The story you're about to hear is true. The names have been changed to protect the innocent. Dragnet. You're Detective Sergeant. You're assigned a homicide detail. A young girl has been found in a cheap hotel room apparently in attempted suicide. There's reason to suspect foul play. Your job, investigate. It was Thursday, November 19th. It was Warman, Los Angeles. We were working the day watch out a homicide detail. My partner's Frank Smith. The boss is Captain Warman. My name's Friday. We just got in a call from Georgia Street receiving hospital. And it was 946 a.m. when we got to the second floor. The treatment room. Yes? Would you like to see Dr. Hall, please? Come in, Joe. Joe, Frank. Hi, Doc. Is this the girl? Yeah. How's she doing? I'm not sure yet. Just finished the transfusion. And when are you going to know? If we think she's going to live, but there's no way of telling right now how much damage has been done to the brain tissue. Bad bruise on her face. Must have received a bad blow. It might have gotten it when she fell. Let's go outside. Now, I can use the smoke. OK. Well, if there's any change, I'll be out in the hall. All right. You've got a cigarette. I'm fresh out. Yeah. Here you are. Frank? Yeah, thanks. Here's a man. I didn't know you gave transfusions in cases like this, Doc. Well, I have to very often. You see, a thing like this, the carbon monoxide in the gas joins with the hemoglobin in the red cells. It won't let go. Blood takes the monoxide to the system and suffocates the brain tissue. We've given her some chloramine, helps speed up the heart action. Wait, look, she's got a good chance of living, but we won't know how bad it really is until later. It's a rough one, isn't it? You find out who she is? Well, according to the stuff we found her wallet, her name's Mona Fenton. Another thing that doesn't make much sense, Doc, she registered into the hotel as Mrs. John Norris. There's a way we can find out she wasn't married. How'd you come up with that? Well, when the office got word about it, we tried to get in touch with her husband. We called the phone number on the ID that we found in her wallet. Talked with her mother. She's just a girl single. Well, how about the guy she was with? Have you been able to talk to him? No. Haven't found out who he is? Name doesn't check out, huh? Not that we can find. How about the mother? She give you anything? Let me just talk to her for a minute. We're going over there when we leave here. Maybe she can come up with some answers. I sure hope so. Couple more questions you can ask her? Yeah, what's that? Find out if the girl's been under a doctor's care. What do you mean? Checked her over when she came in and found Marx. On her arm? Yeah, I think she's an addict. At 8.30 a.m. that morning, a guest in the small hotel on Grand Avenue had thought that he detected the odor of gas in the halls of the building. He notified the desk clerk and together they conducted a search of the premises. Finally, they ascertained that the escaping gas was coming from a room on the third floor of the hotel. When the desk clerk got no answer to his calls, he used a pass key to open the door. Sprawled across the bed was a girl who appeared to be in her early 20s. The gas heater in the room had been turned on full and the windows were closed, locked and stuffed with pieces of torn sheets to keep the fumes in the room. The quick action of the desk clerk had undoubtedly saved the girl's life. While a hotel guest called an ambulance, the clerk turned off the gas, opened the windows and administered artificial respiration to the girl until the ambulance crew arrived. As an attempted suicide, the homicide detail had to make an investigation. Frank and I were assigned to the case. After we talked to Doc Hall at Georgia Street receiving hospital, we drove down to the hotel where the girl had been found. Right in here. Anybody been in this room since the other officers left? No, sir, told me to lock it until you could see it. All right, sir. This is just the way you found it, is that right? Well, yes, of course. The gas has turned off and I opened the windows, but everything else is the same. I see. From what you said on the phone, she came in last night, is that right? Yes, sir, at least that's what the registration book says. They checked in at 10.15. Did you take care of them? No, I was out to dinner when they got here. Who checked them in? Jeff, Jeff Christensen. See you around? No, not right now. He'll probably be back tonight. You know where we can find him? I don't know.  I mean, he's on his way out on the town with some of his friends. Jeff goes out on the town. Maybe we don't see him a couple of days. I see. But you figure he'll be back tonight, huh? Oh, yes, yes. Jeff only worked a couple of days last week, so he couldn't go on much of the town. Did you see the man we spent and came in with? No, I didn't. He was already in the room when I got back from dinner. I checked the book. I got the money from Jeff before he left. The man must have gone out sometime earlier this morning. I guess I was asleep. My room just back from the desk. Well, I must have got out while I was asleep. I see. Did you get any calls from the room at all? Not a one. Like I told those uniformed officers to be here, I didn't see them at all. Not a peep of them. Matter of fact, I was thinking how nice and quiet they were. But the way the room books, they sure must have had some sort of argument. Yes, sir. But you know if they brought any baggage with them? Matter of fact, I know they didn't. Sure looks like they did some heavy drinking, don't it? Mm-hmm. Glasses, that model's almost empty. Yeah. I'd rather he wouldn't take the bottle. Oh, yeah, yeah, well, I'm... Say, you talk to the girls' people yet? No, sir, we haven't. But you're planning to see them, aren't you? Yes, sir. Yeah, I wonder if you'd do me a favor. You know when you see a people? Yes, sir, what's that? Well, I don't much mind the dirty glasses and having to straighten the room up. That's all part of the hotel business. But I wish you'd say something about the torn sheets. Tell the people about them. I don't want to cause no trouble, but maybe if they know how about the sheets were all torn up, they'd want to make good on them. You will mention it, won't you? Yes, sir. I'll call the office, Joe. Have them send out a crew. See what prints we can let. All right, fine. Who else has a path here to this room? Well, you mean beside me? Yes, sir. Well, there ain't nobody. Where's the key kept? That hangs on a nail next to the desk. That big nail there hangs right on it. When you came into the room, did you notice that there was anything around the door to keep the gas inside? I don't follow you. Well, you found pieces of torn sheets around the windows, you say. Now, was there anything like that but the door?  I'm with you now. Yeah. Well, let me think. Does I remember? No, no. There wasn't nothing there just around the windows. Was the key in the lock when you came up here? You mean inside the room? Yes, sir. That's right. No, no. The reason I know that for sure is that I looked through the keyhole. I had to see what was in the room. Oh, sir, the key wasn't in. Of course, I don't mean nothing. Sir? Well, only a couple of the rooms have keys anyway. We don't use them anymore. You mean you don't lock the doors? Sure, we lock the doors. We got them all locked all the time. This is a respectable hotel. Of course, we lock the doors. But not with those keys. We got those other locks on the doors. Oh, I see. You see, yeah. See there? Sort of like Yale locks? That kind, you know. That's what locks the doors, not the other keys. Yes, I see. Of course, we lock the doors. Yes. The locks catch when the doors closed, though. Is that right? Yeah, locks them tight. I got in touch with Lee Jones, Joe. He sent a crew right over. Good. Now, check with Doc Hall. How's the girl? Oh, she's coming along. Doc says she's doing better. These fellas that you're going to have roaming around here, what's this all about? Is something wrong? We're not sure yet, sir. Oh, dear, dear. It always happens like this, don't it? What's that, sir? I try to run a respectable place. Goodness knows what I do. I keep it right off the date. It's good service and something like this happens. There's no reason for that girl to do a thing like this, not in my hotel. Now you cops coming here. Cops going to be all over the place. Tenants aren't going to like it. They ain't going to like it at all just because of that girl. Why'd she have to come in here and do a thing like this? Why'd she have to do it at all, sir? 1126 a.m. We questioned the people in the hotel. None of them could remember hearing any undue noise coming from the room where the girl had tried to kill herself. Normally, the investigation would have been routine, but with the possibility of foul play, we had to check every angle and then check it again. The crew from the crime lab arrived and went over the room. Under the bed, they found an empty capsule, the type commonly used to dispense heroin. They also came up with a clean set of fingerprints on both glasses. They were photographed, and the water glasses themselves were removed to the crime lab to be booked as evidence. The registration card the couple had signed was turned over to Don Meyer in handwriting. The name was checked through our record bureau, through the phone book and through the city directory, but when the leads were checked out, we were no further in knowing who the man was who'd taken the room with Mona Fenton. Word was left at the hotel for the handyman to contact us as soon as he returned. Word was also left that if the man who'd registered with the Fenton girl returned, we were to be called. 1145 a.m. The men from the crime lab finished their investigation and returned to the office to compile the results. Frank and I left the hotel and drove out to the address listed on the girl's identification. It was a large white colonial home near one of the colleges. We rang the doorbell and waited. Yes. Miss Fenton. Yes, that's right.  Police officers would like to talk to you. Oh, come in. Thank you. It's about Mona, isn't it? Yes, ma'am. I knew something like this would happen. I knew it all along. Will you find it? She first had this crazy idea. When she first told me about it, I knew. Kids, try to tell them. Just try and they tell you that times have changed. They say that you're not keeping up with the time. They know it all. Nobody can tell them anything. But what idea is this, Mrs. Fenton? When she wanted to quit school and take the job in that drive-in restaurant, the most ridiculous thing I ever heard of. Nobody could talk her out of it, Lord knows I tried. I knew something like this, F. I just knew it. Yes, ma'am. Do you know any reason why your daughter might want to take her own life? Are you a policeman, too? Yes, ma'am. I'm Frank Smith. This is my partner, Joe Friday. You do. How do you know? Do you know any reason why your daughter might want to kill herself? It's a little hard to say, Mr. Friday. What's that? Mona and I had quite an argument about her leaving school. It was one of those silly things that starts and gets all out of hand, you know. We both have pride, and neither one of us was going to back down. Okay. I haven't seen Mona to talk to for over a month. So she lives here, ma'am? Yes, she does, Mr. Smith. There's an outside entrance to her room. She comes and goes as she pleases. Doesn't eat a meal here, so I hardly ever see her. You know if she's been under a doctor's care? No, I don't think so. Why do I have to ask that? Or is your daughter a diabetic? No, she isn't, Mr. Friday. Well, these questions about Mona and a doctor, what are you trying to find out? Does your daughter have any special boyfriends, Mrs. Finn? She did have. Who is that? Richard Burdick, nice boy. Mona and he were planning to get married when they got out of school. And along with everything else, that just blew up. Everything seemed to go all at the same time. Did your daughter have any trouble with this, Burdick? No, nothing you could call real trouble. But they agreed to disagree. With Mona's idea, Richard didn't want anything to change. He was very much in love with her. Does he know about this? I don't think so, Mrs. Fenton. We haven't told him. I don't know what he's going to do when he hears about it. He's going to hit him awfully hard. He's the sensitive type. Does your daughter have any close friends that she might confide in? I suppose she does. She's talked about some of the girls where she worked. Would you give us her names, please? Oh, yes, I will. I'll write them down for you if there's anything I can remember. All right, fine. Has your daughter been in good spirits lately? As far as I know, yes. She's always seemed happy enough when I saw her. I told you we hadn't said much more than hello the last month, but she seemed happy. You said that she broke up with this Burdick boy, is that right? Yes. But when was that? Six weeks, two months ago. You know what caused it? Good job. All the other things. Mona kept making dates with him and then breaking them at the last minute. I guess Richard just got tired of being stood up. Well, does he and your daughter have any arguments? Did you know that? No. It's decided that it wouldn't work out for them. They just decided to stop seeing each other. Did your daughter have any other steady boyfriends, anyone that she saw quite a bit of, maybe? Well, there was one boy. He was quite a bit older than Mona. She saw a lot of him the last couple of weeks. Know who we was? No, I never met him. I only saw him once. What if he could describe him for us? No, I'm afraid I can't. He drove by for Mona one night, couldn't pick her up for a date.  I see. I went to the front door to tell him to come in. Mona wasn't ready yet, but he wouldn't. Just sat out there and waited. I didn't get a good look at him. Could you describe the car for us? Not good. It was one of those foreign cars, a convertible. I think it might have been a Jaguar. I'm not sure about that, though. But you're sure it wasn't an American automobile. Yes, I'm sure about that. How about the color of the car? Can you tell us that? It was awfully dark out there. I'm not sure. I'd rather not say, Officer, if I can't be sure, you understand that. I wouldn't want to tell you something, and then have it turn out to be wrong. You can understand that, can't you? Yes, ma'am. Did you see Mona this morning? Yes, we did. Is she all right? They think so, yeah. Aren't you sure? Well, when we talked to the doctor, they were doing everything they could. They seemed to think that she was going to be all right. Thank God.  Do you want to go to her and not be able to? It's so hard. Try to take it easy if you can, Ms. Benton. If you'll just give us the names of the girls that she might know, we'll be on our way. Yes, I'll write them for you. Thank you. Excuse me? Shirley? Hello? Yes, it is. Are? Yes, they're here, just a moment. For you. I'll get it, Jim. I'll get those names for you, Mr. Friday. All right, fine. Did your daughter ever refer to this man on the foreign car by name? No, I don't think she did. All I know is that whenever she went out with him, it was the big date of the bunch. How often did she see him? Maybe a couple of times a week. Might have been more. I had no way of knowing what she was doing. She kept pretty much to herself when she met him, but I could tell he was the big thing in her life. He was it. Oh, yeah. See a minute? Yes, excuse me, Ms. Benton. I'll finish this list. Thank you. Yeah, call us from Jack's Myers at the office. Yeah, just removed her to the dental hospital. Yeah, she had a relapse. I don't think she's going to live. We obtained the name of the drive-in restaurant where the Fenton girl was employed. We also got the names of the girls that she worked with and the address of her boyfriend, Richard Burdick. Mrs. Fenton also gave us a list of names of persons who might be able to aid us in the investigation. Under further questioning, a mother was still unable to furnish us with a motive for a daughter's attempt to take her own life. The apparent lack of a motive or any type of a suicide note coupled with the bruise on the girl's chin made the likelihood of falling. 12.57 p.m. We left the Fenton home and drove over to the drive-in. We stopped on the way and put in a call to the office. There still hadn't been any report of the handyman at the hotel. The only person who could give us a description of the man who registered at the place with the Fenton girl. When we got to the drive-in, we asked about a Peggy Greason, one of the girls on the list. After a few minutes, the girl came over to our car. You want to see me? You Peggy Greason? Yeah, why? We'd like to ask you some questions about Mona Fenton. Well, you guys. Police officers would just like to talk to you. I've got to get it okayed with the manager. I'm on duty now, lunchtime. Pretty busy. I've got to get it okayed. I'll take care of it. All right, fine. I'll check with the manager, just right. This isn't going to take long. I've got a couple of customers waiting for orders. My partner will take care of it. I ain't the manager knowing that worries me. It's the tips they're going to leave. Make what I do and the tips are important. Yes, ma'am. It's all this about Mona anyway. What are the cops after her for? Well, she tried to kill herself this morning. Mona? Yeah. Why? Why? Why'd she do a thing like that? I always thought maybe you could help us there. Why me? I haven't got anything to do with it. Well, we understand you're pretty friendly with it. Oh, sure. I was a friend of Mona's, but I don't know anything about no suicide. I don't know anything about it, and I don't want to. Do you know any reason she might try to take her own life? Not a reason in the world. Not Mona. Do you know if she was under a doctor's care for any reason? Right. You know? I mean, I don't know. It's insane thing about it. I never said a word. Why? Well, that's what we're trying to find out. Can you think of any enemy she had? Anybody who might have wanted to hurt her. How far is this going to go? Well, how do you mean, Miss? I mean, he's going to hear about this. He's going to hear the answers I'm going to give you. Well, no one. Not what he got for it. Well, I'll give you this for free. If anything happened to Mona, you go talk to Dick Burdick. Talk to him. He'll be able to tell you. Why do you say that? Because it's true. No other reason. It's a real bum. You asked me, I think there's something wrong with him. You know, in the head. Well, do you have any reason to say that? All the reason in the world. Poor girl. This bum all the time coming around, giving her trouble. All the time telling her I was going to kill her and anybody that comes near her. Burdick said that to Miss Favenditti? Half a dozen times. It wasn't more than a week ago. Mona told me she told him off, told him to get lost. She wanted any part of him to leave her alone. He made a big scene. Mona told me all about it. One day this Terry drove in here. Got one of those flashy foreign cars. A Jaguar? I think so, yeah. A Jaguar. Well, one day he drove into the place. Mona took care of him. I guess he liked Mona. He kept coming back, always parked in her station. Anyway, this Burdick kid found out about it. Wasn't anything for him to worry about, but he made a big thing about it. So, Mona, she was close to stop seeing Terry. He said if she did, he was going to cause real trouble. Did he say what he was going to do? Well, I think he was kidding. I don't think he really meant it. He's just a kid. Who would he say? I really don't think he meant it. Well, all right. Now, what would he say to her? He said if he found him together again, he'd kill him both. We talked to the other girls in the drive-in. From them, we got the same story about the scenes that Richard Burdick had created. We got more information about the threats that he'd made against the Fenton girl and Terry Hamilton. From one of the girls, we got the address of Hamilton. 2.45 p.m. We left the drive-in and drove over to the address of the girl's boyfriend, Richard Burdick. We talked to the landlady. She told us that the Burdick boy had regular habits. He paid his rent on time. He never had any visitors. She told us that he wasn't in his room at that time, but she said that she'd let us in. In her company, we went upstairs. She unlocked the door, and Frank and I went in. I'll check the bedroom. I'll take the kitchen. Yeah. There's nothing out there. How'd you do? Looks like we're a little late. What? His clothes are gone. We checked the room further. Every indication was that Richard Burdick had left the apartment in a hurry. We talked to the landlady again. She could give us no reason for his disappearance. She gave us the name of his employer. We put in a call to them, but they told us that Burdick had failed to show up for work that day. 4.15 p.m. We put in a call to the hotel on Grand Avenue, but the handyman still hadn't returned and there'd been no word from him. We went back to the office and checked the name Richard Burdick, who are our eye, but we found no criminal record for anybody answering his description. We put out a local and an APB on him. At 4.39 p.m., we got a call from General Hospital telling us that the Fenton girl had regained consciousness and that we could talk to her. Frank and I left the office and traveled Code II out to the hospital. The doctor on duty told us that the girl was out of danger, but that she was very weak. He asked us not to get her excited, and he let us into her room. Yes, who are you? Police officers. Why can't you leave me alone? Go away. Just a couple of questions we'd like to ask you. I don't want to talk to anybody. Why didn't you leave things the way they were? Why didn't you leave me alone? You had a lot of people worried, Miss. No reason for it. Be better all the way around if things had happened the way I planned them.  Yes. Who was with you in that hotel room? I mean, Mr. Morris? Yeah. It was Terry. It was always Terry. He was going to marry me, then he didn't. He said he wouldn't, he didn't. Is that why you did what you did? Yes. You used narcotics, Miss Fenton? Mm-hmm. You used narcotics? Yes. It was Terry's idea, too. I think that's all he wanted with me, just to get me hooked, so I'd have to do what he said. I think that was the reason. How about this Richard Burdy? What about him? Do you have anything to do with you deciding to take your own life? In a lot of ways. The mistake I haven't made was leaving Richard. I thought it was smart, real smart. I was going to show him. Terry said he'd marry me. He said he was in love with me. Did he get to start it on narcotics? Yeah. At first it wasn't so bad. I loved him. Really, I did. Then when I had to have the fixes, he changed. He told me he couldn't give it to me anymore. I was going to have to pay for it. I tried to tell him to tell him that I loved him. I wanted to be with him. That's why I went to the hotel to talk it over. I tried to come to an understanding, some kind of an understanding. He said that he didn't want to have anything to do with me. He wanted no part of me anymore. He said that I was going to have to pay for the age from now on. I didn't have any way to pay for it. He said it wasn't any of his business. He a user? Yeah.  Ma'am. The whole thing, I had it real good all the way around. And then I went ahead and ruined everything tore all down. Even if I had killed myself, it would have been no answer. Not the right answer anyway. I know that. I know it real well. Ma'am, can you tell us where you can find this Terry? You bet I can. I want to see him feel like I do. I want him to know what it's like. Would you be willing to meet with him? Make a bio-narcotics force? You name the time, I'll be there. I'll be there if I have to crawl. All right. You better get some rest now. I guess so. I'm pretty tired. Do you see my mother? Yes ma'am. Is she real mad at me? No, I don't think she is. Would you call her? Ask her to come and see me. Tell her I'm sorry. Tell her I want to see her. I should be glad to hear that. I hope so. I got so much to tell her, her and Richard. I'm much to tell them both. All right, ma'am. We'll get in touch with her.  You tell me. All right, leave it. Terrible thing, isn't it? What's that? Terry. He's been around a long time. Must be other girls in the same fix all because of him. Girls who have a bad habit and have to do what he says. Girls like me, terrible. Nobody knows how many. Yes ma'am. What is it going to end? When you meet him. Vanorys Hamilton was tried and convicted of violation of the State Narcotics Act of felony one count. He received sentence as prescribed by law. Violation of the State Narcotics Act of felony is punishable by imprisonment in the state penitentiary for a period of from one to five years. Mona Irene Fenton pled guilty to the same charge and was placed on probation for a period of three years with the provision that she be placed under the care of a competent psychiatrist. The story of your police force in action is a presentation of the United States Armed Forces Radio Service.


July 24th, 1969, Tape 7024, Apollo 11 air-to-ground voice video transcript. Monitor, but we can make out a fair amount of detail. 413-2228, LMP. Okay, will you verify the position? The opening I ought to have on the camera. 413-2234, CCM. Standby. 413-2242, CAM. CDR moves down the lander's ladder, descending toward the lunar surface. 413-2248, CCM. Okay, Neil, we can see you coming down the ladder now. 413-2252, CAM. CDR pauses, then climbs back up to the ladder's first rung. 413-2259, CDR. Okay, I just checked getting back up to that first step, Buzz.  Roger, we copy. 413-2311, CDR. It takes a pretty good little jump. 413-2325, CCM. Buzz, this is Houston. F2, 1-1-60th second for shadow photography on the sequence camera. 413-2335, LMP. Okay, 413-2336, CAM. CDR once again descends the lunar lander's ladder, arriving at the final rung. 413-2338, CDR. I'm at the foot of the ladder. The LM foot pads are only depressed in the surface about 1 or 2 inches, although the surface appears to be very, very fine grained. As you get close to it, it's almost like a powder. Down there, it's very fine. 413-2340, CAM. CDR pushes back from the lander's ladder, easing down towards the lunar surface. 413-2343, CDR. I'm going to step off the LM now. 413-2345, CAM. CDR makes contact with the lunar surface. 413-2448, CDR. That's one small step for man, one giant leap for mankind. 413-2456, LMP. Wait, what? Tape 7024, Apollo 11, air-to-ground voice video transcript. 413-2505, CAM. CDR commences to slowly walk along the lunar surface. 413-2512, CDR. And the surface is fine and powdery. I can pick it up loosely with my toe. It does adhere in fine layers, like powdered charcoal to the sole and sides of my boots. I only go in a small fraction of an inch, maybe an eighth of an inch. But I can see the footprints of my boots. And 413-2521, CAM. LMP emerges from the lander module and descends toward the lunar surface. 413-2523, LMP. Neil, can you repeat your previous transmission to me? 413-2528, CDR. And the treads in the fine sandy particles. There seems to be no difficulty in moving around as we suspected. It's sorry, Buzz, come back. 413-2532, CAM. LMP makes contact with the lunar surface. 413-2538, LMP. Repeat your previous transmission to me? 413-2543, CDR. About the surface texture? I said, 413-2549, LMP. Negative. Repeat what you said when you touched down on the surface of the moon. 413-2553, CAM. CDR stops moving along the lunar surface and turns to face LMP. 413-2555, CDR. I said, one small step for a man. One. 413-2558, CAM. LMP approaches CDR. 413-2602, LMP. No, you didn't. You said, one small step for a man. You left out the A. 413-2608, CDR. Buzz, we just landed on the moon. I don't think it matters whether I and no. For your information, I did not leave out the A. 413-2615, CAM. A large figure can be seen approaching from the horizon, approximately 15 meters from CDR's position. 413-2617, LMP. Yes, you did. I heard you. You left out the A. Tape 7024, Apollo 11 air-to-ground voice video transcript. 413-2622, CDR. I did not leave out the 413-2628, CCM. Neil, this is Houston. We didn't hear an A down here. 413-2633, CDR. Houston, stay out of this. 413-2634, CAM. The figure is now approximately 10 meters away. It appears humanoid. 413-2637, LMP. Look, we'll just do it over. 413-2640, CCM. Guys, this is Houston. 413-2642, CDR. Do it. Are you? We can't do it over. It's done. We landed. My footprint is already there. 413-2646, CAM. The figure is now 5 meters away. It can be identified as a bronze full-body deep-sea diving suit. Its design is notably bulky and antiquated. 413-2648, CCM. This is Houston. Come back. There's some sort of 413-2654, LMP. We'll dust it out. 413-2701, CDR. What? No. No, for Christ's sake, no. This is history in the making. We have accomplished what no other human being has ever done. We have set foot on the lunar surface. We're not doing this over. There are no do-overs on the moon. 413-2717, CAM. The figure is now directly behind CDR and LMP. It proceeds to forcibly shove both astronauts aside and climbs up the lander's ladder. 413-2720, LMP. What the? 413-2725, CCM. This is Houston. Come back, Neil. Come back. Are you all right? Come back. 413-2730, CAM. The lander door closes. As LMP and CDR recover, the lander initiates its lunar liftoff sequence. 413-2732, CCM. What the? just happened? Transcript of a recording of a telephone conversation between Gene Kranz and on July 20th, 1969, from 421pm EST to 425pm EST. Kranz. Hello? Hello? Kranz. We have an emergency. Two of our- Kranz. Fine. I don't care about your plan of action, though.  Kranz. I- what? Did he- no, he didn't look like- why would you ask if he looked like a- are you saying- are real? And there's- there's one on the f***ing moon? Kranz. And you didn't think that was something you should have briefed us on before we went there? Kranz. Fine. Whatever. I don't care. How do we get our boys? Kranz. Okay. Good. Okay. Thank you. Thank you. Kranz. Yeah, we can, but we won't be able to recover it. And I don't think there's enough fuel left to- the orbit will eventually decay. I think- one sec. Let me check. Kranz. Jesus Christ, okay. Okay, fine. I don't know how you're going to- but I guess that's above my pay grade. And yeah, I just checked my notes. We can do it, but the orbit won't be- Kranz. Yeah. I'll brief them personally once you've brought them back, and the orbit won't be stable. Whatever that thing is, it won't stay up there forever. Kranz. You got 50, maybe 60 years before it drops back down, and it's gonna drop hard. Kranz. Yeah, 60 years. Give or take 10. So, you know, make sure you archive that somewhere. 60 years. Give or take 10. Later. Somewhere in New Jersey. It's 3 a.m. in a waffle house. Adam Saxon sits alone in a booth with his complimentary glass of fluoridated tap water. He pretends to read the laminated menu while observing the restaurant's six other patrons. An elderly couple snuggling in the corner. A trucker at the counter.  A trio of exhausted teens in ratty clothing. None spare Adam so much as a glance. For this occasion, the retired intelligence officer wears his least conspicuous head. A blind man with sunglasses and a face wrapped in linen. Adam is particularly proud of the nose. He sets the menu down to quickly adjust it as the door jingles. Jeremiah August is a short, slender black man in a dark suit.  Once he reaches Adam's booth, he removes the jacket and neatly folds it over an arm. He then gracefully slips into the seat across from the ex-agent who was called him here. Mr. Saxon, I presume. August speaks like a fencer. Each syllable is a jab. Each paws a faint. Adam finishes tweaking his nose. Yeah? Why did you call me? Adam leans back in his seat. The cushioning's plastic sleeve squeaks under him.  Humor me. I worked in the foundation's counterintelligence division for over 20 years, son. I know when I'm being tailed. August lifts a pierced eyebrow. Really? Adam feigns a sigh. Fine. He gestures. Eldly couple in the back. They're good. Too good.  The trucker hasn't touched a thing beside his plate. No salt. No pepper. No butter. No syrup. Not even ketchup. I've yet to meet a night-holer who doesn't drown his eggs in ketchup. And the teens. I look like I'm on my way to a casting call for the invisible man, and they haven't so much as snickered. The eyebrow creeps higher. Adam continues. Not to mention that, for the past 15 minutes, I've been pretending to read this menu, despite clearly looking blind. Waitress didn't even ask if I wanted one in Braille. As for this water, he nudges the glass toward August. I'm guessing what? Some new experimental amnestic? Nanotech maybe? Something you think will work on me. August looks at the glass. Then back at Adam. He tilts his head. There's no ice. Adam explains. They always add ice. He folds his arm across his chest. So, yeah. That's why I called. To ask you straight to your face. What does the foundation want with this old washed-up field agent? August taps his lip piercing against the front row of his teeth, pondering. With a feeling grace, he takes the glass, brings it up to his lips, tilts it back, and gulps it down. Once finished, he returns it to the table with a sharp clunk. Then he fluxes a paper napkin out of the nearby receptacle and dabs his nails. Adam stiffens. Okay. So maybe I was reaching with the water, but Mr. Saxon, August folds the napkin and sets it down. Despite being the man's senior, Adam's chest constricts beneath the weight of that flat, merciless tone. Are you familiar with the phrase, wilderness of mirrors? He doesn't reply. Counterintelligence officers are trained to recognize patterns and identify threats. Every shadow can hide a dagger. Every smile a plot. Every cup a drum of poison. In the world of espionage, perceiving agency behind seemingly random occurrences is what keeps you alive. But out here, in the wilderness, it's just paranoia. This isn't. The elderly couple is just affectionate. The trucker just has terrible taste. The teenagers are just polite. And I doubt the waitress even cared enough to notice that you are pretending to be blind. Adam leans back farther, his shoulder slump. You mean that no one's tailing you? No. So I just called a senior foundation official to a waffle house in the middle of the night for no good reason? Yes. Hi. F**k. Jesus. F**k. Adam wishes he could rub his temples, but the paper mache is far too brittle to risk it. F**k. Something that might resemble sympathy flickers over August's face. I've reviewed your file, Mr. Saxon. Your performance was exemplary. Prior to your, uh, incident, you were a highly valuable asset, but now you're retired. This is a time for you to enjoy the fruits of I need to work. That shred of sympathy gives way to an ocean of cold conviction, not an option. You said you reviewed my file. That means you know what I did, what I gave up to keep working, to keep serving the foundation. August lips pull into a thin dark line. On behalf of the foundation, I commend you for your sacrifice. That being said, we cannot. Adam lunges over the table and seizes him by the collar. This motion is sufficient to dislodge the ring of glue around Adam's throat. The paper mache bust wobbles over his neck like a life-sized bobblehead. F**k your commendations. I gave you f**ks everything. And all I'm asking is a chance to go back to work. The elderly couple draw their service pistols from each other's holsters. The trucker pulls one out from under the counter. The three teens lift theirs over the table. The waitress kicks open the kitchen door, lifting her binelli and four semi-automatic shotgun, cocked and ready. Seven fingers curl around seven triggers. Seven barrels. Aim for Adam Saxon's heart. No one speaks. No one moves. No one even breathes. Adam's prosthetic head continues to wobble. Eventually, it bobs too far to one side, peeling free from the metal pedestal at his neck. It hits the floor with a flump, then dribbles away. Site director Jeremiah August regards the space where the ex-agent's head used to be. Adam's neck ends with a flat metal cap. A six-inch steel rod extends out from its center with a small metal sphere at the top. Release me, Mr. Saxon. The headless ex-agent lets go. He sinks back into his seat. No tail, huh? August stands. Straightens his collar and gestures to the other patrons. They lure the weapons. August then follows the path of the loon-wrapped bust, halting its roll with a tip of a well-pulled shoe. As I said, no one has been tailing you. But when a retired foundation field operative calls and demands a late-night meeting at a waffle house, one is inclined to take precautions, particularly when it's an operative with your reputation. He retrieves the prosthetic head, then returns it to Adam. Adam reluctantly accepts it. He slides it back down on the rod, making some rough adjustments. The head no longer fits right. On top of that, he's pretty sure the nose is ruined. Okay, I'm sorry. That was... Perhaps we can find something for you to do. August interrupts him. Nothing like your previous work, I'm afraid. We can't have you involved in anything sensitive. But if you just want something to keep your mind occupied... Anything. Adam's voice quakes. I'll take anything. Given your comprehensive knowledge of the foundation's history, I think I know just the place for you then. August retrieves his folded coat from the seat, slipping it back on. Tell me, Mr. Saxon, what do you know about the archival division? Somewhere along the coast of North Carolina. So, we think in Moon Wizard, the veteran agent crouches and shakes her hand. Not his style.  It's landed close to the beach, where the contents of its bloated gut can now be examined, catalogued, and discharged. Said contents consist of the charb remains of Apollo 11's command module, a compact dome. It was designed over 50 years ago by a generation's brightest, most brilliant minds to handle the catastrophic force of an atmosphere smashing into it at over 25,000 miles per hour. Someone has split it open, like tinfoil, from the inside, with their bare hands. Looks like it was in a decaying orbit, the vets says. She leans in to examine one of the strips of chrome that have been peeled back, exposing the cramped interior space. Must have snatched it off the moon back in 69. Wait, what? The second in command makes a face.  The skin on his hands is like tanned, corded leather.  I saw it on the news. I was just a kid, but I'd remember seeing someone jack their ride. The vet is short and wide. Not quite as wide as the second in command, but it's close. And mostly muscle. Her dark, sleeveless top leaves her biceps bare. They're thick and scarred, with red, fractalized scars that branch out from her shoulder and wrap down to her wrists.  How do you think? The second in command scowl deepens.  Um, the newbie is a young man with russet skin and dense, tightly curled charcoal hair.  Can we rewind a bit? You said moon wizard?  Like a real wizard? Wizards are real?   Moon landing happened. They just reshunt the footage. Wizards are real and one lives on the moon? For f***'s sake. Yes, kid. The second in command throws his hands up. Santa Claus is real.  Can we please move on? He turns to the vet. Why was the moon landing reshunt? The vet shrugs. Beats me. Razor doesn't have any documentation on it. That's why they sent us the second in command size. Fine. So what do we do? Not our department. She turns and examines the wreck. Just notify Razor and send this hunk of junk off to the archival division. Somewhere in the Atlantic. A massive figure, encased in an ancient deep-sea diving suit, stands on the ocean's floor. Long, tangled strips of seaweed trail behind it, rolling back like ribbons of silken hair, caught in a lethargic breeze. Intrigued, a great white swims close. Like most sharks, it investigates the world through its mouth, so it decides to take a tiny, curious bite. Half a minute later, the two jagged halves of the shark's sundered corpse lay behind, as the figure trudges silently through a cloud of viscera and blood. Straight on ahead, like a slow bullet, toward Britain's coast. End of file. To learn more about the SCP Foundation, subscribe to SCP Orientation today and turn the notification bell on, so you don't miss any of our videos.


The coil emits magnetic waves. Magnetic waves have no sound. It's completely silent. But speakers have sound. So if you use both, you'll get sound and you get magnetic waves. You get both at the same time. And there's nothing out there. Nobody has this. People have never heard anything like that before. This is brand new. Being able to have magnetic therapy and sound therapy at the same time.


You can't study at football practice. Find yourself a quiet place to study. Your library. Your dorm room. Cafeteria. Find what's best fit for you.


I've been on an adventure. I've seen creatures I'd never imagined and landscapes out of a dream. At other times it was harsh, but in the darkness of the storm I encountered a little ship. It gave me a push and said, don't you see that light? In time historians will say that it was just a legend, but for me that was the truth. Hello and welcome to One Piece 101, the series that breaks down every one and every thing in the One Piece world. Today we will be examining the original One Piece princess, Nefertari Vivi. Vivi is a kind, brave and generally selfless girl encountered by the straw hats almost immediately after they entered the grand line. Although we weren't to know about this kindness bravery and selflessness at first, because she was posing as an agent of Baroque works, an underground organization led by then warlord of the sea, Sir Crocodile. She and her partner Mr. Nine served primarily as comic relief villains during the reverse mountain and whiskey peacocks. During the latter arc, Vivi, known by her alias Miss Wednesday and several other agents were charged with killing Luffy and collecting his 30 million berry bounty. However, this proved to be the incorrect course of action as Vivi, Mr. Nine, Miss Monday and Igram were fairly easily dealt with by a certain Roa Noa Zoro. That's alright though because Vivi was forced to reveal her identity and betray Baroque works when Mr. Five and Miss Valentine arrived on the island and announced that there was a spy within their midst. Because in reality, Vivi was a princess of the alabastic kingdom, currently under the rule of her father, Nefertari Cobra. As a child, Vivi was highly involved in royal activities and was even present at a previous reverie, an event that gathers all kings under the affiliation of the world government for a seven-day conference. But she also did regular kid things like starting a secret group known as the Sooner Sooner Clan with her childhood friend Cosa. Although Vivi being a princess did predictably cause some unfortunate situations, one of which was her being kidnapped and although the Sooner Sooner Clan stood tall to defend her, Vivi had to be rescued by her father Cobra as well as Igram, Pel and Chaka. The latter three characters were often charged as retainers of Vivi, keeping a close eye on her at all times. Well except for this one time where she got kidnapped, but hey everyone makes mistakes, Vivi would grow quite close to all three of them, particularly Pel, who having eaten a falcon type zoo and devil fruit would often take Vivi flying on his back even though the king had forbidden it. In regards to her father, Cobra shows great love for his daughter and an even greater faith in her abilities and pure determination, believing wholeheartedly that she will be a wonderful figurehead of alabaster when the time comes. Finally it's worth noting that Vivi is also very close to her pet duck, Karu, whom she has had since childhood. The bond these two share is stronger than Vivi holds with any other character and she is able to put her complete trust into this adorably built creature, even if he does more often than not misunderstand simple instructions. Many years later Sir Crocodile arrived at the country of alabaster, causing a string of strange events involving the country plunging into drought. Well, all of the country except for the capital city of alabaster, known as alabana. Crocodile then proceeded to frame the king via planting a substance known as dance powder within the royal palace. And just very briefly on dance powder, this substance is able to create artificial rain, however in the process it uses up natural rainfall that would occur in other neighboring areas. So the discovery of dance powder within the palace prompted much of the population to believe that King Cobra was hoarding all of the rain for himself and gradually this formed into a full-scale rebellion against the king and his forces. Suspecting Crocodile, Vivi and Igram then infiltrated Baroque works in an effort to expose Crocodile and learn his ultimate plan for the country. During her time in the organization, Vivi formed quite strong bonds with her partner agent Mr. Nine as well as Ms. Monday. In fact, during Whiskey Peak when Vivi's status as a spy was revealed, both of these agents stood by her regardless and were prepared to risk their lives to ensure Vivi's safety. After defeating Mr. Five and Ms. Valentine, the straw hats learnt the truth of the matter and agreed to escort Vivi as well as her pet duck Karu back to Alabasta. And after this moment, Vivi's personality took a complete 180 from comical sly and incompetent villain to vulnerable yet extraordinarily determined princess. As she journeyed with the straw hats, Vivi also began to show a more lighthearted nature and came to quite genuinely care about her new companions. This was epitomized when the army fell ill as a result of being bitten by a bog on Little Garden and Vivi put her mission to save her country on hold so that they could sail to Drum Island and find a doctor for her. However, the crew would eventually land on the island of Alabasta in the port of Nanohana to be specific, where the crew had a brief encounter with Marine Captain Smoker as well as Vivi's brother Ace. Next, the group would hit the mostly deserted city of Yuba where Vivi encountered Toto, the father of her childhood friend Koza. And to further complicate matters, Toto informed Vivi that Koza was now the leader of the rebellion against her father. After departing Yuba, Vivi and Luffy engaged in a heated argument with the captain of the straw hats, suggesting that rather than trying to reach the rebel army, they should be in fact targeting Crocodile, who was the true cause of the horrible events taking place. A lot of punching ensued, but eventually Vivi acquiesced to Luffy's logic, which is not a thing you can say very often, and the group departed to Crocodile's headquarters at Rainbase. And I definitely can't say that this part of the story went in favor of Vivi and the straw hats, culminating in almost all of them being captured, but not before Vivi got to smack Sir Crocodile in the face with her peacock slasher. It did absolutely nothing to harm him, but my god was it satisfying to see. In the end, everybody was saved by Sanji, and the group raced to the capital of Alubana in order to make a last ditch effort to cease the invasion of the rebel army. In this effort, the straw hats distracted the agents of Baroque works who were sent to ensure the success of Crocodile's plans, and Vivi was almost successful in coming into contact with Koza. However, due to the interference of another Baroque works agent in the guise of a soldier, Vivi failed to stop the rebel army, and a battle began throughout the city of Alubana. But in an effort to save her country, Vivi continued to struggle, managing to make it all the way to the palace, confront Crocodile a second time, and even hunt down a bomb that he had planted in a clock tower, managing to defeat Miss Father's Day and Mr. Seven in the process. Unfortunately, despite making it to the bomb in time, there was no way to prevent it from exploding. However, Pel arrived to the clock tower just in time, and was able to carry the bomb far enough away to prevent Alubana from being engulfed in the ensuing explosion, thus sacrificing his life for the good. Actually, he didn't die. I don't know why. That's just how it is. But back to Vivi. Following the explosion, she took this opportunity to implore the citizens of Alabasta to stop fighting. However, they couldn't hear her overall the, uh, fighting. It wouldn't be until Luffy defeated Crocodile and rain fell on the city that Vivi's words were finally heard. Crocodile was revealed to be the true mastermind, and the Civil War of Alabasta came to an immediate end. In the coming days, Vivi resumed her role as Princess of Alabasta, although it was not an easy decision. Luffy and the other Straw Hats had invited her to continue travelling with them, but ultimately, Vivi tearfully declined their invitation out of a desire to help her country. The Straw Hats then departed Alabasta, letting Vivi know full well that they will always be Nakama. Vivi then took a backseat in the story, primarily making cameo appearances, generally reacting to new Straw Hat bounties, as well as visiting a hot spring which Gadatsu helped build with Koza's uncle. The next time Vivi would be actively seen in the story would be during the Zoo Arc, as she was preparing to set sail for the Reverie. And here I'll issue a bit of a spoiler warning here for the events of the Reverie which have not been animated at the time of this recording. If you do not wish to be spoiled on the Reverie arc, then I'd recommend muting your volume until this warning has vanished from the screen. During the Reverie, Vivi encountered Shirahoshi and Rebecca, forming a sort of triumvirative princesses. But on a more sinister note, a photo of Vivi was seen in the hands of the mysterious figure that is Eme, as the Gorosei were inquiring as to which light needed to be extinguished from history. Some more fun facts about Vivi. Vivi is one of the rare characters outside of the Straw Hats to possess their own personal Jolly Roger. It first appeared in a nightmare sequence where Igram was imagining Vivi running off to become a pirate. Although she only performed at once, Vivi has an attack named Miwaku nor Memai Dansu, whereby she performs a hypnotic dance designed to immobilize opponents. Although in the anime they made this attack perfume based, in an effort to somewhat de-sexualize Vivi. Vivi's surname Nefertari is actually the Egyptian word for most beautiful and was often used to describe Egyptian queens and princesses, and I guess in this case Vivi's father, Nefertari Cobra. Despite being absent for a large majority of the series, Vivi's popularity remains extraordinarily steady, having secured the number 24 spot in both the fifth and sixth character polls respectively. And it's particularly worth noting that that latest poll was taken prior to the reverie arc. And finally, a truly useless fact. In the four kids dub, Vivi's name was pronounced as Vivi, much like I do. However in the Funimation dub, her name is pronounced as Vivi, as in V-E-E-V-E. There is no good reason for this that I am aware of. And that pretty much does it for Vivi. If you enjoyed this video then feel free to like, favorite or subscribe, and if you are in any way keen on supporting this independent channel then please do check out my Patreon, Discord server or Twitter. The links to which are in the handy description below. And finally please do comment with who, what or where you'd like to see featured on the next One Piece 101.


So you can set rotation but you wish the transition was smooth, not a problem. Here you can see we have a blueprint that when you press the E key, it sets the object's rotation to 45. But if you press it again, it flip flops it to negative 45 instead. But to make the transition smooth, delete the bottom rotations, right click, add a timeline, right click, add a make rotator node, double click the timeline, add a float track, name the track whatever you want. And from here, this works exactly like the timelines we used from the particle systems. Right click to pan the camera, and middle click scroll up and down to zoom in and out. The horizontal numbers represent time. The vertical numbers represent the value you want the Y rotation to be during that time. Right click and create a starting point. Set it to 00, then right click again to add a second point that represents the value you want the rotation to be after however many seconds you want it to take. For now, I want the rotation value to be 45 degrees after one second. So that's exactly where I'll set it. You can also use these two buttons up here to automatically shrink the timeline to fit exactly where the action is. And usually you'll want to make the timeline not too much longer than your action. Our action is one second. So I'm going to make the timeline only last 1.2 seconds. And if we right click again, we can change how the curve reaches the value. So if we set it to something like this, compile, save and drag them together like so, compile, save and run the game, you will now see that when we press E, it smoothly rotates to 45. And if we press it again, because we set flip flop to reverse, it just does the exact same thing backwards. If our curve was more linear like this, the rotation would look a lot more stiff. So play with the curves if you're not getting the smoothness that you like. Hope that helps. And as always, I hope you have a fantastic day and I'll see you around.


Okay, so first of all, thank you all for coming. This is my first FOSSDEMM. I am very excited to be here. I am a bit overwhelmed with the size of this event and by the fact that all of you people are so engaged with what people have to say and that there are no lunch breaks and you are still here in this room, so thanks. Okay, so without further ado let's talk about debugging. This is what we're going to talk about today and I'm going to talk about something that's really going to change our community. Now, let's start with a few questions. With a raise of hand, how many people here develop frontend applications? Okay, very good. How many people still use alert as the main way to debug their application? Okay, okay.  I like How many people use console log as the main way? Okay, and how many use a some browsers debugger? And the last one how many use Mozilla's debugger? Firefox? Okay, so I feel like is there anyone who has not raised their hand at all? Okay Do you develop apps, sir? Okay, so Yeah debugging So debugging is indeed it's hard there are a few ways to do it and And I think a lot of the developers as seen by the arrays of your hands today Don't resort to the debuggers the first way to debug the application and I put this responsibility more on The debuggers than the developers because we are users. We will use whatever tool makes us most productive So like how many times did this happen to you that you are debugging and your code is Somewhere between the start and the end of the call stack and all the rest is just other people's code it's frameworks or You have your code you're trying to debug your application production you have this a variable called user you're trying to Debug it and deval evaluate what the value is But it's impossible because the code is obfuscated. It's actually e So did this happen to you? No Well sometimes Okay, so how would you like to have the power to change this behavior in the debugger? well in Firefox dev tools team, they would like you to have this power and it's like the ideal scenario today because You've just had one hour. How many people here attended last two sessions about the by Julian and Nicole Okay, so so for you, it's it's great. I already have the context of what's going on in the debugger But today I'm going to give you the context about how Firefox is Giving you the power to shape your own JavaScript debugger. So about me. My name is Amit. I'm a front-end consultant from Israel I'm also a Mozilla tech speaker. You can find me on Github I sometimes write on medium and I tweet with all with the same handle What I do in my day-to-day job is I help organizations scale consistently with their UI and up their UI games by Bringing building out design systems and atomic design So enough about me. Let's talk about your JavaScript in 2017 or sorry in 2018. Oh my god. This slide is totally out of other thing so The first thing is it's probably framework driven You're probably using a lot of third-party code in your application and your code is a portion of this application now if you write some Some ES6 code you're probably transpiling that to ES5 just because you're running it and all the browsers Or you're writing TypeScript. So you troops.  So I'm going to cover these points.  So To debug JavaScript applications means you have also to address these points Comes in debugger.html project, which is a new and shiny project out of the Mozilla Firefox DevTools team now they set out to address all the points that I depicted earlier and They are now built rebuilding the entire DevTools suite from scratch using Modern web technologies. So the debugger project has been going on for about two years now And it's using React, Redux, Webpack and Babel and more community-powered tools to build to move forward the debugger and This project was named debugger.html because it's just a simple plain HTML JavaScript CSS Implementation of a debugger's frontend. So there's no more Zool for whoever knows and have experienced the pains and It's a simple web application So let's see how the debugger in 2018 solves the problems that we have That I already the behavior of your modern JavaScript. So if you have this spring driven and Remember this scenario. So let's see how we can address this So first of all, I just want to show how you install the debugger The scenario is pretty simple You start by so I'm going to debug it to do up. It's totally cool On the on the edge so At the beginning you start by get cloning the repository then you're on yarn to get all the sources and Yarn starts opens up and fires a webpack div server on port 8,000 So you can go now to your browser and start local host port 8,000 to see the web app of the debugger Now what do you actually see when you open up? another tab local local host 8,000 is Not the debugger it's something that we call the launch pad and the launch pad is what you See when you launch the debugger, but outside of Firefox as a web application. So if it's inside the DevTools Like bundling your browser, you won't see this but in order to be able to debug different Tabs you see this launch pad, which allows you to select the tab that you want to debug So I have this backbone to do app and I'm going to select it and start Debugging it so I choose this tab and then I see the debugger. I have a neat To-do list Make vanilla pudding put in a mayo jar and eat in public and now I'm going to set a break point and I'm going to break on this on this line And I see that in the in the call stack. There is a place where the backbone library is shown with its logo and it's also collapsing and is expanding the The stack frame so it's really nice the the whole stack frame is visualized in a collapsed way So I can identify why where my sources are and what third parties I'm using and there are a lot of a lot of libraries And third-party tools that are addressed and have these logos so I Saw this and I thought that it could use some some love and So When you expand collapse these these frames you don't really know how many frames are are collapsed So I just figured out, you know, it's really nice to have this this number next to the collapsed stack frame so I added this and My PR was accepted and I just want to show you how easy it is because all it means is Yeah, it's a bit hard to see with this lighting But the whole thing is a react to opponent I wrote like a badge component that is a circle with a number and I already have this number It's the length of the of the of the group of stack frames So so it was really easy for me to add this feature and was accepted So the next thing is transpilation and Here I just want to show you so this was appearing in previous talks here But we do as an example syntax highlighting for example JSX and the way it's done is The debugger is using code mirror for its For for its adding so you just say, you know set the mode to JSX if you recognize that this is a JSX file Or it's a react component Alas, it's not perfect. So Julian who's Right here in the crowd and spoke before me open up a ticket some time ago about this not working as planned and one of the contributors and you can see that this didn't work properly and One computer claimed this issue So I want to demonstrate here is how nice it is that you can go to github and Just comment with slash claim and there's a little github Bot that is answering with thank you for claiming this issue and here are some Setup getting set up and contributing developing manuals that you and will will be happy to answer your questions in slack and You can always feel free to unclaim it if you don't get time or get busy. So the debugger team So the next thing is your bundled code also not much to show here But I just wanted to show like there's it's the little things A lot of people bundled their code via webpack So if it's bundled via webpack, you've got the nice little webpack logo right there So just to reduce the cognitive load if you spot that icon, you know, where's the where the webpack folder is Okay, and lastly Alpha skated code that's that's a bit of a problem to debug alpha skated code So like on the left on your left is Is alpha skated code? But when you debug it you would really like to debug the Code that you originally wrote not the generated one So I want to tell you a story about mapped expressions, which is a personal story with that I was involved in So sometime ago Jason Laster who's one of the developers of the debugger Wrote this tweet debugger fiction as we'll love this PR by Yuri Delany How the debugger can now map minified variable names onto original variables this means scopes and preview look great and Next up is what oops Next up is a watch expressions This feature touches AST source maps and JS scopes. What's not to love stop by if you're intrigued and Needless to say I was intrigued So let's just see of a visualization of the problem So you have this to-do app again, and you buy a parrot you choose the parrot to say help I've been turned into a parrot I'm going to debug this and I'm so I'm adding it to do I'm adding a break point where I'm adding it to do and Let's enlarge this for a second and now I'm positive break point and I can see that action is properly evaluated when I hover over it But and in the scopes, it's also properly evaluated. They can see the values of an action dot text action dot type However, when I evaluate the express expression in the watch expressions Action is unavailable, and if I write T there, then it does get evaluated properly So what happens here is the actual front end of the debugger is going over to the back end Which is the Firefox web application and says, you know, hey, can you evaluate action for me and the Firefox?  I'm sorry You're right. It's T my bad and then Firefox says, okay T. It's cool and everyone's happy and the code that is responsible for this mishap is in a function called evaluate expression which receives an expression and Just takes the input that the user wrote and sends that out to the Firefox And that is of course not good because we're sending action, which is bad. We want to send T so So yeah, this is a problem and the way to solve it is just to add a snippet between that You know, I get the input and before I send it out I just do a little thing that changes action to T and then I send it over so So cool stuff in the middle and let's just see this in action So that you believe me and we're all on the same page and I have your credibility So another to do you sneeze from Pope get blessed now I want really want to add to do that says stop telling jokes and I'm paused on this breakpoint and now I'm evaluating action Gets evaluated properly. Yay. It worked unexpectedly. I can also though Evaluate our things I can write action dot text. I can write action dot type I can concatenate string so I can say, you know, don't plus action dot text Let's just wait for the guy or the girl to type this and I can also do sort of crazy thing I can evaluate everything and you must remember this is the original source. It's not the generated ones Not the bundled obfuscated ugly fight one So I pasted it this in a very very complicated expression gets in gets evaluated properly So the task at hand is to replace action with T and all these types of expressions Now if it was only I want to evaluate action that would be easy. I replace action with T But as it comes to action dot text, I need to transform it to T dot text a little bit trickier I might think of a solution, maybe a regular expression to exchange But what happens with like This drinking can't a nation or what happens with this very complex expression so here the solution for us is using the mighty babel and The babel gives us the ability to build out an AST so with a raise of hand who here knows what AST stands for Okay, great, so it stands for abstract syntax tree Which means a representation of a data structure of our code So let's just very briefly look at the AST for this type for this expression. This is question is an expression statement It's has 22 characters starts to zero and a 21 The expression property is a binary expression starts at zero ends 21 There's an operator of plus has two children the left one is a literal It's the don't has starts at zero ends at seven the right one is a member expression action dot text Starts at zero ends 21 the member expression is also divided into two Two properties the object which is the identifier action and the property which is the identifier text Okay, so this is the AST for this expression Now once I have the AST for this expression, I can run this code which will help me do the switch so I take this expression and I use babel to parse it. I parse it into the AST that I've just shown you now I Traverse this is AST With all these binary expression member expression object literals and blah blah blah and when I find out Find an identifier that its name is action Then I take that one I go to my bindings and this related to the tweets that I showed you earlier About all the infrastructure work already done Which the infrastructure work means we know how to map action to T So I find this that this identifier action. I replace it with T and what I just need to do now is Generate a new abstract syntax generate a new expression out of my modified Syntax tree, so then we have don't plus T dot text How nice is that? Come on? Thanks, okay So we're all good geeks here. We enjoy our little mind game So let me just very briefly do a small thing if you can run a debugger as a web application Then you can debug your debugger as a web application and you can debug that debugger as a web application as well So what I'm going to do now is I have this to do app. How do you convert this JavaScript bug? I opened a debugger called D1 and then I opened a debugger called D2 Which is showing me the sources for the for D1 now. I have D3. I like to call D3 Which is showing me the sources for D2 and I'm just due to the lack of space I'm just going to open D4 and that's it that's showing you the sources and ability to debug D3 and What we're going to have now is a little is a little pause party the nicest place to pause on a break point when you're debugging a debugger is the when it's pausing because then all the information comes to life you see both the sources and The in the stack frames and everything so let's start. How do you convert a JavaScript bug? You can solve it Now where's we're part on D4 and I can see all the stack frames and these frames relate to the frames that D3 is paused on so I'm going to play that and D3 suddenly comes to life and I placed just the same place Breakaway in the same place and I'm starting to I see D2 come become coming to life and then I Step over and I can see that the expression is not well evaluated But when I that's because I didn't run the code to evaluate the expression But when I I'll do it now, I will see the value the expression get evaluated here on the one And now I'm going to play D1 and the application resumes so It's really needs to be able to to write code in a debugger So main message here is just don't be afraid to dip your toe. I started with Just pull requests that have CSS changes and little by little I start to understand more and more the code Which brings me to you the community so If the community is does the work community gets to decide what features go in and this is 100% true for Firefox and specifically for the debugger and anyone can help whether it be styling or code contribution or performance optimizations and profiling or Writing tests and documentation or doing design work and anything is possible anything is needed And this is a first-class open-source project And they're they're pushing very hard for community engagement And I think it's very it's monumental because it means that individual contributors have Now can like they can contribute by you're reusing the the Knowledge that they get at their workplace or at home And apply it in the debugger so But more importantly it works both ways Because if you're a react developer at work and you contribute to the debugger You also get value from contributing because you're getting knowledge and experience from the from working with the team of experts That's working on the debugger so You get you get your contribution from giving your contribution which is great And I think it's also monumental because this is the first time I that I know about that a Browser a platform is using community power tools to develop its own so this is really Really nice and there are many ways that you can engage in this project. So the first one is by using slack There's a slack channel Second one is on github. It's no more Buxilla no more mere mercurial. It's all developed in the modern workflow that we know today There are weekly updates because the nature of open-source projects is you open up your laptop to work on it And then you finish that your work you forget about it for maybe a week or two or three And you want to come back to the project understand what has happened. So you get these weekly updates You can read out what people have done there's a lot of documentation and There are weekly calls where it's on video and you can see the team and see other contributors and sort of relax because during the intense Work of coding and code reviews online You can like just hop in on a call no judgment No criticism and just hang out and chat a little bit with the team and get get to understand What's going on so make is makes it a lot more personal Now I want to share with you a way that I got people hooked in Israel about About this project amongst others and we call it the goodness squad So this is that this is something that I organize in Israel For a little over a year now and it's a monthly hacking event and the nice thing about it is the format We organize for each event We prepare a few projects so I bring in addition to organizing the event I bring the debugger and Other people bring in their own their projects or you know other big company projects or or individual projects And they are the mentors of this project So if 10 between 10 and 50 people come to the to the event they choose the project that they want to work on and The mentor is in is responsible to get those people into open-source contribution So that means technically understanding how to work with forks and pull requests if people are not Familiar but also just to know the people behind the project and get to understand the conventions and the code and The processes makes it a lot more accessible to contribute to open source a lot of people Find this a barrier that we are trying to To take down and the focus is to bring issues to the event event in a way that it's bite-sized So by the end of every event Everyone should be able to do a pull request and it's very exciting to see people get excited Because by 9 9 p.m. They have been able they have worked for three hours and saw And and contributed to an actual open-source project so What's next?  You want to pause at a very specific place in an execution path But you set a break point somewhere But on the first time you don't want you want like a second iteration of it or you need to like You pause it and then you step in to step out step over step into you go to different sources You put break points you take down break points until you get to the state that you want you look at the state You evaluate and you try to understand what's going on in your program And then you understand then you do the whole thing again So I want to try to understand if it's possible to model out this this trail and say you know whether whether it be manual or automatic that I I learned what the With the developer wanted to where the developer wanted to pause but Be able to define a trail in the execution path and pause on that automatically so The question is what is your thought about? Contributing to the debugger in 2018. What are the things that you find? problematic in in debugging JavaScript or Rust or anything else And if you do find it come and hack with us merci beaucoup and So no time for questions, but feel free to grab me here outside wherever


Hey, Psych2Goers, and welcome back to our channel. You've helped us make psychology and mental health more accessible to all through your ongoing support, and we want to thank you for that. So thanks. Now, let's continue. All relationships require work, and some more than others. We know that no one is perfect, and neither are we. However, some relationships do us more harm than good when they step over into toxicity. So, what is a toxic relationship? A toxic relationship is characterized by emotionally and occasionally physically damaging behaviors. These types of relationships leave you feeling emotionally drained and helpless, causing severe damage to your self-esteem. So here are eight common toxic behaviors in relationships. Number one, they offer a lack of support. Do you feel like your partner doesn't truly listen to you? Are they dismissive of your emotions? Does it feel like they're always finding ways to condemn you? If you feel like your partner is unsupportive, you may want to talk to them about it. However, if this is not an option, make sure you have a support system in place. Find and surround yourself with supportive friends and family who you trust and love, because it will help boost your self-esteem. Number two, they're controlling. Does your partner dictate how you dress, who you surround yourself with, or what you say or think? Controlling behavior is any kind of action or dialogue that restricts your freedom. Another subtle sign of keeping control is gaslighting. Gaslighting is a form of psychological manipulation that involves planting seeds of doubt. When your partner gaslights you, it makes you question your choices, emotions, and your own perception. Gaslighting is an insidious form of toxic behavior, because it creates cognitive dissonance and low self-esteem. Number three, jealousy. Feeling a twinge of jealousy at the beginning of a relationship is natural. However, if your partner becomes irrationally jealous, then it's problematic. In her book, Daring Greatly, How the Courage to Be Vulnerable Transforms the Way We Live, Love, Parent, and Lead, Brain Brown Associates Jealousy to Personal Vulnerability. When we hide our vulnerabilities, they become the source of our insecurities. Insecurities stem from low self-esteem or an inadequate self-image, which can then foster jealousy. If your partner feels the need to monitor you, try to create a dialogue about the source of their insecurity and extend understanding and compassion. Number four, dishonesty. Relationships require you to be open and emotionally vulnerable, but past hurts can prevent you from opening up, and you might choose to lie to cover things. More than just lying, dishonesty also includes telling half-truths, concealing the truth, or deliberately deceiving your partner. Dishonesty erodes trust, emotional intimacy, and creates feelings of guilt that place a strain on the relationship. Number five, bad communication. Couples who are bad communicators face many challenges, like not developing a strong relational bond. Bad communication involves using you-centered language directives, universal statements, and invalidation. For example, do they start off by saying things like, you have to, or you never? Or maybe they also say, it's not that big of a deal, and I'm not having this discussion with you right now. This kind of toxic communication leaves you feeling lesser than and unwilling to engage with your partner. Lack of good communication leads to more conflicts, loneliness, and lack of intimacy. Number six, disrespect. Does your partner repeatedly cross over your boundaries or undermine you? Do they feel a sense of competition between the two of you? Noting the disrespect from your partner forces you to hold yourself accountable for your role in the relationship. But accountability on both sides is the first step to starting up a conversation. Mutual respect is a cornerstone of a strong relationship. Without it, the relationship will not last long. Seven, holding onto grudges. When you hold onto grudges, you have the potential to destroy your relationship. It fosters resentment, causing division between you and your partner, and increases feelings of bitterness and unhappiness. You eventually start losing trust in each other and alienate yourself further from them. And number eight, constant stress or unhappiness. Do you always feel stressed or discontent when you're around your partner? You may have to ask yourself, why am I feeling this way? Or what is happening between my partner and me that is making me feel this way? If you find that your discontentment stems from any of the behaviors we've already listed, or any others, perhaps talking about how you both feel and how you can both address these issues will help restore the relationship. Have you observed any of these toxic behaviors in your relationship? How did you address them with your partner? Let us know in the comments below. Remember to like and share this video if it helped you, and you think it could help someone else too. The studies and references you start listed in the description below. Don't forget to hit the subscribe button for more Psych2Go videos. Thanks for watching, and we'll see you next time.


I work for Gloom and today I'm here discussing our Metatransaction Relayers. So what are Metatransactions? First, Metatransactions enable fundless key pairs to use smart contracts rather than spending gas. They sign their intended action at using their private key and then a relay or broadcast is on their behalf and pays the associated fees. So at Gloom in the past year we've submitted over 250,000 Metatransactions on mainnet. Sometimes it has 6,000 Metatransactions in a single day. During this time we were spending up to 1 to 3 ETH per day just to keep our Metatransaction Relayers going. This has to do with like identity credential issuance. So what we learned pretty early on is that simply broadcasting the transactions does not scale. You can't just call Web3.Send or Web3.SmaGas and hope that it's going to work. Confirmation times are long and they're inconsistent. Gas prices can be volatile and there are frequently chain reorg switch drop transactions. So the first thing that we encoded into this service which handles very high volume of transactions is nonce forecasting. So in the simple case on the left you can see that we broadcast one transaction with nonce 1001 and everything else is blocked. So they can't all be mined in the same block. Instead what you can do is use the nonce field of send transaction so that you can do 1001 through 1005 and you can have all of these happen in the same block without waiting for mining. When there is a nonce blocking the next one so if we're waiting for 1002 to mine we need to aggressively re-broadcast that transaction with a higher gas price until it goes through. So this happens in the service every 30 seconds it re-broadcasts with a .1 blame higher gas price in order to force it through so that every other transaction is no longer blocked. We found that on average each transaction needed to be broadcast twice to go through. So I set up this in Elastic Stack when I looked in the morning this looked healthy to me. There were transactions being created on the bottom and then they were being committed or re-broadcast on the top. Gas prices sometimes spike very high but it's important to set a cap and wait it out because gas prices are volatile but if we filter out everything above 100 way it's actually pretty consistent so if you were spending you know maybe somebody had some arbitrage opportunity way back in February you didn't want to be competing with them for gas just wait a little bit and then you can get your transaction through. Our actual spending ended up being far less than the average but we still had very high through but also during when the network is very congested mining will sometimes lag by many hours and you might be concerned that it'll never catch up but as soon as the network congestion goes away the backlog clears and then you're broadcasting at mining times get much closer together.  So finally I just open sourced this about 10 minutes ago this is service that actually handles all this logic for you and it's very bloom specific now you actually have to encode a lot of the contract logic but I would love to try to get some other companies set up with this service it does a lot of it handles a lot of things that took us a while to figure out so please take a look I'm using PG Boss for the queuing it's all tight-stripped so we use type chain for contract typings check it out and I'd really like to help you with it thanks.


Trade it and upgrade it now at Appalachian Wireless and receive up to $700 off when you trade your old, eligible device in and upgrade to a new iPhone 14 Pro Max or Samsung S23 Ultra on an unlimited Appalachian advantage plan because we are you. We are Appalachian Wireless. The University of Pikeville's Film and Media Arts program will be screening the independent documentary film Hazing at the Appalachian Center for the Arts on Tuesday, April 4th. What I really like about this film tour and the organization that puts it on South Arts is that they are committed to telling stories set in rural America. I think nationally we don't get a lot of representation of rural stories and I see that here in Appalachia. We see the Appalachian people constantly being misrepresented historically throughout popular media and so to me it's very refreshing to see an organization that prioritizes telling stories about rural America. The film places University Hazing culture under a microscope to explore a world of toxic masculinity, violence, binge drinking and institutional cover-ups. At our screening of Hazing we're going to have a Q&A session at the end where we will have guest speaker Natalie Bullock-Brown who is the producer of the film. She has a lot of industry experience, worked for many years even on a Ken Burns production and so she will be there to take questions with our students and we're also going to have her come by one of our classes and speak to our students on campus. It's rare to get to see an independent film here in Pikeville that's also represented by the filmmaker and we just hope we have a nice crowd. Hazing will be screening at the Appalachian Center for the Arts on Tuesday April 4th at 6 p.m. For more information you can visit U-Pike FMA on Facebook, Twitter and Instagram. For Mountain Top News I'm Kelsey Dean.