Thank you very much, and I'm pleased to be here in Canberra and participating in the Outlook Conference. My remarks cover long-term drivers of global markets and U.S. policies. And I'll make the case that while macroeconomic conditions have changed and commodity prices have fallen, the overall forces shaping markets in the world in the U.S. remain largely the same. I'm going to review some of these trends and then turn to recent developments in U.S. farm policy in the 2014 Farm Bill and conclude by looking forward. USDA's annual baseline provides a framework to assess drivers of global markets. On February 19th, we released the market projections for 10 years out to 2025. And they are based on specific assumptions about macroeconomic conditions, policy, weather, and international developments with no domestic or external shocks assumed to occur to global markets. In terms of policies, the baseline assumes that current policies continue throughout the period, including the 2014 Farm Bill. And as such, this is one scenario that's based on a combination of our models and some expert judgment. The first chart here shows the macroeconomic projections for gross domestic product or GDP. And the global growth throughout the period averages 3.1 percent, which is slightly below the long-term trend prior to the 2008 financial crisis. There's two lines here. On top and green is developing countries. On the bottom, developed countries. And we see we project higher rates of growth in developing countries. This combined with higher rates of population growth reinforced a shift towards developing countries as the drivers of ag markets and trade. Two other significant drivers of agricultural markets are oil prices and exchange rates. On the left, you see crude oil prices, which are assumed to increase from recent lows at rates that are higher than the general rate of inflation. On the right is the awaited US agricultural exchange rate. And you can see the recent appreciation of the dollar, which we assume will continue into 2017 and then begin a slow gradual depreciation through the end of the projection period. This is the average, but the baseline assumes different rates of appreciation vis-a-vis countries around the world. One of the smaller ones is for China, given the Chinese management of their foreign exchange rates. The largest real appreciation of the dollar takes place against Russia and other former Soviet Union countries. On average, on balance in the exchange rate, the dollar appreciation reduces US exports. We've seen that already, and this is especially true for basic commodities and intermediate products, less so for process products. In terms of other important policies, renewable energy policies remain a significant driver of markets. Within the US in the projection period, ethanol continues to account for about a third of total US corn use. This drops slightly due to the ability to blend ethanol into gasoline, but nonetheless it remains important. Globally, biofuels are projected, production is expected to increase in the next 10 years, although at a slower rate than in the past. That's the macroeconomic background, and they lead to a slow recovery in global demand for agricultural commodities. USDA baseline also assumes rates of technological improvement, and they continue to grow. If you bring this demand and supply side together, that implies that we see slowly recovering prices. This is US farm prices for soybeans, wheat, and corn. Here you have a line that shows where the projection period starts. Among the three, soybean prices rise the most, reflecting increased demand for soy products, linked to growing meat demand in developing countries. You see a similar story on the meat side. On the left-hand side, you see US production of poultry in green, beef in red, and pork in blue. On all three, we see growth in projection in the US, partly linked to lower feed prices that make it more competitive. We also assume increased technological improvements. The key component is the growth in international demand. I don't include dairy production, but that's also projected to grow. On the right-hand side, you see US per capita demand for these three meats, and they rise ever so slightly. This is even as the baseline also includes declining nominal prices for meat. In fact, the declining price for beef is slightly more than other meats, which helps arrest the fall in per capita beef consumption. The real action in beef for US producers is in global markets. This chart shows total exports from the major exporting countries. You can see that that grows over time for all of the different major meat products. What we don't see in this chart is that there are shifts among the exporters. This illustrates a second point that Jamie also made, that an important trend in global markets is increasing competition from developing countries that are growing as both importers and exporters. For example, in 2014, India became the world's largest beef exporter, and its exports are projected to increase by 30% over the next decade. I think I've only mentioned China once in terms of its exchange rate, but China remains a powerful force in global agricultural markets. This chart shows soybeans imports around the world, and Green shows that China already has become a dominant force as a global soybean importer, and that's projected to increase. As such, Chinese macroeconomic conditions and policies are going to shape the markets for soybeans and other products. Another example of a market that's important to the US is cotton, and China is the world's largest cotton importer and also holds record levels of stocks. My one final chart on the baseline reinforces this point about competitiveness for exporting countries. Here you see global corn exports, where the US remains a large producer and exporter of corn, but in response to higher prices in recent years, you can see the growth in exports from the former Soviet Union in green, Brazil in black, and Argentina in gray. And I think this growth in competitors around the world in all products means that the US needs to invest in technology and management strategies in order to manage costs to remain a competitive exporter. I'm going to tie up a few key points of the drivers from the baseline and the US economy before turning to farm policy. And one trend that I've talked about that we've heard also at this conference is the growing importance of developing countries as a source of demand. In blue on this chart, you see the growth in US ag exports that have taken place over the past several years, with a decrease last year largely due to the exchange rate changes. And what's interesting here is in green you have the share of exports going to developing countries in red to develop countries. And these lines crossed in 2003. And while we see some dip in the most recent year, I think the baseline and common wisdom in the US is that developing countries are going to remain the largest source of growth for agricultural markets and for US producers. A second key factor that is behind the baseline and you can see in recent trends is that growth in agricultural output depends on productivity and new technologies. On the left hand side, you can see results for the United States. And this is an index of total output, total inputs and total factor productivity, which is a ratio of outputs over inputs. The lines for total factor productivity and total output really lie on top of each other. And you see at the bottom in light blue total inputs which changed little over time. And this goes back to 1950, showing that for decades the growth in US agricultural output has been driven by changes in technology. In the world if you look back and this goes, the chart on the right hand side goes back to 1960, that wasn't true globally. Changes in inputs were driving increases in output on average globally into the 60s. But if you look in the most recent period we have data for 2000 to 2012, it's total factor productivity that's now on average globally driving the increase in production. And that's the green bar where you see in bright orange total input growth, gray is irrigation and light orange is morag land. So going forward the role of investments in research that lead to new technologies and farmers innovations and management practices will be critical to increase agricultural output. Another important dimension that drives US policy decisions is the nature of farms that underlies these supply curves. And in the US we see two somewhat seemingly contradictory trends at the same time. One is growing size of farms and here I'm providing a measure that the economic research developed using calling the midpoint acre. Above this line half of production is on acres of farms greater than that size, half below. And in the most recent period, year measured 2012, that's 1200 acres. I think we think that's a better measure than average acreage which is below because there are many very small farms and their changes in numbers can distort the measure of the increasing size of operations. And we don't, in our looking at the data on the cost of different sizes of operations, the economics seem to suggest that farms will grow in size. However at the same time we see more farms engaging in non-traditional activities. And this shows changes between 2007 and 2012 of different focal points including direct sales to consumers and agritourism. And in all these categories there's more farmers engaging in these activities. And this reflects a growth in consumer interest in where their food comes from and how wanting to have a stronger connection to farming. And both of these trends, the growth in the size of farms as well as consumer interest in food are shaping farm policy going forward. So let me turn last to U.S. Ag Policy Directions. And I'm going to start by looking at the 2014 Farm Act. And for those of you not familiar with U.S. Ag Policy, this goes in five year cycles. The most recent farm act was passed and signed by the President in early 2014. And this pie chart represents an estimate for total spending over the five years that was updated in January 2016 by the Congressional Budget Office. And you'll see that the largest share in blue is for USDA's nutrition programs which provide assistance for low income Americans in meeting their nutrition needs. Commodities account for 5% commodity programs, crop insurance, 9% of the spending and conservation, 6%. The other 1% category in yellow, this represents trade programs, credit, rural development, research and extension including my agency which is located here, energy and miscellaneous programs. So within USDA the spending is dominated by nutrition programs and these three farm programs are also an important share of what is invested in by Congress. Let me turn now and I'm going to focus on the farm and insurance programs. Conservation is important but I'll leave that aside today. I'll start with the commodity programs. The USDA has a forecast for farm income and the first forecast was produced in February 2016 and it includes estimates of different types of spending for commodity programs. This doesn't include the insurance programs. And the light green color represents prices where payments depend on prices. And while the slide says there's a transition from fixed to price dependent programs, it's really an evolution. And this shares have shifted over time under different farm policy regimes and different market conditions. In 2016 payments that depend on prices are projected at over $10 billion. These payments are largely based on some fixed or program acreage and not the production isn't linked to prices in the market in each year. You also see over time growth in conservation programs and within these programs there are more payments going to working lands versus land retirement programs. The recent Farm Bill introduced new programs. There are some special programs for cotton that I'm not going to discuss. But three new programs that were introduced for field crops are the price loss coverage or PLC program and the agricultural risk coverage, ARC, which has two variants, one based on county yields and one based on individual yields. And each farmer in the U.S. had to decide at the beginning of the Farm Bill what program they would choose and then stay with that program throughout the duration of the Farm Bill. And this shows the choices that farmers made. And it varies by product. You see that soybeans, corn, oats chose mainly the ARC county program. Rice and peanuts chose mainly the PLC program and wheat producers split their decisions. And analysis by farm extension agents and economists show that, as one might think, the expected payments under each program were the key driving factor for farmers. One thing that is interesting is that less than one percent of farmers chose the individual coverage option. And I think the analysis around this indicates that that's a couple things. One, it's a more complex program. Producers may have good close substitute in the crop insurance programs. It also had a lower payout based on 65 percent of the BASER program acres versus 85 percent in the county average. So I think this is, you know, we have what were widely called more complex programs, but farmers were able to make decisions and choose which program to participate in. Let me turn now to crop insurance. And over time, the growth of crop insurance and has, crop insurance has grown and covers more acreage and more farmers. This trend shows millions of acres covered over time starting in 1994 through 2015. In addition to the growth, you see a changing type of crop insurance plan. In blue are revenue insurance products based not only on yield but also prices and you see the growth of these revenue products over time. Another trend in crop insurance policies in the U.S. is expanding coverage beyond the major field crops. And in gray are insurance policies written to the non-big crops of corn, soybeans and wheat, the other in gray. And we see in the last, well we see over recent times that the share of the major crops has fallen by 10 percent. And this variety of policies doesn't just apply to the type of crops but also to the way of production as there's a growing number of crop insurance policies for organic products. And then I have one final point that it makes that is a driver of U.S. farm policy and that's the distribution of payments to different sizes and types of farms. And in the last few farm bill discussions, there's been concern about whether payments from the government are going too much so, and this is a value judgment, to large farms that may be commercial operations with high incomes. And I think this is really linked closely to the fact that payments are directed towards production. Crop insurance is linked towards production. If you produce more, you insure more. But at the same time as we saw earlier, the size of farms are growing on average. So to the extent that the programs remain linked to production, we're going to see, I think, an ongoing concern about more payments going to higher levels of production and higher income. And in this chart, you see the share of payments in green and the scale of the farms increases from left to right. So it illustrates the more payments going to larger operations. Let me conclude by looking forward at some of the drivers of food and farm policy in the United States. Today, I focused on markets and some of the traditional farm policies, and these issues will remain important. You hear them being discussed already on an ongoing basis in Washington. Concerns about whether the insurance or revenue protection that creates what's called a safety net is sufficiently effective. The discussions about competitiveness, the role of the U.S. in international markets. On average, the U.S. exports about 20% of its production every year, so these markets are very important. We see discussion of competitiveness and technology of the structure and size and scale of farms and whether it should be limits on payments. And we see conservation policy discussed and being looked at as a way to meet commitments to reduce greenhouse gas emissions. But as I alluded to earlier, there's also increasing interest and discussion in the U.S. of consumer concerns about the way farm products are produced. And right now there's an ongoing debate on the government's role in labeling for genetically engineered products of biotechnology. So all in all, I think it's a really interesting time to be working in food and ag policy. There's a lot of research issues that we're seeing in the U.S. and other countries, and it seems like that's also true in Australia. Thank you very much.


This is the Mysterious Traveler, inviting you to join me on another journey into the realm of the strange and the terrifying.  So settle back, get a good grip on your nerves and be comfortable if you can as we prepare to meet the Queen of the Cats. Our story begins like one night in a large New England town. Jane Elliott, an attractive girl in her early twenties, hurries down a quiet and dark and residential street. Finally, she stops before a large colonial house with a name plate on the door, Dr. George Richards. She hesitates a moment, then rushes up a few steps to the door. Dr. Richards, my name is Jane Elliott. I'm sorry to wake you up at such a late hour, but I'm desperate. That's quite all right, Miss Elliott. Please come in. Thank you. It seems to be the problem, Miss Elliott. You're pale and trembling. No, I'm not in, Doctor. It's Chris. Chris Arnold, my fiancee. Doctor, you've got to help him. You've got to or something terrible will happen. I know it will. I'll do everything I can, Miss Elliott. Please tell me what's wrong. I don't know what's wrong. Well, I know is that Chris is frightened. He's in deadly fear of something. I see. Where is your fiancee now? At his home, Brookfield matter. Doctor, I know it's late, but won't you come with me and see Chris? He needs help desperately. Please, Miss Elliott, you mustn't cry. Of course I'll come with you, and I'll do what I can. If you will follow me, Doctor, Chris's room is this way. All right. Oh, tell me, Miss Elliott, aren't there any servants in this huge house? No, Doctor. Chris dismissed them all two months ago, except for a croc who's here during the day. He lives alone. Here we are, Doctor. Who is it? Chris, it's Jane. Just a minute. Jane, I've asked you before not to... Who's he? Darling, this is Doctor Richard. Doctor, this is my fiancee, Chris Arnold. How do you do, Mr. Arnold? Why the devil did you bring him? I don't need a doctor. Please, darling, I couldn't stand to see you. Forgive me, Mr. Arnold, but it's obvious to the most untrained eye, you do need a doctor. Chris, please tell the Doctor what you're afraid of. I'm not afraid of anything. I'm afraid that's not true.  Mind your own business. People who are material are my business. I want to help you, but I can't unless you tell me what you're afraid of. Darling, please tell him, please, you can't go on this way. I can't go on this way. Believe me, Mr. Arnold, you'll feel much better once you've talked your fears out. Now, suppose you start from the beginning and tell me everything. All right, Doctor. I suppose it all began two years ago at a party, Jane and I. Isn't this a wonderful party? The only thing I'm afraid of is you. Chris, don't. People are watching. A fine thing when a man can't get his best girl in public. At Ms. Tindell's school, we were taught a young lady never kisses a man in public. Ms. Tindell is setting romance back 15. Who are you looking for? A runner perook. My roommate at Ms. Tindell. Oh, she's the Egyptian girl you were telling me about. Yes, I want you to meet her. Only, you better not fall in love with her, as every other man does. Sounds as though she's a second to your petra. Oh, there she is, Chris. Come on. Hmm. So that's Rana. No wonder men can't resist her.  I've missed you. Rana, this is Chris Arnold. Chris, Rana Perook. Hello, Chris. I would have recognized you any place from the picture Jane had of you on her dresser, Ms. Tindell. Hello, Rana. Oh, look, there's Ms. Tindell waiting at me. Excuse me, won't you? Of course, Jane. I'll be back in a minute. You know, Chris, at Ms. Tindell, the first thing I would see in the morning when I got up, and the last thing before I went to bed was your picture. And I always knew that someday we should meet. And now we have. Why are you staring at me like that? Aren't you going to say anything? I prefer just to look. Even now, Doctor, two years after our first meeting, I find it difficult to describe how beautiful Rana was. She had lustrous black hair that came down to her shoulders, green eyes that bewitched her. And she walked so live and graceful with every eye in the room followed her. I was captivated the moment I saw her. I see. What happened after that first meeting? Rana also seemed attracted to me. After that night, we saw each other constantly. Nothing seemed to matter to me when I wasn't with her. It made me indescribably happy to learn she felt the same way. So, just a month after we'd met, we were married. Please go on, Mr. Arnold. In the months that followed, I began to see Rana, not as the image I had been infatuated with, but as she really was, vain, selfish, and intensely possessive. She couldn't bear to have me out of her sight. And if I was, when I returned, there would be questions, countless questions. I began to dread seeing her. And then... Then there were the cats. The cat? Yes, yes, she had an insane passion for them. When Rana and I were at school together, Darcy, she always had a few cats in the room. She said she couldn't live without them.  She'd sit for hours stroking them, whispering to them, until I thought I'd go mad. Life became a nightmare for me.  And Rana, asking questions, endless questions, as to where I'd been and who might seem. Finally, one day I realized I couldn't go on living with her any longer, that our marriage had been a mistake. I decided to tell her so that very evening. May I come in, Rana? Of course, dear. Good evening, Crane. Darling, why didn't you tell me that you'd had lunch with Mary Walker when I called you at the office this afternoon? How did you know I had lunch with her? A friend told me. A friend? Who was it? Oh, poor, innocent beauty. What are you trying to say? Rana, put that cat down and answer me. Who was the friend that told you I had lunch with Mary Walker? You've never met her, darling. Who is it that you always seem to know what I've been doing, who I've been seeing? It is though you have people spying on you. Crane! What a thing to say. Now, please hurry and change. Or it will be late for the Hopkins party. Don't be strange about the way you always know what I've been doing. Sometimes I just say... Crane! Look out! You steps on Sabina's tail. I'm sorry, but I didn't see her. I've asked you before to be more careful. Poor Sabina.  If there weren't so many cats on the foot, I wouldn't have stepped on her. Why must you keep them along? Because I love cats. They're beautiful, sacred. Thousands of years ago, my ancestors worshiped the cats. You speak like that. Almost look like it. I'm fine now. Is there anything in the world more intrusive? You see? They agree.  My darling, what do you mean? Oh, marriage is a mistake. I want a divorce. Crane, you can't be curious. Oh, I am, Rana. Dead serious. I love you, Crane.  You're mine. You're all mine. Nothing shall ever happen. Be careful of cocktails, sir. No, thank you. Well, even if you won't have one, Mr. Arnold, I will. Jane, Jane, it's good to see you again. Just let me look at you. It's good to see you too, Chris. You're as lovely as ever, Jane. Chris, you're not looking well at all. Is you all right? I am now. Jane, can't we go someplace and talk? What about the terrace? All right, Chris. Here, this door opens, aren't we? How is Rana? Oh, she's fine. Jane, I've made such a mess out of everything. I was a fool who must take infatuation for love. Jane, can you ever forgive me for the way I behave towards you? There is nothing to do. I guess I must be going now. Well, Jane, this is a surprise. Rana.  Rana, you have no right. Please, Chris. I'm afraid I'll have to be leaving it getting quite late. Good night. Good night, Jane. I hope I didn't interrupt anything by coming out here so unexpectedly, Chris. Yes, Rana, you did. I was about to tell Jane that I love her and that I always will. I suppose that's why you asked me for a divorce. You've been secretly seeing her. Secretly seeing her? Is it possible for me to see anyone or do anything secretly without you knowing about it? No, you're right. It isn't possible. I know everything. So I would forget, Jane, if I were you. But how could you possibly want me knowing how I feel about Jane? You've got to give me a divorce. I'll never give you a divorce. Never.  I can still see her, Doctor. She stood there, pissing at me. Chris, you're mine and you always will be. Suddenly I realized that she looked like a cat. An angry cat. Her green eyes, cold and murderous. Her long nails digging into my arms. Her body fit. For a moment I thought she was going to scratch my eyes out. After that night I hardly spoke to Rana. I treated her as a stranger. She has been very tired of you receiving the coffee. It's been a month now. Why are you slowing down? I want to talk to you, Chris. And I can't talk to you while I'm driving. There's no point in your stopping. We have nothing to say to each other. Oh, but we do, Dad. We could be so happy together if you want. You know how much I love you. I do anything to make you happy. Anything? Then you can give me a divorce. For your still thinking of her. Hoping I'll give you a divorce so you can marry her. But I won't. You hear? I won't. I think we'd better be moving along. Chris, you haven't any right to treat me like this. I'm your wife. Only in the eyes of the law, not in my eyes.   You cat. You almost took out my eyes with those claws of yours.  This will bring you to your senses. Slide over. I'll drive. Very well, Chris. You think you've beaten me, Chris, but you haven't. Don't think it was weakness on my part because I tried to make up with you this evening. I know better than that. In the end, you'll come crawling to me. It may take a year, two years, five years. But I'll... I'll never come crawling to you. But you will, Chris. Jane knows I'll never give you your freedom. In time, she'll marry. And when she does, all the hearts will be gone out of you. Then you'll be mine. You have everything planned perfectly, Rana, don't you? But I have one escape from you. You've never thought of it. Really? And what is that, Chris? I can escape through death. Through death? Yes, Rana.  Chris, you wouldn't. Why not, Rana? You've shown me there's nothing to live for. This, at least, is a clean way out. Chris, you don't mean it. But I do, Rana. Just watch. No, Chris. I thought Rana and I were going to our death basically the other way. When I recovered consciousness 48 hours later at the hospital, I learned it was only Rana. Yes, I recall reading about it in papers. It was a miracle that you survived. Yes, for weeks they despaired of saving me. But at the end of eight months, I walked out of that hospital. It was just a week after I was discharged as I ran into James. Chris, it is you. James. Chris, I heard about your accident just a few days ago when I got back from California. You change. You always seem to pop up just when I need you. You look so much older. These past months must have been so difficult. I don't want to look back in class, James. But only to the future. I'm sure I have once hopefully shared. Dr. Jane and I became engaged. It was just about that time that I first began to notice that everywhere I went, there always seemed to be a cat following me. So that's why you were always looking around so nervously all the time. Tell me, Miss Elliott, did you ever notice that the two of you were being followed by a cat? Well, I have seen a few cats around, but they didn't mean anything to me. Oh, but they did to me, Dr. Always the same cat that followed you? Oh, no, no. One day it would be one cat and another day a different one. Dr. I know you must have insane. The time I felt I was going there, that is, what night, Mr. Arnold? The night I saw her. It happened in this very room six weeks ago. I had great difficulty in falling asleep. And when I did, I had a nightmare. A nightmare in which I was being followed by hundreds of silent cats. Then the silence was broken by the faint crying of one cat. The crying grew louder and louder. Suddenly, I awoke. With my awakening, the cry didn't cease. I lay in the darkness listening, realizing that the cat I'd heard wasn't the heart of my nightmare. But it was real. Yes, real living, and in my room. I could feel my heart pounding as I sat up in bed. I looked about my darkened room. Then I saw her. Two burning green eyes in the darkness. There was no mistaking those eyes. Rama! I'd recognize those green eyes anywhere. So, so you've come back. Just as I've always thought of you. I know why you've come back. Because of Jane. You always said that you couldn't have me, no one else would. That I was yours and always would be. Well, you're wronged, you hear. Jane and I are going to be married. Mind a scratch, my eyes out. You always said you would before you let any other woman have me. Well, we'll see about that. But I'd rather hold you. Nothing you can do will stop me from marrying her. I know that the cats that were following me spying on me were doing so under your orders. You... You're the queen of the cats. Yes, I should have known. Even when you were in human form, you looked and acted like a cat. You think well clever. But even if you are the queen of cats, you can't prevent me from marrying Jane. So, you think you can. Well, perhaps a bullet between those green eyes of yours is what's needed. Mr. Arnold, isn't it possible that you only dreamed all that?  I tried to tell myself that during the nights that followed I knew there was not a dream. But by that night she appeared. I'd lie awake, waiting to hear her voice. Waiting. I knew she'd never leave me alone as long as I intended to marry Jane. Finally, I couldn't stand it at all. But I went to see Jane. I asked her to postpone our wedding without asking any questions. She agreed that the night I grew up, I married her to Jane. But the first night that Grana didn't appear. And the first night in the week that I was able to sleep. Why didn't you tell me that night? I was afraid you wouldn't understand, Jane. You might think I was mad.  I know it. Weeks went by. Weeks in which I was able to sleep soundly without being awakened by her. Perhaps it had all been part of a horrible nightmare that I was over at last. Jane had to set the date for our wedding. She did so. That same day we took out a marriage license. You doubted Chris looked so much better that I thought he'd gotten over what was troubling you. So did I. The night after we'd applied for a license she appeared again in this very room. And you've seen her every night ever since? Yes. She just keeps staring at me with those green eyes. Waiting. Waiting. And Doctor, Doctor, I have a feeling something horrible will happen if I attempt a marriage, Jane. You still have the marriage license? Why, Mr. Arnold, if you've reached a crisis in your life you're faced with fears that are threatening to overwhelm your sanity. If you want Jane and happiness you must be prepared to fight. Fight. But how, Doctor? Often when we challenge our fears we find that they exist only in our imagination. The only way for you to challenge your fears is to go through with your marriage with Jane. Now, tonight. I know it's quite late but a friend of mine was a judge. I'm sure he'll marry you. Yes. In the middle of the night, Judge, but for reasons I can't explain it's important that these two be married tonight. That's quite all right, Doctor. I'm always glad to applaud your friend. Hey, have you got the license and the ring, young man? Oh, yes, yes, sir. Here's the license. And here's the... What was that? It's only my cat, Lucifer. I never saw it, fellas, I know. Scat, Lucifer, scat. There, he won't bother us anymore. It's all right. He's gone. Mr. Madison, don't you like cats? No, he doesn't, Judge. What do you mind getting on with the ceremony? All right, Doc. I never saw so many nervous people. Young man, if you take her right hand, that's it. Now, shall I give the long ceremony or the short one? Oh, the short one, please. All right. You, Christopher Arnold, take this woman to be your lawful wedded wife for love, honor, and cherish, as long as you both shall live. All right. It's, see, it's Ronna. Who places that cat come from? Stat! It's, please, it's only a black cat. You mustn't pay any attention to it. No, of course not. Now, it's Ronna.  Why so afraid of cats? I told you she's trying to prevent me from marrying Jane. Well, I'll get rid of her for once and for all. Chris, what are you doing with that gun? Put it down. This time I won't miss... She's escaped. She won't get away. No, no, whatever. She's gone. I'll, I'll find her. I'll find her at that killer. Chris! Doc, you sure he isn't crazy? He's just... Well, he sure acted like he was. Pulling out that gun. That must be Chris firing that gun. Yes. Come on. Those shots came from close by. Look, Doc, there's no one inside. I think, I think those shots came from that driveway. Just a head. Hurry! You've got to take it easy now, Doc. This driveway is in complete darkness. Yes, you're right. I can't see a thing. It's so dark. Have you got any matches, Doc? Oh, yes. I'll strike one. I'm afraid it isn't much of a help. Doc, look. A dead cat. What? Yes. It was shot to death. Look. There's another one that's been shot to death. Oh, but neither of them. He's a black cat. No. The match is out. Wait a minute. I'll light another one. Come on. Doc! Isn't that somebody lying over there? Chris! No, Miss Elliott. You stay with the judge while I look. All right, Doc. This would never have happened if I hadn't agreed to marry. He was afraid. Doc, is it Arnold? The dead isn't. The dead in your face. Yes, it is. He's dead. Doc, I don't understand. What happened to him? He's been clawed to bits as if by hundreds of cats. His face has been torn to shreds. And his eyes... His eyes... Chris Arnold, wasn't it? It seems there just isn't any escape from a jealous woman. Particularly when she's the queen of the cats. You know, strangely enough, at Chris Arnold's funeral, just at the coffin was being lowered into the grave. The mourners suddenly noticed a black cat with green eyes sitting on the edge of the grave, quietly licking its paws. That cat simply couldn't be driven off. Now, I recall another case in which two ghosts got together and decided you have to get off here. I'm sorry. I'm sure we'll meet again. I take this same train every week at the same time. You just heard the mysterious traveler, a series of dramas of the strange and terrified. All characters in that story were fictitious, with many resemblance to the names of actual persons was purely coincidental. In tonight's cast were Maurice Toplin, Carl Weber, Inga Adams, Mitsy Gould, John Seymour, and Brad Barker. Original music was played by Paul Taubman. The mysterious traveler is written, produced and directed by Robert Andrew Arthur and David Cogan. Listen next week to a tale titled Zero Hours. The strange and suspenseful tale of the mysterious traveler. This program came to you from New York. Another program of tense and dramatic action will follow in just a minute. Stay tuned to the station for official detective. Carl Crusoe speaking, this is the Mutual Broadcasting System.


Dizzy, yeah, like Dizzy the hardest right now. Yeah, I pull it up, I pull it up on like Dizzy, like Dizzy the hardest right now. Capac, I do the race, I put it all in your face. Yeah. Share a class, she fall. I see the, I want her. All you rappers, all you, yeah, yeah, yeah, and he teen, yeah, I'ma just say that. He teen, he official. Let's talk about him, he used to say he went viral the other day, tell us about that. What happened? He went on Animal TV, he did a little freestyle on Animal TV, oh, he was lit.  You were proud. How did he feel when he got done?   He feel it. Boss talk one on one, one on one. Here we go on talk. I, like I said, when I look around and I see different people, you know what I'm saying? I be like, man, I like to see that boy on a track with maybe the Rez or J. The Rez hot. I like the Rez. I got a song about the Rez that's hot right now. What's that song called, baby? What is it? What's the name of it? Is it something different? For real? Something different about the Rez, something different? It's, hold on, I'll put a lick of the.  Me the real man, he said to put me on that.  Why you ain't call me? He said to call me, he said to put me on that. Why you ain't call me, man? Y'all don't want me to tap you in, man. Y'all me here now. N***a, I'll make that phone call with you. We need to highlight the Rez. Hey, the Rez, man, you need the Rez, you know, you need to highlight me, man. I, like I said, I just know it's a lot of talent, man. So, if. The Rez hot, man. The Rez go ahead.  The Rez got one of my favorite songs, though, it's called Hercules.  And you basically, it's always like this music. Yeah, my partner, Gutter, put me on the Rez long time ago, probably like six years ago. Ever since I've been jamming the Rez. Who else outside of yourself, like that in Dallas, that I'm sleeping on, that you say that's hard, that maybe, you know, give me, cause you see, you hear. Say it like Dizzy. Yeah, like Dizzy the hardest right now. Yeah, I pull it up. I pull it up on like Dizzy. Like Dizzy the hardest right now. Get back, I do the race. I put it all in your face. Yeah. Shatter the class, straight to the cake. I'm being paid today. Yeah. I see you, man. All you rappers, all you, yeah, yeah, and he 10. Yeah, I'ma just say that. He 10, he official. Let's talk about him. He used to say he went viral the other day. Tell us about that. What happened? He went on Animal TV. He did a little freestyle on Animal TV. Oh, he was lit. But she don't get no pay.  Oh, it was hard too. How did he feel when he got done? Like he got this little thing. After everything, he always say, big dog, that's his thing.  He feel, this is the true dog. How does that make you feel? It's hot though. It's hot. It's really loud to see him, you know, inspired and really want to chase his dream, you feel me? Before I left, he went to the studio. I was like, yeah, I want to go. He can't go. He hung up on me. He mad right now. So, you know, it's loud though. It's like he got a lot of work to do. He just got to know that, though. Does he write and tell him? Let's keep writing. Does he write his own songs? He need beats. That's what we looking for, because a lot of... You got Ziggy. A lot of, yeah, Ziggy fill them up, but he be on some... I need some more beats. Ziggy make all my beats. You know how kids... He want to work with all the people. Yeah, but the beats... That's his right.  He so blunt.  That's trade, that's trade.  You know what you should tell him? Start trying to make your own beats so that he can be multi, you know, versatile, where he can also rap and make his own beats. Tend to figure out how to make his own beats. Since you know exactly in your head what you want, that's what he could be doing. Buy him the stuff at home and say, here, I'll make you make your own studio.  I ain't even gonna be in my house with all that. You might come home and the whole album be done. Hey, go to the studio with all that.  That's too much noise. Yeah. No. Oh, so when you get home, you want peace and quiet? Yeah, it still don't be that, though. It still don't be that. It's going down in my house. Yeah, I just don't know. So we walk to the dog. From the kids to the dogs, it's lit. I'm telling. All the way. What were you saying about Dizzy, that money bag yo-sum? What were y'all saying? They trying to get him in the show on the tour, the Hush tour, money bag, yo-sum.  Every night. I don't know. I don't know. I don't know. He might. And you gonna go with him? That's the thing. I don't know how he gonna echo that out of me. You feel me? Because mom of the manager, right? Yeah. So she gotta go wherever he go. She gonna have to go with him. I ain't, I might not be able to go. You feel me? So he gonna have to deal with that. He gonna have to, you know. I'm sure she hard on him, just as how you would have been hard on him. So if she goes like you there anyway. Pretty much. But she a softball. She just look like that. She be soft. I mean, she be hard for a good 10 seconds. As soon as a lip poke out or a nose flare up, she back soft. I don't understand that.


It's Thitty Kano back today with another video. Shout out to you for tuning in. If you're not subscribed, do me a favor and smash that subscribe button. We're about to go out here and get busy. I'm glad you guys are with me. I know y'all see the, oh, hold on my fault. Y'all see this baby? What is this? Pokemon baby, comment below and let me know if you know about Pokemon. We also have this, this money baby. Y'all gonna find out how I got these Pokemon cards and this money today. Guess what? We delivered three loads of Pokemon cards and made $355. I got my game for Miss Gala The first order, we're gonna drive 76 miles and we will receive a payment of $12309. We ain't stopping until we shine. Let's grind. Just like that, we are here at the pickup. Hopefully we don't have no hiccups. Let's get vugs. Super hot, let's see if you can hear. You're clear? You're clear on the top. You're clear on top? Yeah. Yeah, you're fine. You're clear on top. You can just come straight in. Okay. Go to your right a little bit. Yes, sir, you're good.  Right there. I don't know if we're clearing the plywood though. So, he's saying you're good. I don't know if it's clearing the plywood. It's probably just like a centimeter. Too high. Lower, lower, lower, lower, lower. Okay, you clear on my end. Okay, you might clear right there. Just come in a little bit and I'll let you know. Try and go in straight. Go in straight, I'm gonna let you know.  There's a joint, barely in here. I'm too small. I'm too small. You just slide, don't even drop yet. Go to your right a little bit. Can you move right? Just here, right? Yeah. Okay, you good right there. Come on in. Y'all see what's going on, baby. Look how high these joints are. Look at this joint. This joint, super hard. It's the ceiling, baby. We barely got it through the door, we got it done. But to go out here and get these funds. And hopefully we have some fun. Let's go.  We're not sure, baby, because this building is a shape of weird. Excuse me. I have a drop off for you guys. This one right here? Okay, thank you. So these are all Pokemon cards. Yep. Really? Yeah. So do you have like a collection? Do you do Pokemon or you just work here? I collect it, but we also... Really? Oh yeah, not a lot. I used to have Pokemon cards as a kid, and then it became a thing. And I wish I still had some cards I had before. There are a lot of people who probably have God knows how much money there is. Yep. First pallet done. Yeah, I'm gonna use it for the video. I'm gonna say we're delivering however many Pokemon cards it is. I mean, it's well over 9,000 booster packs. 9,000 Pokemon cards? Okay, that's what I'm gonna use. I appreciate you guys' help. You guys have a good one. Yeah, you too. Yes, sir. Order number two, guess what you're about to do? We're about to pull right back up to where we just came from. We're about to go right here and get it done and get these funds. We're about to drop 84 miles for 129, 74. It's time for us to go. Let's go. And we are back to pick up some more Pokemon cards. We're already getting busy. I'm glad you got that with me. You got to move kind of switch. One more thing, R-P-M-N, so let's go. All right, you got about two and a half feet. One foot. Yeah, for sure. It ain't way bigger, but it's bigger. It ain't like... It ain't totally like the other one. The other one was pretty. That one was barely fitting in there, but this one's flying right in, and we're about to go right here and get these given in. You got two feet. Have a good one, man. Yes, sir, you too. And just like that, we got everything strapped in. It's time for us to go right here. Get these given in. Let's go. We are here at the drop-off location. My God, about to get us right. We got to put the thing. This is going to be nice and sweet. Let me unstrap this. So here's the crazy part. Uh-huh. I'm going to take that off, count the boxes, and I'm going to schedule a roadie and send it almost back to where you were. It's going to go to Evanston. So what we usually do is you just wait here while I schedule the roadie, and then you can just pick it up and that. Really? That's no trouble. Give me, give me right. Give me right. Check this out, guys. I might have to give him one. So you got it from Elon. How much did it cost? I think it was like $6.50? Or that could be a lifesaver. Man, man, man. And is this that easy? Yep, that's it. Jeez, that's no trouble. Isn't that great? Yeah. So I just need you to give me a pallet deck and one of these from Elon. What is it called? It's just called a steel ramp? Um, I think it's a dock, if you look at dock plates, I think that's a thing. Dock plate. Okay, I'm going to look that up. Y'all heard what just happened. My guy just hooked us up with another order. We about to go over here and get an order. This time we're picking up two pallets, driving 65 miles for 101.42. Get this money. It's what we about to do. Let's go. About to bring these joints back in. I'm learning. I'm trying to watch y'all to see how to do it because guess what? I might be getting one of those soon though. There you go. There you go. I'm trying to make my life easy. Good, Lee. It was my parking, it was my parking steal. All right, now straighten her out. Straight, straight, straight, this way a little bit. There you go. Okay, so what we're going to do? Straight. Yep. Nice and fast. Come up to the side. Yes, sir. The trap is joined in. I'm about to go over here and get these dividends and win. Y'all already know that. Y'all see what's going on, baby. We got everything strapped in. It's time for us to go over here and get these dividends and win. Let's spin. Oh, nice meeting you guys. That's my guy, Allen. So I'm about to pass him to you, Dan. You want the big box or should we just take the smaller boxes first? I said we just small and then just keep rolling. How long do you think it's gonna take you to sell them all? Today. Half of these are already gone. Is this your dolly? Yeah. How much do you sell it to me for, man? Here's a bid. One of these boxes on the inside of this box. Limited edition Pokemon cards. The most in-demand product of 2023. Currently selling for $1.50. Hold it for a year. Gonna go for a $300. That's my thought. He's about to have some great talent this dolly. He's gonna buy another one. He's gonna give us some Pokemon cards and some cash, but they have a glass. And guess what else? He flipped cars too. A real hustin', baby. Hey, y'all already know who's about to tap in and get it in. Look, y'all already know what time it is with me. Dang, no games with nobody. I need it all.  I need everything. I don't have any, I don't have any 20s left. I'm sorry, man. Look at this. Ooh, big $2 bills. Let's get right into it. All together today, we made $355.05 enough money to pay the rent. We ride around with beans with no 10. And we got this. This is $20 and $2 bills. Y'all see what's going on. Hold on, let me count it for y'all. 20, 40. I'm counting about 20. Two, four, six, eight, 10, 12, 14, 16, 18, 20. We already getting money. And we have this. A set of Pokemon. Comment below and let me know your favorite Pokemon. Now, we traded our dolly for this, baby. We looked it up. It's actually worth $119. And then we got $20 for this. We pay pretty much $140 for the dolly. Pretty much the same amount. But my guy did say that this is gonna be like worth like 300 in like one year. But guess what? I know you want it.   It's all good. We're gonna buy another dolly tomorrow, baby. We still got our other that we already had. We gon' continue to get to this bag.  I look, I wanna put this in a case or something. I don't know. I might put it in one of my shoeboxes or something. But I gotta, you know, keep it nice and neat. He said, do not, keyword, do not open this, baby. I'm gonna go ahead and check this out. And it's all about making connections with different people. I told you guys this before. Talk to people that you meet on a regular basis. This guy has been booming. Going crazy with the Pokemon car and selling them, making money, baby. So maybe that's something we might wanna get into. We are definitely gonna talk to him and find out and do some research and all that stuff so we can find out how we're gonna get busy. I'm glad you guys are with me. I hope you guys enjoyed this video. Again, if you're not subscribed, make sure to subscribe and also give me a thumbs up. And I'll catch you tomorrow. I'm just going back down. Sweet and playing around. It's 223. It's a big bag. Excuse me. Don't keep on giving a reason. I'll see you guys on the next one. We gon' be gon' be gon' be floing. You already know it. It's EDK. Haha, we on our way.