey. And tell her I'm going to sing tonight in the synagogue. I do not understand. You come here to see Jakey? I just told you Jakey's at the hospital. We didn't come here to see him, Mrs. Rabinovich. I'm a friend of Jack's. I'm in the show with him. Mr. Stevens here is the producer of the show. Jakey tells me you are good to him. We came to talk to you. This is Jack's big chance, Mrs. Rabinovich. You can't let him pass it up, not for anything. Already, Mr. Utilson has told me that Jakey will sing tonight. And across the street in the synagogue, the choir is waiting for him. But this is important. Making his Papa happy, that is not important. What is it fair to let it stand in the way of everything he cares for? Mrs. Rabinovich, I love your son. And I... You love him? That's why I want him to go to the theater tonight. It's the greatest opportunity he's ever had. Maybe the greatest he ever will have. Mrs. Rabinovich, when was the last time that Jack attended the synagogue? When he was confirmed. He sang a solo in the choir so, so long ago it was. And that was the last time he went? He ran away from all this, didn't he, Mrs. Rabinovich? Why are you asking me like this question? Because I want your son to be true to himself. Do you suppose the canter would want Jack to sing? Unless he sings with his heart? I know Jack. I know what he's saying to himself. I don't want to sing in the synagogue. But unless I do, my mother will be heartbroken. My father will die. And that's why I'll do it. No, no.  Oh, Mr. Stevens, we'd better go. Can't you see how we're hurting her? Mama. Jackie. You'd better get ready, Mama. The service is... Mary. Mr. Stevens. Jack, I guess you know why we came here. There's still time to get back to the theater, Jack. Jackie, I want to ask you something. Yes, Mama? I want you to tell me the truth. I want you to do only what is in your heart. Answer me.  Because you want to be in the synagogue on the day of atonement? What is your heart far away in theaters with jazz music? Mary, Mr. Stevens, what have you been saying to her? That we're here for your sake, Jack. You told my mother that? I did, Jack.  Tell me that you are true to yourself and staying here an hour ago. Say that you lied to me when you said that the only real thing in your life was your career. Well? Mama, get ready. We'll be late. Yes, Jackie. Yes. There is your answer. My son's answer. Jack. I'm sorry, Mary. Why are you doing it, Jack? Why?  The show's built around you. It can mean everything in the world to you. I'll tell you why. My father died 10 minutes ago. Oh, Jack. Jack, I'm so sorry. The day of atonement. It is for me. Jackie, Jackie, I'm ready. What's the matter? You are crying, Jackie. You ain't changed your mind. No, Mama. I'm going to sing. I'm your son, Mama. I'm the son of my father. I'm a can, you see? Canor of Benevits. God's going to hear me sing called Nidra tonight. Jackie, your papa will be so happy, so happy, Jackie. Jack, is there anything you want me to do? No. Just root for me to get over like you did before. I'll be all right.  Goodbye, Mary. There goes your blackface comedian. Listen, they're praying in the synagogue across the street. He'll never come back, Mary. He'll come back. He can't stay away. It's in his blood. You can postpone the opening. Say that he's sick. Say that I'm sick. I can't wait all my life for Jack to make up his mind. But you've got to wait.  The taxi's downstairs, Mary. We might as well go. No, no, not yet. Wait. That's him. Yes. A blackface comedian, singing to his god. The curtain falls on the career of Jack Robin, the jazz singer. The quiz program. I'll give you a tryout on some famous lines of poetry. OK, quote. Pale hands I love beside the shallower. That's from the Kashmiri song. But I don't remember who wrote the words. Most people don't. Lawrence Hope was the name. How about the white wonder of dear Juliet's hand? The clue's right there. That's from Shakespeare's Romeo and Juliet. This one is tougher. At your, she cried and waved her lily hand. You've got me there. An English poet, John Gay, wrote that in the early 18th century. The lady was known as Black Eyed Susan. Did you notice, Sally, that all of those lines emphasize the lady's beautiful hands? You'll find many examples in poetry and song. And that's not surprising, because every man admires soft, smooth, feminine-looking hands. That's why it disturbs a man when his wife lets her hands go. Let's them get red and rough. It hurts his pride, because it seems to be his fault she has to work so hard. But it's so easy to get rid of dishpan hands nowadays, Mr. Kennedy. Why, all a woman has to do is change to gentle luxe flakes for dishes. That's right, Sally. And scores that women have proved by actual tests that changing to luxe for dishes really does wonders for their hands. So ladies, if strong soap has made your hands rough and red, simply change to luxe for all your dishwashing. In just a few days, you'll see them start to improve. It won't be long before your hands are soft and smooth again. Your husband may not write a poem about them, but you can be sure he'll notice the change and be mighty proud of you. And here's good news for your budget. Luxe makes such rich suds, ounce for ounce, it washes up to twice as many dishes as any of 10 other leading soaps tested, and no creams or lotions to buy to repair dishpan damage. Isn't luxe a thrifty way to keep hands lovely? Here's Mr. Keely at the microphone. I know you're all eager to have Al Jolson and Gail Patrick back again. So here they are at the footlights for a curtain call. I will assure you both how much we enjoyed tonight's performance. Well, thank you so much, Bill. It was a lot of fun doing the jazz singer with you and Al. And believe me, you gave me a very charming leading lady, Bill. Thank you. And a swell supporting cast with Ludwig Donath and Tamara Shane. Ludwig and Tamara were both so wonderful in the Jolson story. They sure were, Gail. You know, Al, this takes me back to the old Wintergarden days in New York, when they used to pack the house to hear you sing April showers. That sounds just like a music cue, Bill. Could be. Why not sing it for us, Al? No, no, Bill. No, no, no. Not April showers. I got a reason for that. Why not, Al? It's such a great song. Sure, I know it is. Louis Silver as a conductor wrote it. But I sang it on Jack Bennett's program in New York two weeks ago, and he claims I'm responsible for all the rain they've had in New York ever since. And I don't want to start in rain in California. I came here for sunshine. Try and get it. I'm afraid our audience will be disappointed, Al. I'll tell you what I'll do, Bill. Will you settle for a new song I've just written, or sort of a follow-up to the anniversary song? I'll leave that up to the audience. Well, Al, it looks as if they can't wait to hear it. All right, then. If Louis Silver and the orchestra will accompany me. Wait a minute, Al. What's the name of this song? The title is All My Love, and this goes for all the listening audience. Take it, Lou. Here's for you alone. It will still keep growing when most other loves have flow. Here's for you. It was just created, my dear, to be shared with you. As the years unfold, they can only bring just the constant joy of an endless spring. And our dreams untold, that were so ideal, will all fade as we make them green. By prayer, by the star. Audience appreciated it. Well, thanks both of you. And Bill, it's time, don't you think, to give us the good news for next Monday night thing, you know? Indeed it is, Al, and it's very good news. Because we're bringing our audience another great Broadway play that made an equally great movie.  And our stars are Dennis Morgan, Jane Wyman, and Alexis Smith.  A play I'm sure our audience will never quite forget. Sounds great, Bill, but don't you think it sounds a little like Jesse James? I just put that in for a gay. But I know the listeners are going to love it because I'm going to sit in the audience myself next week. Good night, Bill. Good night. And thanks for a memorable evening. For Brothers Company, the makers of Luxlakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Dennis Morgan, Jane Wyman, and Alexis Smith in One More Tomorrow. This is William Thiele, saying good night to you from Hollywood. Did you use any fat in cooking today?  I hope you didn't throw it away. Because that used fat from your frying pan or roaster is worth money. Dealers are now paying more for used fats than they did last year. So save every drop of used fat and turn it in now for cash. Used fats are needed to make soaps and other things you want. Gail Patrick is soon to be seen in Jerry Fairbanks' production, a day at the Enchanted Cottage. Heard in our cast tonight were Carlton Cadel as Stevens, Bill Johnstone as Judelson, Eddie Maher as Jimmy, and Charles Seal, Bobby Ellis, and June Whitley. Our music was directed by Louis Silvers. This program is rebroadcast to our service men and women overseas through the worldwide facilities of the United States Armed Forces Radio Service. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear one more tomorrow with Dennis Morgan, Jane Wyman, and Alexis Smith. Why not tune in to Joan Davis every Monday night over most of these stations?


One of my younger cousins wanted to start a blog at one point and she did not think she was beautiful because she was brown.  I wanted her to see how powerful showing herself to the world could be and seeing what other people see. My name is Whitney Mitchell, and by day I work as the director of social media at a boutique marketing agency, but then outside of that I'm a photographer and I'm a collaborative artist. Tumax always has been rooted in music, art, closing kicks, so that's where the max comes from. My younger cousin and I started with a Twitter handle. Two weeks later she was like, I don't wanna do this. And I didn't have a Twitter handle, so I took it. From there I started really wanting to take pictures of my friends, specifically that cousin. There are so many layers to them that I love expressing with the textures, the backgrounds and the walls and foliage that comes down in our pretend fall. Just making sure that my friends can see how beautiful the city is around them, with them in it. I was born and raised on Staten Island. I lived there until I was 17, and then I moved to Baton Rouge, Louisiana, and I ran track at LSU. I mean I had this really poetic career ending injury. It made me realize that I had to take life seriously and that I wasn't just one thing, that I had more layers and more to give to the world from there. I moved back home, and then I moved back to New Orleans for a dude, and then that's all she wrote. I was doing work in the community, and so I met a lot of the people who have been born and raised here, who are never going anywhere, don't wanna go anywhere, and so prideful about their city, that it made me realize I had tapped into something that was super special and I couldn't just leave it. I haven't given New Orleans back that freedom that it gave me. When I'm behind the camera, there is no expectation of what I'm gonna create because nobody knows what I'm creating until they see the end product. People allow me a permission that they sometimes don't allow themselves. I never actually wanted to make a livelihood over my art, I just wanted to have it so that I can release and remind myself that I was human. It transitioned from being art to content, which I hate. That's when I was like, oh well, this could be another arm to pay off my student loans. I'm forever thankful because I feel like these layers that we pull back allow us to discover new people and new versions of ourselves and new avenues to make money. I often, when I was growing up, felt like that people performed as characters, whereas here, people are a character. There's a flamboyant spirit that is ushered through everybody here, and it's almost an expectation like, are you letting go? It's Mardi Gras. That is the one time in the city that I feel like everybody commits to letting go. But for some reason, the spirit gets all of it in my bones and I just like, go crazy. The spirit of New Orleans is how are you celebrating amongst your peers? How are you communing with your tribe? It's easier in New Orleans because we have the space for it and we bring out the best in each other. Everything is community here. When people celebrate, it is with the community. When people are grieving, it is with the community. That is what keeps me rooted in this city. We're in a time now where everybody is experiencing all different types of cultures, even within the black community. And so it's my responsibility to make sure that I am not coming here and impeding on the avenues of growth or expression that were built before I got here. I've only been here only for 12 years. To some people that sounds like a long time to New Orleans, that ain't nothing. It's a drop in a bucket. I got a long way to go before New Orleans embraces me as somebody that champions the city. My role right now is somewhat of a gateway to connecting to the people who really contribute to the fabric of the city.


Hey there, Chad Banger here for High University Libraries. If you're doing research on an international market, one way you can do research is to go to different countries and do things like look around their house, see what they wear, see what they eat, see what they drink, go to work with them, see what their work conditions are like, things like that, even open their refrigerators. But the easier way to get research on an international market is to use Passport GMid. This video is going to show you how to use the Consumer Lifestyle Reports in Passport GMid to better understand the broad overview of an international market. So here you go. So when you get to Passport GMid, to find the Consumer Lifestyle Reports, you'll go to countries and consumers, and just click on consumer trends and lifestyles. And this will take you to the home page where you can basically select your country for your consumer trends and lifestyles.  And so if we want, we can choose a country. I'm just going to choose Germany here. And when you select a country, you'll notice that the bar changes to blue. Just click Go there. And it will take you into the Consumer Lifestyle Report for the particular country that you chose. And so here we have, it starts off with some general consumer trends. And you can see it gives you an outlook and impact for what's going on in the main trends areas there, okay? So this is just basically the first page of the Consumer Trends and Lifestyles. You can see how much information is there just in that one section there. Okay, so what you can do is go over here. And that's just in the Consumer Trends section. And you'll see there's different segmentation things for babies and infants, kids, teenagers, and teens.  You have stuff on work conditions and things like that. Eating, drinking habits, smoking, personal appearance, fashion, fashion trends, health and wellness, leisure, recreation, consumer technology, transport, and money, all kinds of good information. And particularly if you just don't want to get a broad overview of the international market, want to explore the opportunities that are there. This gives you some of the broad information that you can find for that information there. You can also download the report as a show-hold report here. And then download the whole thing if you want to as a PDF as well. So it's a pretty good information there. As a PDF, you can kind of see the extent of the information here. I'm just going to kind of scroll quickly and just kind of show you highlights of some of the information here in the table of contents. And you can see this thing is 74 pages long. So really great place to get an overall analysis of a particular international market. There's all kinds of statistics and things like that. So a great, great resource for getting a broad overview, broad perspective of an international market or the consumer market, consumer lifestyles in another country. And just imagine, get all this data without having to go to someone else's country or look in someone else's refrigerator. Hopefully this helps you. If you need more help, look for the contact link on the business blog. I'm glad to help you anyway I can. Take care and have a great day.


All right, so a little bit of good news, at least from my perspective. I've seen stories about this, and I've seen this guy's books being advertised. I think I bought it. I haven't read it yet, but I've bought the book. And then is this idea that we now have the technology to at least make mice be younger, that is at least certain organs within the mouse. So the scientist by the name of Sinclair at Harvard says we now we know that when we reverse the age of an organ like the brain in a mouse, the disease of aging then go away, that is disease of aging related to the brain. Memory comes back, there is no more dementia. If you do that in muscles, muscle capabilities. So the way he frames it, aging, is the fundamental disease, the underlying disease that really facilitates or makes possible all other diseases. The cancer is a disease of aging. The dementia is a disease of aging. Many, you know, heart disease is a disease of aging. These are not diseases suffered by the young. These are diseases that as our cells, as our bodies age, they become susceptible to. If we can reverse the process of aging, if we can revitalize the cells in the various parts of the body, we can get rid of disease. And we could get rid of the things that kill us. So in his lab, we had two mice. One mouse is the same age, you know, in terms of the clock, I guess. But one mouse is the picture of youth and one mouse is gray and feeble. The brother and sister, they're born in the same litter, so they're twins in a sense. And the only difference is that ones, genes, were altered to age faster. So they age faster. Now the argument he makes is if you can alter the genes to make them go faster, to age faster, why can't you alter them to age slower? But more than that.  In other words, they were capable of developing into any cell in the body. In other words, in a sense, he made them young again. He made them so that they started over. He won the Nobel Prize for their discovery. Now, the problem was when you switch back, when you did this to cells, they lost their identity. Some muscle cells became bank cells that could become anything. And the real challenge is to turn a muscle cell into an embryonic cell that's going to turn into a muscle cell. So, and that is what they've now succeeded in doing. In a study published in 2016, and I'm reading from a story in CNN of all places, in a study published in 2016 by researchers at Salk Institute in La Jolla, California, they showed that you could reduce the sign of aging, could be expunged, in genetically aged mice, that were exposed for short time to the fact as Yamanaka discovered can do, can cause the cell to reverse, to become a stem cell basically. And they could do this without erasing the cell's identity. Now, the problem with what they did in 2016 is it turned out that they could do this for a short time, but then the cells became cancerous. And created cancer tumors, so of course, that was bad. But what's happened now is that in Sinclair's lab, a geneticist by the name of Yunsheng Lu, obviously Chinese, that's a very Chinese name, has managed now to do the same thing without the cancer cell developing, without the harmful effects. So he takes these factors and he puts it into a virus, a harmless virus, and uses the virus to deliver these factors to the cells. In this case, he did it to a mouse's, an old mouse's eyes. And it's pretty amazing, pretty amazing. They switch on, I'm not going to get into the technicalities, I don't really understand them, but they switch on the genes. And it's really cool. The eyes become younger. So you can actually turn certain cells in mice backwards, and backwards in age, and you can make yourself, you can make those cells younger. Now the question is, can you do the same thing with human beings? And more than that, can you do the same thing with the whole body? And that's the next step in the research, is not just to take one set of cells, not to tell muscle cells or eye cells or brain cells, but all cells. And can you do that with a body in general? And that's, I guess, the next step to work on with mice. And then the challenge is to do it with human beings, to do the research in human beings. I found this interesting that Sinclair says that it's going to be years before human trials are finished. I think it's going to be years before they even start. Because they need to get permission to do the human trials. They need to be done, and it could take years to do them. They need to be finished, they need to be analyzed. If they're safe and successful, they need to be scaled. And all of that needs to go in front of the FDA to get a stamp of approval on only then will we get this. So here's what Hopper Campbell, you should be mad about. You should be mad about the fact that the technology might exist in your lifetime. Or let me put it differently. The technology is very likely to exist in your lifetime. Maybe it would even exist today, if not for the FDA, if not for the bureaucracy, and the risk of version, and the slowness, and everything else that's associated with the FDA. Whoa, Troy. Troy has been on a supportive rampage recently. Thank you, Troy. Really, really, really appreciate that. That takes us basically to within $36 of our goal. So Troy just gave $500 Australian dollars. So that's really fantastic. So it's exciting. It's amazing. It's depressing that we've created bureaucratic entities to make this science, this technology that will allow us to live for a long, long time. So difficult to attain. Thank you for listening or watching the Iran Brook show. If you'd like to support the show, we make it as easy as possible for you to trade with me. You get value from listening. You get value from watching. Show your appreciation. You can do that by going to iranbrookshow.com. Slash Support by going to Patreon, Subscribe Star Locals, and just making an appropriate contribution on any one of those channels. Also, if you'd like to see the Iran Book Show grow, please consider sharing our content and, of course, subscribe. Press that little bell button right down there on YouTube so that you get an announcement when we go live. And for those of you who are already subscribers and those of you who are already supporters of the show, thank you. I very much appreciate it.


Join me and my friends Jack and Diego in our new series, Play It Forward, premiering September 10th. We are going to do something about this. We're not going to let it change what our son can do. Did you notice all the seizures last night? They said he was having one a minute. I want to invite you out to train with us, and then we're going to take you to a game.


Hi everybody it's Sam at Mixed Up Craft, thank you for watching my tutorial today.  So I've recently received the new release by Dovecraft, this is the Pastels and the Brights and there's also the Sentiments. So I will link everything in the video description box below. So in each of these packs you get 20 rolls and each is three meters long so you've got lots of washi. So I'm going to first of all show you just how to decorate eight envelopes. This is a nice way to make it match your card, just brighten up an envelope, it's always nice to see that drop through the letterbox. So I'm just pulling out different rolls, just things that are going to work well next to each other. The Brights is my favourite out of the three just because I love all the colours. This one also has some nice foiling through it, you can see it on the hearts there. So I'm just finishing off this one and it just gives a real nice, I just, yeah just a lovely finish, I really like this and I do do this a lot on my envelopes or on parcels that I might send to people. So it's just, it is, it's just a nice little decorative way to tie everything together. So I'm just cutting off the edges there, it is low tax so it doesn't ruin your scissors, you can just wipe them at the end and yeah there you see a nice, yeah a nice batch of your envelope and then on the front I'm just going to add a strip of the one that says happy birthday on it. So you do get a couple of sentiments in all of the the packs as well or in the Brights and the pastels and like I said the other one that is sentiments is just full of really good sentiments. So there's that envelope finished and I'm really pleased with how that one come together and then I've also done one using the pastels. So again exactly the same process and yeah I think this is on the five by seven envelopes, so on the front of that I finished it with special delivery which I think is a really nice one and again they just, yeah look there they are two six by sixes and two five by sevens and yeah it's just a fun, if you're kind of stuck in a rut sometimes you just want to do a bit of crafting, things like this are perfect because you need your envelopes, so just sit down one day and just go and decorate a load of envelopes. So I think they look really really fun and I love the foiling throughout, I think it looks awesome. So yeah that's one idea. So the next is to make some cards to match those lovely envelopes and this one's really fun. I have done this numerous times and this is just creating candles with the washi tape. Now these washi's are thinner so they work perfectly for this kind of scene. So you just go along different kind of heights and just stick them all there and then I'm just bringing in a brush pen here and just creating the flames and then from there I will then add just a little black line to create the wick and then finish it off with a little happy birthday sentiment and these are just so quick to make. So if someone literally does just say to you I need a quick birthday card these are wicked and they're so easy to do. You can do them all with the same color wash sheet, it doesn't have to be different color but again that foiling and now with that envelope I just think it looks really really nice and very very easy. These are great ones to do with you know your friends and to do with the children it's perfect. So now I'm going to do another card so this one is a six by six card base. Again just going through using the rights because it is my favorite and I'm just going to start lining up different patterns there. I tried to do like a whitish one against the pattern so you can kind of see that and then kind of repeat it. So I'm just covering I think it was a five and three quarter by five and three quarter piece of cardstock and just peel that off my mat and again just trim off the excess there.  Then I have trimmed it down and now just backed it with some foam adhesive just to give a little bit of dimension and something different to the card.  Again very very quick but I think it really does yeah stand out. Then I'm doing this one here is using the pastels and I'm actually die cutting just loads of different butterflies on that kind of washy background that I've created.  I did have to crank it through a couple of times just because obviously it is going through that washy and a heavy weight cardstock and then create a card with them so again it just ties everything in. I've done a strip of the washy just underneath that sentiment. Those sentiments are also the new release by Dovecraft and again I will link them below really good sentiments I love that and then just sticking them all in a kind of little cluster and finishing off with some flat black pearls. Again just giving you ideas and different uses of washy. Don't just think you have to stick it or use it maybe on some packaging or something. I also wanted to kind of mark my tools so I've just wrapped some washy around my kind of bone folders there and also some styluses that I like to use and yeah just again just to try and give you some fun ideas and I think they look great so there's everything all together. I also done that bunting one in the middle exactly the same you just wrap the washy tape around the twine and then just stick it onto the top and you can see them all there now in better lighting and you can see that bunting one a bit better. That's really fun to do as well it's so easy just kind of stick it back on itself and yeah I think they look great so I hope this has inspired you hope it's encouraged you to go and get your washy tapes out go and make some lovely cards and projects and yeah until next time I will see you soon thanks for watching. Bye!


Win or go home. It's as simple as that this time of the year as prep boys hockey playoffs continue on. Saturday, Section 7-2A's reigning champ look to avoid the latter as they took on third ranked Elk River Zimmerman. A win for the Thunder Hawks would put them in their second straight section championship, third period. Thunder Hawks trailing by two, but Gavin Hain gives them some life. Finding the back of the net on the power play lead cut to one. 11 seconds later they even things up. Lake McLaughlin fires the race shot home and we are tied at two. The Elks would take the lead with four minutes to go, but 25 seconds later Thunder Hawks answer again. It's Gavin Hain once more. His second ties it up, but he wasn't done a minute later. Micah Miller finds Hain from behind the net for the goal and the hat trick. Thunder Hawks go up 4-3. They add an empty netter. They win 5-3. Here they are after the game. They just played. They just competed. They battled. I mean, they didn't stand around and watch. They got the puck. They moved their feet. They had passion. They played with drive and commitment. They did everything that we talked about. Why they didn't for the first two periods, I have no idea. You know, I just told our team that we need to get it going and we're not going to be quitters. We're going to go outward or go out fighting and we got to pick it up. We're never out of it. We never think we're out of it. We have the ability through our three, four lines that we can score out of many goals we want. We put our minds to do whatever we want, so we're never out of it. We never thought that. If you've enjoyed this segment of Lakeland News, please consider making a tax deductible contribution to Lakeland Public Television.


Welcome to Microterrorz, scary stories for kids, where it's always the spooky season, full of chills, thrills, and spine-tingling spooks. Microterrorz are family-friendly frights for those ages eight and up, and while our stories are for younger years, we are still talking about things that go bump in the night, and some children may not be able to handle what others can. Parental consent is recommended. Now, for tonight's Microterrorz. The Falc Monster The following story is based on events that took place in Falc, Arkansas in early May of 1971. Some of the details have been slightly altered for storytelling purposes. Elizabeth Ford lay on the couch asleep. The window beside her opened only a couple of inches to allow the cool night air to flow through her home. During the day, the mugginess of living in the swampy area known as Boggy Creek took its toll on the house, and nighttime was the perfect opportunity to let the cooler air in and relieve the house of its humidity. Normally, though, she'd have the windows all open, and not just one cracked open a couple of inches. However, things hadn't been normal in Boggy Creek lately. Something was out there. Something large was stalking the swamp. She and her husband, Bobby, had heard it a week earlier, and then again only a couple of nights ago. It made harsh, grunting noises as it lurked around their home at nighttime. It took heavy footsteps, leaving large, three-toed imprints in the mud. Elizabeth was convinced it was a bear until she saw the footprints herself. Bears don't leave tracks like this, she thought, when she and Bobby investigated their property a couple of mornings earlier. Bears don't have only three toes. Nothing in the area had only three toes. But on this night, with the growing anxiety of it returning to their property at any time, Elizabeth and Bobby remained vigilant. They'd sleep in shifts in case the mysterious creature returned. Elizabeth was asleep on the couch, letting the cool air from the window blow in on her. In the next room, Bobby sat at the kitchen table with his brother Don playing cards by candlelight, each of them with a hunting rifle at their sides. They played their game in silence, both wary of what lurked out in Boggy Creek. Only the soft, musical chorus of crickets and bullfrogs played throughout the house, amplified by the open window in the next room. As Elizabeth restlessly slept, her nose caught a hint of something foul, a skunk? No, trash maybe. She sniffed and the odor became instantly more wretched. She opened her eyes and sat up, smelling the pungent odor as if it were right next to her. She turned and faced the open window. Two red eyes burning like hot coals stared in through the blackness behind them with a loud harsh grunt. A massive hairy arm crashed through the screen and glass of the window, grabbing at her. Elizabeth screamed, trying to scramble off the couch, but it was too late. The creature wrapped its hand around the back of her neck and pulled her toward the window, its grip tightening the more she struggled. Elizabeth kicked and screamed until she saw Bobby and Don race into the room with their guns drawn. Bobby rushed to his wife and tried to pry the creature's hand off her neck. Don ran to the window and pointed the barrel of his rifle out through the ripped screen. He pulled the trigger. The shot echoed through Boggy Creek. He fired again, this time startling the creature enough where it loosened its grip. Bobby was able to pull Elizabeth away and have her hide in the living room before returning to the window. Where is it? Bobby shouted to his brother. It's running away. Don said with a smirk, we scared it. Bobby looked out the window, trying to pierce his gaze through the thickness of night, but all he could hear were the creature's heavy footsteps and trees rustling. That's not good enough, Bobby said to his brother.  After making sure Elizabeth was safe in the living room, Bobby and Don left their small swamp house, rifles and flashlights in hand. They ran around to the side of the house where the creature had fled. Look, Don said, aiming his light on the ground. There were fresh footprints in the mud, retoed and larger than any man's. Bobby trained his flashlight ahead on the tree line. The leaves on the trees were just settling from a disturbance. Come on, he said again. The brothers rushed the tree line and entered the woods. Their lights bounced around from tree to tree, bush to bush. They scoured the area, coming up empty at first, but then something caught Don's eye. There, he shouted. Bobby saw it next. The large, hairy creature crouched down. If they didn't know better, it would have easily been mistaken for a heaping pile of dead leaves or brush. Bobby and Don both aimed their rifles, but were stopped by an icy chill that ran through their bodies when they heard Elizabeth screaming bloody murder back at the house.  Don shouted. Bobby didn't hesitate. He turned and ran back through the woods, yelling out to his wife that he was coming. Don stayed behind and fired his weapon at the creature. Bobby broke through the tree line and rounded the corner of his house where he saw the front door to the house broken in, hanging by its damaged hinges. The chilling sounds of his wife screaming inside frightened him into hurrying even faster. He ran into the home and was met by a sight of pure terror. There were two creatures inside, trapping Elizabeth in the corner of the room. They were large, over seven or eight feet tall, covered in long, black, matted hair. Both of them turned and faced Bobby upon his entry. In the candlelight, he saw their glistening teeth showing. Their eyes were red hot and they expelled a nauseating odor that immediately twisted Bobby's stomach into knots. He aimed his rifle and fired, hitting one of the creatures. It roared in pain and then scurried away into the next room. The second creature charged Bobby, growling angrily. It all happened so fast. Before Bobby could fire another shot, the creature slashed its claws at him, cutting his face and shoulder. Bobby hit the ground, rolled over quickly and then fired a second shot, but missed. Elizabeth, run! Bobby screamed. Elizabeth stood to her feet and ran out the front door. The creature briskly followed her. Bobby stood up and fired two more shots at the beast as it chased his wife. A horrible howl erupted in the night, letting Bobby know his shot had made contact. He ran outside when we saw Elizabeth duck behind their fishing boat. He saw the creature next, retreating into the woods. The second beast from the house came barreling out from around the side and followed his companion. Bobby blindly fired off another couple of shots at the monsters, not sure if he hit them again or not. The scampering sounds of them running off became more and more faint, eventually ceasing to exist. The chaotic mayhem of screams and gunfire was then replaced by the softer, more comforting sounds of crickets and bullfrogs. There was no blood found at the scene. However, scratches on the house were documented and Bobby was treated for his wounds. Over the next few months, sightings of the Falk Monster continued, and in 1972 a pseudo-documentary horror film called The Legend of Bobby Creek was released to theaters and drive-ins. The film, which has since gathered a cult following, as well as countless other documentaries, books and movies, have solidified Belk, Arkansas as one of the most infamous locations in the world for Bigfoot enthusiasts. Thank you for listening to Microtarrers. Join us each Saturday for another scary story. For more fun, visit our website at Microtarrers.com where we will also have spooky games you can print out and play, like Wicked Word Searches, Mysterious Mises and more. Microtarrers.com is also where you can find us on your favorite social media and even send in your own scary story for us to tell. Plus, you'll learn more about our author, Scott Donnelly, who has other horrors for both young and old. I hope you'll join me again soon for Microtarrers. Scary stories for kids. Someone you know who loves all things strange and macabre. If you want to listen to the podcast, you can find it at WeirdDarkness.com.


And ladies and gentlemen, our next guest would have been Johan Rorik. But unfortunately, he had to go to China for the open access week. And we were very lucky, and give a warm welcome as well, that Saskia de Vries was willing to replace him. Hi, welcome. Is this the correct telling of what happened with Johan? Yeah, yeah, yeah. As you may know, he's the open access champion. He followed up Robert John Smith, and he's gone to China for planning. And he went to China to try to get the Chinese on board, which he found a little more important than being here. Well, and also to say, before he accepted the invitation, he told Dan that there was a chance that he had to go to China, and if he had a chance, he would get on the plane. Why? Maybe some people don't know that. Why was he called the champion? Do you not know? Well, he doesn't like the word champion. I mean, in English it's less... In Dutch, it's really horrible word. Compute. But it's called champion because he's the sort of the advocate for planets. And his task is to get on board more funders. I'm not sure how much you are aware of planets, but it's a funder movement, and it's trying to move academia towards open science and open access. And does that also mean, for example, the question you have from that gentleman, like, are there formats, are there things I can use? Is that also one of the goals, one of the aims of this platform? Well, it's money. It's about money, as everything is for open access. And what they have said is that if you have research done, paid for by one of the funders in planets, then you will get money to publish that research on an open access platform or in a journal. So that's the idea behind it. And the more funders there will be, the bigger this movement will have an impact, obviously. And now again, thanks for you coming here, making time, and for everyone here in the audience, who are you? I'm actually a publisher, don't shoot me. Ooh, from the old world. Well, no, and I used to be a university press publisher, so I was the director of Amsterdam University Press until seven years ago. And I got involved into the open access movement there very early, with books mainly, and when I left, I started advising academia, libraries, funders, on how to move towards open access, with preferably losing the bad sides of publishers who make too much profits. And because with Johan I was going to talk about his experience with flipping the Elsevier journal, Linkwa, to an open access glossar, but that's only one of the examples, because you have experienced six or seven? Well, we are a group of librarians and academics who think open access should be fair open access. You can see what the fair open access principles are behind me. So there are, it's maybe good to say it has to be a transparent ownership structure. Authors of articles in the journals retain copyright, which we find very important. The articles are under a CCB license. You don't pay as an author in our view. So it's the funder or your university who takes up the costs of the article. And any fees paid on behalf of the journal should be transparent. So we're also working on that. If Johan always says, if I go to my garage with my car and I want them to fix it, if they would say to me that costs you 2,000 euros, but I'm not going to tell you what I'll do. I'm not going to tell you if I'm going to take Johan out or give you new wheels. That would be ridiculous. And this is actually the fact for open access publishing right now. The publisher tells you to pay somewhere between 500 and 5,000 euros. And they don't specify what they do for this. So that's one of the things we are working on also within planets. And Johan was one of the first I spoke to when I was actually working for the Royal Library to see how we could move towards open access six years ago. And he was very unhappy with the Elsevier. He didn't like the way, as an editor, he was the editor-in-chief of Renoir. He was treated. He didn't like the way they didn't give any information on how many subscriptions there were. So what we did was we went to Elsevier and we asked them to apply to these principles. They, of course, said no. And then he already had his whole editorial board ready to... Did they all say why they didn't answer or why it wasn't no? Well, they were mostly concerned about the ownership. So they didn't want to give the ownership of that journal to the editorial board, which is basically because they want to be able to sell it or to change it or whatever. If you own the journal's title, then you have a much better position. So the whole editorial board moved away together on the same day and they started a new journal at Ubiquiti Press, which is a small open access publisher, where you only pay 300 pounds for an article processing fee, and they gave them all these criteria. So the problem was, in the beginning, of course, this has been mentioned before, that it's the impact factor which Lin Gua had didn't move with the editorial board, which is ridiculous, because I mean it's the editorial board who is the basis for the impact factor, because that's where the peer review is done. But they now have applied the Web of Science and they will have their, this is three, three and a half years later, they will have an impact factor soon as well. And one of the, because you are, I think you are mostly academics. Can you raise your hand if you're not an academic? Okay, and are you librarians then? Yeah, okay. So what we saw was that you really want the academics to move towards these new principles. Because if you're an editor, how many editors of journals do we have in there? Yeah, as an editor, you've got power as well. You can choose which publisher you want to go to. And you can also ask your authors to push for things. So this is why it's very much bottom up, it's very much bottom up. But also Johan, in his email to Dan, he wrote well about Saskia, without her flipping Lingua to Glossa, it would not have been possible. That's a nice compliment, but it also tells us something. It's not just something you can do on your own. No, it's a lot of work. Actually, when I spoke to Johan the first time, he was really not happy with Elsevier, but he didn't know very much about open access. This was six years ago. I mean, a lot of academics weren't aware of what it was. And because I'm a publisher, I know how publishers think. And you know what they don't like, what they do like. But we had some librarians with us as well. And once he had his whole editorial board behind him, because that was very important for him, of course, if he would be the only one to flip, it wouldn't have happened. Because then the other editors would have stayed with the Elsevier journal, Lingua, and they could just go on. So I really think that this going off to open access should be done by librarians, by academics, by funders, and by universities all together. And how typical a publisher are you?  Yeah, yeah, yeah. No, but I'm a university press publisher. And university presses don't make profits, or most of them don't. They are there for academia. I mean, they very usually, 90% of what they publish is not commercially interesting for anyone else. So the real university press publishers see ourselves as part of academia. Normally we are part of universities, no? Yeah. So in other words, if we're dealing with commercial driven publishers, it's a whole different story. No, not totally. Because I do think that a publisher can make profits. I mean, it's a business. I'm not against profits. But the problem is that the big ones who have all the power, they make a profit of 40, 45%, which is ridiculous. And it's all community money. I mean, it's taxpayers' money. So I think that shouldn't be that high. And if you run a business, you need to have a little surplus to be able to innovate or to put into projects or whatever. But 40% is too much. In the beginning, I also asked people how to change. Because most people said, yes, we do want it to be the default, but it's still hard from where we're standing now. What, in your opinion, would be the best device? Everyone should find the Saskia? Or is there a different type? No, no, no. Now, I think with the help of each other, and that's your librarian, for example, library people know a lot about this, you can find ways to find good open access journals which don't charge too much money. One of the big problems it has been mentioned already is, of course, the fact that as an academic, you push to publish in high-impact journals. This should change. I mean, with Dora there, it will change, but who can help? Yeah, sure. I promise you something. Yeah, I don't want to interrupt too much, but even if you publish in a non-open access journal, you can still do open science. I just want to add that. And it doesn't need to hold you back. In fact, I think it will make your case much easier. It can do both, and maybe at the same time. Yeah, that's true. It's much wider indeed. Question over here? Can you explain a little bit more? How would that work? How would it work to do both? I'm sorry, I'm still in your thunder now. I think if you do open science, this could also mean something like pre-registering your hypothesis before you run an experiment. And then in your paper referencing to the place where you published your hypotheses in your paper, you can refer to the place where you store your data if you do so openly. You can refer to the place where you make your materials available. You can refer to the place where you show your analysis scripts. There are many ways that you could make your work open without relying on an open access journal. You can basically sneakily, kind of through the back door, introduce open science into a traditional journal as well. Thanks for that. Thanks for clarifying. Yes? I will open one. Oh, yeah, sorry. That's not open access. Maybe also something to talk about is pre-prints and how that can also play into kind of kind of going more and more open science or open access in your work, but you know, it's still in the end publishing in a closed journal. What do you like to call that? So make someone else who have more to say about it. Yeah? Yeah, do you want to say something about it? There are disciplines where it's totally normal to first publish a pre-print. And these are also basically, this is physics, maths, life sciences sometimes. And these are disciplines where open access publishing has become the default already, I think. Also because they have more money than humanities and social sciences, so they don't mind if they have to pay 3,000 euros, where that's for the humanities, social science, not possible. And to use Rima's words to go back to your thunder, we were still in the advice, and your first part of your advice was work together, look for your librarians, you can already do it, but do we also need to go to The Hague and change the law?  Well, changing the law has been discussed. I mean, Sommer Dekker came up five years ago with a letter to the government saying that he wanted open access articles within six years, which didn't happen. But really changing the law is difficult, because you still have this problem with money. So in England, the Finch reports said everybody should publish in open access, and then the publisher said, well, great, come up with the money. And so it worked, it was country-productive. So this is where Plan S is very much looking into how they can move it forward. And one of their criteria is that in order, as a publisher, to be able to collect money for your article, if it's within Plan S research, the publisher should make the price of the APC transference. And that's where we're working on as well. Any other questions for Soske or remarks or things you want to know with the ad? Very interesting. But so far it's very much an academic, literally a conversation. It's about academics, libraries, publishers, librarians. I myself am a self-employed research consultant. I'm trying to keep publishing. And, of course, article process and fees for others, for me, are a big problem. Also, you have things like citizen science. There's a whole new realm of publishing outside of academia. Can you say something about that and how to incorporate that? Yeah. Good question and good perspective. Actually, you should also mention development countries. We don't have money to pay for it. But what's happening is that most publishers have something which is called a waiver. So if you can prove, or if you're on a list of countries where you cannot be expected to pay, then you don't have to pay. And what they do is they ask a little more money from the other people. So rich research institutions, et cetera. And they use that money to be able to give a waiver. And in some cases, for example, at Frontiers, the waiver ratio is 25%. So 25% of the articles which are published in Frontiers journals is not paid for. And this does sort of solve the problem. I kind of paid not for it. Not for you, but we know. Because I'm already investing a lot of my time, not sponsored in actual writing, and I have to pay a thousand euros or pounds on top of that. Even for me not being from a developing country, that's a lot of money. So I think... Yeah, but it is still also, not even in developing countries, but also here in the Netherlands, might be still a problem. Actually, the strange thing is that in the States, you would think that the very rich research universities like Harvard would have a lot of money for their individual authors to pay open access with, and they don't. So even people from Harvard sometimes get a waiver. And I do think you would have to explain this more than if you were on one of these lists. But the problem, of course, is that there is money involved. Whatever you do, you do need money. And if, for example, citizens would start publishing more than academics, then the price gets up. So I don't know how to solve that. But one, also for you, have you said everything you wanted to say so far? I mean, you can also participate in it. What's the most important thing you haven't said in terms of for everyone in the audience? Yeah, the most important thing, I said it, but not loudly enough. If you are an editor, be against the publisher if you don't like it. And start working your editorial board. Because this is where this with Johan started as well. And we saw it with the other seven journals we flipped.  Are you then asking those editors to be a donkey shot? Because that's maybe how they feel. But this might be damaging my career. I think mostly once you're... I'm talking about the editor-in-chief. These people are very often a little older and already very reputed. So I think they can take a chance. And the other thing, which is interesting, because Johan was very afraid that he wouldn't get the young academics at Glossa, because there wasn't an impact factor. It's the other way around.  So that might also be some good hope for the future. If we wait long enough, it will all change. Thank you very much.


Peter Obi today visited the PDP Chieftain, body George in Lagos, to solicit support for his presidential ambition. He believes his credentials as past governor of Anambra State gives him a better chance to run for president. Jacinta Obuco has more. Interests are mounting towards the 2023 January elections and consultations are being intensified by aspirants. We must not flee this country. I will consume all of us. Former Anambra State Governor Peter Obi is also meeting stakeholders to gain support for his presidential ambition. He was in Ikoyi to see PDP Chieftain, Chief Body George. I'm aspiring to be given opportunity to serve and change the fortune of this country. There's an issue between Osipa and Jo and Tinibu, son and father is a thing. Where we are now, we don't mind who's going to serve it. Son, father, grandchild, anybody who will serve it, let him serve it. Education and qualification is an image of integrity. We want people with integrity now that can manage our money. We have time for certificates, no time for grammar. It is time to work for our country. I urge you to listen to all of us who are aspiring. But look at our backgrounds. Don't just take us on face value. The man will share in your money today. Check what he was doing 26 years ago. So we know where he's getting the money he's sharing. Because he could be sharing your children's money. They discussed different political issues, including zoning. Chief George supports those who believe it's the turn of the South to rule Nigeria. Turn by turn, Nigeria limited. Someday it will come to you, whether you are minority or majority. Brilliant gift to this nation. So I am appealing to our party, the Nigerians, the electorate. They are waiting for our decision. But a George stated he's not sure of his stand for Ubi, but he's one of those eligible. I cannot tell you my stand now as a leader. You don't go out and say this is your candidate, this is your candidate, this is not my candidate. He's one of the trusted, responsible, respectable one that is coming. It's still a family thing. When we get to the bridge, we will cross it. It's to ensure that the candidates with capacity, competence, and commitment to change the trajectory of Nigeria is elected in the primaries as the candidate of the party. As different aspirants continue to seek support of the political class and the masses, it is important to the electorate to critically examine their track records. This cannot be undermined in our quest for a candidate that will deliver quality leadership for the nation. Da Senta of Yoko, plus the venues. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


Welcome traders to another tick model chart here with me Patrick Munnally. I want to draw your attention to a developing opportunity on the four-hour chart in the Kiwi Swiss. In this descending trend channel we've recently checked back up towards trend line resistance, bearish rejection candle on the last four-hour close. I'm looking for a break now of the daily pivot through 6050 set up a retest of the 6031 through there back down to test the 60 handle and through there to the primary objective of this move back down to weekly predicted range support and monthly predicted range support in the 59, 60, 59, 70 area. As always traders plan the trade, trade the plan, most importantly you can manage your risk. So next time, thanks very much.


Recently, I've been traumatized by a stream of requests to renew the long lamented introduction to my videos. People said they missed the introduction. It was my brand and my Walmart. So by popular acclaim and demand, here goes. My name is Sam Vakny and I'm the author of Malignan Self-Love, Narcissism Relicited. You didn't know how much you missed it. Today we're going to discuss new concepts in trauma and post-trauma. Starting with the concept of triggering cascade. A triggering cascade is when a seemingly minor trigger results in vastly disproportionate trauma. You see, painful memories replete with the attendant negative emotions.  These are combinations of mental damage and psychological firewalls intended to kind of sequester pain, hurt and negativity so that they don't affect our daily lives. But sometimes, even an innocuous mishap or a merely unpleasant event rupture these defenses, destroy the dams, disable the firewalls, and then decades of hurt, years of pain are released in an avalanche that at times can be life-threatening. Narcissists and psychopaths are dream records. They are particularly adept at provoking triggering cascades by aggressively and contemptuously frustrating both individual and social expectations. They negate, vitiate, and attack cherished and life-sustaining hopes. Narcissists and psychopaths destroy deeply held beliefs and ingrained fantasies and values. And it is the lack of empathy of narcissists and psychopaths. Their innate, goal-focused cruelty and ruthlessness, their absent impulse control, and mind-boggling recklessness, all these create a whiplash of shock and disorientation in people around them. And these shock and disorientation are coupled with agony, for lack of a better word, a pervasive feeling of being existentially negated. Intolerable angst, extreme anxiety are the inevitable outcomes of long-term friction with narcissists and psychopaths in relationships or otherwise. Narcissists and psychopaths are characterized by total reactants, but it also characterizes people with borderline personality disorder and, surprisingly, trauma victims, people suffering from post-traumatic stress disorder and complex post-traumatic stress disorder. People with mood disorders, people with impulse control issues, all these people have what we call total reactants. What is total reactants? Total reactants is when the person escalates every conflict, however minor, however imaginary, to the level of nuclear, apocalyptic, cataclysmic, all-annihilating warfare. These people, and that includes trauma victims, make disproportionate use of every weapon in their arsenal simultaneously. Defiance, posturing, hostility, aggression, recklessness, and abuse are part and parcel of these recurrent pitch battles with one incendiary. All bridges are burned, all relationships are shattered hurtfully and irrevocably. At first, when we started the study of personality disorders in the stature of especially cluster D personality disorder in clinical settings in the 70s, we thought the total reactants, this kind of nuclear explosion or explosive rage or explosive defiance, we thought that this is typical only of psychopaths. Then we learned about narcissists, then we learned about borderlines. And lastly, in the last few years, we realized that trauma victims, people who have been exposed to traumas, long-term traumas, repeated recurrent traumas, which create CPTSD, or single event traumas, natural disaster, a terrorist act. In both cases, these people also develop total reactants. I coined the phrase psychopathic and narcissistic overlay to describe this change, this transmogrification of the trauma victim. Trauma victims tend to become somewhat psychopathic and narcissistic in their reactions. And so trauma changes the trauma victim, luckily and reversibly, but still changes the trauma victim and converts the trauma victim into a mild version of a psychopath or a narcissist. In contrast, the reactions of healthy people are differential. They are in kind, they are proportional. People, healthy people, weigh the consequences and correct course every step of the confrontation.  The thing is that trauma imprints everything and everyone involved or present in a stressful event. Even people who are there accidentally or tangentially are imprinted by the trauma. Places, other people, smells, sounds, circumstances, objects, dates, time, and categories of the above, they all get stamped with a traumatic experience. If you go through a trauma, the place in which the trauma had occurred is stamped with a trauma. Similar places are stamped with the trauma, smells, sounds, objects, the date when it happened, anniversary, trauma anniversaries. All these are stamped and imprinted. Trauma imprinting is at the core of post-traumatic stress disorder, PTSD, and it is at the core of complex PTSD. It is what underlies the triggering. Trauma imprinting is a condition for triggering. Triggers are the places, the people, the smells, the sounds, the circumstances, the traits, the times, or objects that are reminiscent of the same classes of stressors involved in the original trauma and that evoke these stressors, recreate the stress. Many exposure and re-traumatization therapies, including most recently the treatment modality that I have developed, call therapy. Most of these treatment modalities make use of trauma imprinting to generate new, less stressful, and less panic or anxiety-inducing associations between extant triggers and the present. This way, we induce integration of the Hawaer emotions involved in the primary situation. Of going through the trauma again, re-traumatizing, in an environment which provides alternative coping strategies and mechanisms, seems to have a healing effect. Major traumas can lead to either of two opposing outcomes, regression into infantile behaviors and offenses, or a spurt of personal growth and maturation. It all depends on how the trauma is processed. Faced with devastatingly hurtful, overwhelming, and dis-regulated emotions, personalities with a low level of organization react to trauma with decompensation, acting out, recklessness, and even psychotic micro-episodes. This can be life-threatening. Major depression and suicidal ideation are very common. In an attempt to restore the sense of safety, the individual regresses to an earlier, familiar, and predictable phase of life. The individual evokes parental imagos, parental internalized images, parental introjects, the voices of parents, and other role models. And these imagos and introjects are supposed to protect, comfort, soothe, and takeover responsibilities from the overwhelmed and dis-regulated individual. In a way, the trauma victim parents herself by splitting her mind into a benevolent, forgiving, unconditionally loving, inner object, mother or father, and a wayward, defiant, independent, and rebellious child or teen who is largely oblivious to the consequences of his or her actions. So the mind splits as a parent part and a child part. But this happens only with people who have low-organization personalities, people, for example, with cluster-p personality disorders, borderline especially. More balanced, emotionally regulated, and matured people reframe the trauma by accommodating it in a rational, evidence-based, not fictitious, not counterfactual narrative. Healthy people modify their theories about the world and theories of mind, and about the way the world and other people operate. What they do, they set new boundaries. They generate new values, beliefs, and rules of conduct, new shimmers. Healthy people process their emotions fully, and are thereby rendered more self-efficacious. In other words, trauma drives healthy people to grow up, having leveraged their pain for losses as an engine of positive development geared towards the attainment of favorable, long-term results. The most common form of trauma could be rejection, withholding, including, for example, sex withholding, and denial of intimacy. These are all common in relationships, especially relationships with narcissists and psychopaths, and they inexorably lead to CPTSD, complex post-traumatic stress disorder. Generally, intimacy increases with time spent together, but the more time you wile away with a narcissist, the less intimate with the narcissist you get. Not the more intimate, the less intimate.  Traumatized victims of narcissistic abuse have therefore learned to emulate the narcissist himself in a post-traumatic state. My recent work suggests that narcissism is actually not a personality disorder, but a post-traumatic condition. So traumatized victims of traumatized narcissists, they learn to emulate the narcissists, to imitate him.  And there is definitely a stereotype of what it means to be a narcissist. There is a lot more to every narcissist than his disorder, yet following my pioneering work 25 years ago, people started to reduce the narcissist to figments, to merely his pathology. They ignored the person behind the persona, the core in the narcissistic nuclear meltdown. And this renders any type of meaningful communication with the narcissist, all but impossible and inefficacious. People react to rejection in intimate relationships with frustration, and as Dorland told us in 1939, frustration provokes aggression. But aggression has two major forms, internalized and externalized. When aggression is internalized, directed inward, at the rejected individual, there is an orgy of self-loathing and self-hatred. And in this case, the outcomes are impotent and diffuse anger, depression, delusions, suicidal ideation, reckless and self-destructive behaviors, loss of impulse control, and in extremist psychosis. When aggression is externalized, not internalized, it targets the cause of the frustration, the rejecting party. Such aggression involves rage, fury, defiance, and acts intended to deeply and irrevocably hurt and traumatize the offender. Though it is also brought about by impulsivity, externalized aggression is more primitive. It is cland and accommodates delayed gratification. You see, there's no standard universal mode of trauma. Trauma can lead to any work. It depends crucially on the traumatized person, his background, personality, personal history, interactions with other people, environment, including immediate environment. Stamping or imprinting of the trauma, cascading, previous traumas, and a million other factors. Trauma, therefore, is not an objective clinical entity. It is a form of reactance, a reaction, and there are as many types of traumas as there are trauma victims.