So, that is why we need a system which can give me an idea how the structure behaves in its solution structure. And for that, we have CD spectroscopy, which can give me a unique idea how many alpha helix I have, how many beta sheets I have from a solution. How to do that? So, as we just said, before I do a CD, I need to do absorb a spectroscopy first. And over there, say I have a peak like this, and this peak generally look into 180 to 230 nanometer region, every protein have a band over there, every protein, because this band is coming from the amide bonds. And as you know, amide bonds are actually present in every protein. This band will be always there. But with respect to that, if I now take a look into a CD spectra, how the CD spectra looks like. And here comes the data, how it actually looks like, that is how it does look like. So, let me go through one at a time. So first, I look into the ellipticity, positive, negative. Don't look into the actual value now, look into the trend with respect to the lambda. But if you have a alpha helix, if you have a alpha helix, you are going to have a signal like this, a very characteristic signal, same as the blue line over here. So, you have a positive band around 193 nanometer, then a negative band, it crosses and comes to negative. Negative region, you have two maximas, one at 208 nanometer, one at 222 nanometer. If you have these three signatures, 193 positive, 208 and 222 double negative, you can say, I have an alpha helix. For beta sheet, how it is coming? So, for beta sheet, you have a positive band around 195 nanometer. Then it goes to negative. However, instead of double negative, you have a very broad peak and the maxima comes around 280 nanometer. And if you have that, you can say, I have a beta sheet, one positive 195 and one broad negative at 280 nanometer. And then, if you have a random coil, that means not really oriented in any particular way, it starts with a negative value around 100 lower value and then it crosses and then it remains positive in the region between 210 to 230 previously, which was in the negative region for both alpha helix and beta sheet, now it becomes positive. And there is no particular such peak, it is mostly slowly going down. The peak only founds over here 195 nanometer, but it is now in the negative region. If you have that, you can say I have a random coil. That means if you take a sample of only alpha helix, you should see a band 193 positive, 208, 222 negative, you say I have alpha helix, beta sheet, characteristic peaks, 195 positive, 218 in negative, random coil like this. And it is going to give you the data in the solution. Now you can imagine that in a protein, there is a mixture of alpha helix, beta sheet and random coil, right? So what you are going to get, it is a mixed signal, you are going to get a mixed signal in CD, this is absorbance spectra, this is CD spectra, I am also looking at the CD spectra now and what you are actually going to get is probably something like this, which shows that you have a mixture of alpha helix and beta sheet.  Say I have 70% of my alpha helix and say 30% of that is beta sheet, if they matches then I can get this black color original data. So from there I can find out how much is my beta sheet and how much is my alpha helix, you can find out and also you can find out how much is your random coil. And all those things you can imagine now you can be done computationally, you have to just record the original data and fit the data into a computer and ask them to run a logarithm to find out how much is alpha helix, how much is beta sheet. And by that you can figure it out what is the overall structure of a protein in a solution. And not only that you can also figure it out what is the change happening in that particular molecule as you change the pH of the solution, as you change the temperature of the solution and that will be directly affect the alpha helix, beta sheet, their orientation and the CD spectra will change accordingly. So for an example say I have a protein structure with only alpha helix and I have a data like this. So in anywhere in your life you are drawing a graph make sure that you always draw the accesses and write the proper accesses like what are those accesses actually mean. So in that I see this particular data at say 298 Kelvin. Then say I change the temperature I am heating it and slowly the same solution data looks like this. Then at one point of time it becomes like this. That means what is actually happening as I increase the temperature my alpha helix structure is going to a random coil. So what does it says? It says my protein structure is actually degrading and if I can measure this particular data at different temperature and say I am monitoring what is the change happening at 208 nanometer and plot that with respect to temperature how my data will look like at 28 nanometer I have a very negative value at 298 Kelvin then I go for the temperature high and slowly and slowly it is going up and at one point time it will remain same because at that point of time you actually already degraded the protein. So from there this point I will say here the protein is breaking down and this is known as the melting temperature of a protein. melting temperature means where a particularly nice helical structure with respect to temperature just defaulted and protein folding has a huge role to play with its function. So with respect to CD data we can very easily find out exactly what does it happen and if I want to do an experiment at which particular condition I should do where the protein structure is still stable and after what I can actually break it down. So what is the temperature I should keep my protein so all this fun example right now we are looking into different vaccines and some of the vaccines are protein based vaccines and over there you can imagine that they always have to keep it at a particular lower temperature why because if you go to higher temperature you can break down your protein structure and the vaccine will go bad. So how to look into that how to find it out which temperature will be the safest for it so you just do a simple CD spectrum find out where you see this melting point and you can specifically point out this is the temperature you have to keep to make sure that protein is stabilized. Now the last part I am going to talk about yes sir you showed in graph that alpha helix is changing to that upper one graph in random coil but what about beta seed. Yeah I am just giving an example it can go to a beta seed it can all the possibilities can be there because I am just giving an example that one alpha helix is going to random coil you can think about it can also happen some time higher temperature can actually bring you to totally new structure it can go to alpha helix to a random coil to a beta seed and from the CD spectrum you can follow it up like exactly what is actually happening. Means after hitting beta seed can be converted into random coil yes it is possible all possible. So random coil is generally the structure at higher temperature because it does not have any hydrogen bonding or anything over there because hydrogen bonding is actually stabilizing it right when you heat it you are giving it enough energy so that you can go and break those bonds because entropically over here you are losing some energy but enthalpically you are getting some energy so that is why the delta G is negative to form a such structure structure in alpha helix or beta seed but in random coil you have a huge entropy so that is the favorable thing but there is no hydrogen bond over anything to enthalpically help it delta H is pretty actually non-existence over here however at high temperature you are giving enough energy from the outside so only entropy can take care of the delta G and you have to have enough delta G enough energy coming from outside so that you can break these bonds and over their delta H so from there you can even find out what is the hydrogen bonding energy present in the alpha helix or beta seed and in some proteins it might happen you have five alpha helix two beta seed when you heat it only two of them breaks down not all of them and from the city spectra you can find it out exactly which of them are actually breaking down. So there are all different kinds of possibilities out there the main point is that from the city spectra you can follow it like what is the change happening by following the alpha helix beta sheet and random coil signatures okay because this particular data I just showed over there they are signature no matter what where you measure a alpha helix always will show this particular beta sheet will always show this particular peaks okay any more question sir I didn't get about the peak that is near 125 positive peak. He said 125. Sorry 195. So what do you mean so what is the question 195 so that is actually positive signal so that means over here this is AL minus AR right a function of that that means over here AL minus AR is a positive number so that means your absorbance of the left hand circular polyesterite is more than the right hand circular polyesterite and then you when come to 208 222 around this region AL is actually absorbed less compared to the right hand circular polyesterite so that is it becomes negative so that is what we mean by positive and negative that is the direction of the value of the shy thank you sir okay any more question yes sir from that value how can we decide that that is due that is for the alpha helix or beta sheet means how we confirm that means that value but I want to know that how is the characteristics is decided from that value that means that for the alpha helix it is decided that 193 or we'll get that but I will confirm that that is due to the alpha helix only or when the first time is done how will get that the alpha yeah so mainly yeah mainly people actually look into this negative region to be honest because this 208 222 there are very unique two humps beta sheet have a very broad peak and random coil is in the positive side so people mostly look into this region 200 to 230 region and over there then you have a result like this and then you try to deconvaluate it put different values for alpha helix and beta sheet and see which data by calculation is matching the original data and from there you can calculate like what is the probable alpha helix and beta sheet distribution for that particular protein does it answer your question or no point yes for example if you take 70 percent alpha helix and 30 percent beta sheet versus a 50 percent alpha helix 50 percent beta sheet the overall data will not look same because these three different humps because there are three different humps when both alpha and beta helix are present 208 218 222 and their contributions will vary with respect to the overall presence of the alpha helix and beta sheet and that is what we actually follow that what is the distribution of these three different humps at 208 222 and try to match it how it matches with the actual experiment and from there we find out how it actually happens


I wonder if it's gonna work this time cuz last time the windowing was a bit off and it Messed up the whole recording. I'm digging this music though Somewhere in the US. Oh Where am I? How do I Where might ah? Yes, the last let me get in my let me get in my car. I got to turn this down. Oh Oh, oh hold up. Okay. I'm in my car. I'm driving away, huh? I don't think that's how cars work Oh, yeah Driving along got my dog in the back parking. It ain't that bad Those are some really big they all literally the width of my car Or as long as my car So the security can deactivate the camera throw something at it. No RPG I'm gonna smash Nice, okay. I only have 35 health on guard. Okay bullet Okay, you blocked all of my bullets. That's fantastic. All right, um, let's try smashing again. That seemed to work All right. Okay. He's about halfway done. I have no clue if I'm true I should be able to finish him off though, right? Okay. Yeah, 20 I can do this easily. He's got one more smash I'm gonna screw him next time Don't walk It Hello to the walk don't even get to finish the cutscene. Oh really Really? Okay. Well, I guess just gonna go in a new game your new job today is your first day Great. Now, let me introduce a little Texas speech complication Oh And mostly to prepare this cinema for the reopening In the elevator and you need to stay here every night for reach your workspace in the elevator. Wait So I'm just stuck in the elevator Alright, this is gonna be a bit weird for me to do because I've technically already played a little bit of this game before Like as I was trying to say earlier the windowing for the for the game messed up the Recording so that was fun And now I'm playing through it all again. It definitely does have some problems and you'll see later on some of those problems But luckily I've done some things before so I don't have to spend the 15 minutes it took for me to figure out Things and I can just do it properly again the the wet concrete doors Beautiful, I love them also the way The transition between pitch black and the actual hallway Spotless, I think we better fix the elevator. It feels like it's gonna crash any time I just realized I never adjust the game. This is affiliated location, and it's about it's it's like sister location It's like sister location, but if it was a theater really and it's got some different characters as well, so that's interesting You are in the electrical control room This place is very important for a very funny line that the guy says and I'm just waiting for him to say it Electrical channels and here there is a pilot speaker that is hiding your basic Informations channels you can tell someone just put this into a text of speech thing something that is not working in them Focus on what do you have to do? Come on say the line these little control panel. It's highly well These are the electrical control panels each panel is for one When he says highly it just doesn't sound like it Biped mangle All right. Hey mangle you here. No. All right. That's cool. I wouldn't want to show up Biped foxy is sleeping try to press the orange button to activate her I took my volume down, but I can tell that there was a huge jump in volume for that line You there? Hey look at her Great seems like she woke up, but there is a problem. Yeah, I've had foxy seems to block her show movement Oh, no for you. That is easy fixable Just be active her with the blue button then reactivate her with the orange button Let's see what you can do. This is easy Great job. Yeah, everything is working in biped foxy. Look at them. We will operate on here again But the English for this phone call is to the next room using the plan smooth awesome so seamless Yeah Animatron Yeah, not sure why you would want to keep it, but whatever, you know you do you Look at this So there's one over here and then one over here At the window on your left. Yeah, that is the foxy's film room foxy should be capitalized Projection machine just press the big green button for activate that machine Try to do it again Come on it seems that the machines are out of power. Oh, whoa But the danger thing I recommend to proceed by going in the water comments Forget there you need to return in the vent and then go in the right side of the vent when you can the right side I will walk draw the other animatronic That for today is empty. See you in the motor room.  Okay, so we go down this vent and then we turn right Nothing happens if you go left. I tried it earlier But you know the first attempt at recording before the window messed it up. I also do have it set on to show The temperature is Fahrenheit, but you know, he said no one was in here So I should be able to just run straight past, right? I have the temperature and Fahrenheit so those people that are smart and use Celsius. I apologize It's just so I can Figure out what I'm reading you reach the motor room. Yep This room is useful for control the electrical voltage of the projection machines. Yeah for that This area is Higley electronic And for the suit temperatures sensor is confused. It's as Higley the temperature Unfortunately, we'll make the voltage higher and the temperature of the room will increase so much fun. Yeah, the first time Activated and she is well for you guys. This is the first time you understand if the temperature will get high You will die The temperature depends from the voltage and you straight forward indicator You could increase the voltage by pressing the red button and Yeah, with the blue button. Yep when a red alarm start to blink I will tell you when the voltage is enough. Good luck. Okay, so the first time I did this I didn't know what I was doing, but basically all you have to do is Click the red button. It goes up about six volts every click Okay, and you keep pressing that until red lights start to flash these aren't the lights trust me And then once they do so maybe these are the lights. Oh No, those are the lights and then when that happens you want to hit the blue one and then wait for that I think it brings it down about a few Then you just keep raising it you keep doing that it progressively gets Higher and higher and then last time I did it. I got up to about 40 voltage and he said that was enough. So Yeah, it It the tutorial For this game is really confusing this one and also the one on night two so Not only have I done those before the night to when I didn't get to complete because that's when I realized that The recording was messed up But it's apparently so complicated that the creator had to make a statement or game job on how to fix it So oh actually how to do night to so we should be able to do that. Oh go down and Go, I'll hold up wait for it to stop going down 32 and go up It takes a little bit, but you get there eventually Okay, I'm not sure exactly what time we stop at It was around like the 44s I think But I'm not entirely sure There we go The good amount from this room and return into not the control room not the right amount of voltage the good amount God this game. It just cracks me up And it's so annoying that I've seen all this before because it was so much funnier the first time And that's why the commentary is a bit crap because I've already seen this before once you get to night To though that I haven't seen much of so yeah That'll be nice when we get there and the commentary will actually be fresh then It won't have to deal with this Bad overlay right now Okay, so go over here hide the tips just press the green button on the left and select the film called fun time Again fun times should be capitalized with the right panel But this time select the film called good friends use the orange buttons for select Of course like all right, so that's we need fun time as well Yeah, good and then over here. We need a good friends There right there, and then we go back all simple Then we leave and I think this is it for night one. Yeah Then there's this shift finished turn off the walk mode press enter to continue I don't know what it means by turn off walk mode And then it kicks it back to the title screen Yeah, this stuff. I haven't seen much of once we get to Foxy's section. That's that's all the new stuff Thank you today. There are some news remember of that new robot. Yeah, it just arrived today And you will set it up. Oh Have some work to do with biped mangle biped mangle Let's focus on our elevator entertainment system. Yeah, it's a tool that you can use exotic butters and all that good stuff You see that block screen over the red button. Yes Yikes The arrow is making the system work bad It's just funny really that I'm not trying to be mean it's just hilarious I Can't remember exactly but isn't this the exact bogus that played in sister location I wouldn't be surprised also Again not trying to be mean but the models really remind me of Roblox for now models The animations are good. It's just the models kind of look Robloxie kind of just want to stay here Unfortunately, like the door animations that was that was very nice All right, what am I doing? We're gonna game The game is also kind of quiet, which is Kind of annoying Foxy should be catapulted so many capitalization errors. What am I doing? Hi That's right, it's not loud anymore. All right JJ. I forgot She is not here it heard that I was annoyed that it was quiet to give her some energy We're not giving them a controlled shock. We're giving them just a little bit of energy Yeah, there's that thing Anishya lighted Why do I have an why do I have an outdated operating system? That's not good Why why would you buy a robot with problems Can make everything bad Can I go through enter in the vent in front of you and follow my instructions? My question is Why would you buy a robot? That has problems right off the bat Like they bought it knowing that it had problems knowing that the robot had problems Foxy's hall then from here you'll access to the maintenance room Okay. Yeah, like in the past. They've noted. Do I have to keep calling? No, I don't It seems that my head swore Now you must avoid him because he probably wants to interrupt your ship.  Yeah, so this was the bit that was confusing for people. So basically You know, I thought I knew what I was doing, but apparently I don't Apparently all you have to do is shine your light not the beacon but the flashlight around the room swaling the room Do I have to start back at the beginning of the night? Okay. No good Apparently what you do is You look around the place with the light and if you don't see him you walk forward a bit However, if you do see him right like there you flash your light Maybe I'm doing this wrong and then when you hear a metal noise You walk backwards So I'm gonna be quiet for this then I Walked backwards All right. Yeah, this is gonna be fun That was the perfect cut. Oh Hi, oh my god, why does it have to be so loud? This is pretty scary.  Oh No, we're good Okay, okay Am I there yet? God I Thought by bed Foxy was not supposed to be active tonight Hi No, it's kind of hard to tell what is the metal noise With like is that the metal noise or is that just ambiance? I've ran out of battery Hi So I just got a guess then How long is this room? There was no metal noise. I flashed the beacon That should have been a successful bypass, but no like is that the metal noise or is that just ambiance? It did what? What What it doesn't make any sense I do this My god, is that like is that the metal? Come on. I feel like there's eight different samples for the metal sound effect metal That's like a train as an amusement park. I am done. Oh my god. I don't get it. I Really don't get it. I Really don't get it happens if I just stay here Of course I die Done I don't get I really don't get it I really really do not get it and I'm not gonna sit here for another like I don't even know how long it's been, but I just I Don't get it. I have no idea how to beat night two if you guys know how please tell me because this is a great game I like it a lot. I just don't really understand some of the mechanics, so That'd be nice if you guys know how to beat it. Just you know comments down there wink wink That was a blank wink wink still a bit of a blank I can't only wink that well. Anyways, thanks everyone so much for watching. I'll see you all on the flip side. Goodbye


From Hollywood, the Hollywood Radio Theater. In, it grows on trees with Marcia Henderson and Greg Palmer. Ladies and gentlemen, your producer, Mr. Irving Cummings. Ladies and gentlemen, I don't know exactly what your reaction would be if you suddenly discovered money growing on trees in your backyard. But I imagine it would be somewhat the same as our overjoyed heroines in tonight's play. And as our star, we have that delightful comedian, Ginger Rogers. Truly one of our most glamorous personalities. It grows on trees with turned into a screen success by Universal International Studios. And tonight, we will introduce two of their most promising young players, Marcia Henderson and Greg Palmer. Now, it grows on trees, starring Ginger Rogers as Polly with Marcia Henderson and Greg Palmer as Ralph. It started off like a perfectly normal day for Polly, the usual early morning scramble involving three children of various dimensions, one loving husband, that's me, and the daily battles that get us out of the house on time. One of the kids has locked you out again. I'm trying to shave. Who are you talking to just now? Mrs. Pryor, she wanted to borrow some sugar and butter. Why do you let her get away with it? Some neighbor we've got thought that woman's an outright thief. Well, what I really wanted to know is what happened to this window? Where's the screen? It was all rusted, dear, and full of holes, so I gave it to Mr. Gonzalez to fix. Well, it's windy outside. Look at the dust and stuff blowing in here. Well, then put the window down. I tried. I suffocated. Well, then put it halfway down. All fell really there, you see. It still blows in. Diane, dear, help Flip and Midge get started on breakfast. Oh, and come to her, will you? Best shoes? Well, Midge can't possibly wear her school shoes, dear. She's worn them out. Again? Well, we'll find them somewhere, I suppose. Oh, and don't forget to leave me three dollars for Mr. Gonzalez. Three bucks for one little screen? I'll pay you out of next month's house money. That makes sixteen hundred and three dollars. You owe me out of next month's house money. You talk as though you don't trust me. Darling, I trust you with my life, my honor and my children, but not with three dollars for the simple reason I can't spare it. Oh, really? Phil, at times you have a very peculiar sense of humor. I don't see anything funny about it either. What's the idea? What idea? The five dollar bill on the window sill. The five dollar bill on... How did that get there? Well, you put it there. It certainly did not. That is not my money. If it were mine, I assure you... Not yours good, thank you, dear. Polly, I'm serious. The wind, the open window. Well, it just blew in. Well, I don't know where it came from, but I certainly know where it's going. It'll pay for the screen. Now, wait a minute. That five dollars belongs to somebody. Polly isn't ours, Polly. So how can you... It blew in our window, didn't it? I consider it heaven sent, and I'm not going to let you get noble about it. That can mean only one thing.  That has nothing to do with it besides what's the difference today's payday? And tonight's our little budget hassle, too. Oh, not again, dear. We'll tackle it right after dinner and cook a good substantial meal. I'll need all my fortitude for your extraordinary bookkeeping.  You big bully! That evening we launched into our monthly struggle with economics. Midge and Flip promised not to make any noise, and Diane agreed to do the dishes. So the three of us sat down. Polly and I and the buddy. Oh, I don't mind doing this, dear, but it's just a waste of time. Now isn't it the bills have to be paid regardless? Item number one is milk.  Only eight dollars? Well, congratulations. That's much better than last month. Eighteen dollars, dear. The one sort of ran into the K in milk. Eighteen? Eighteen dollars for milk? Who bathes in it around here? We have three growing children, and it's good for them. Oh, I'm sorry, honey. It's only that I make so little. I want us to get ahead so I can open up my own office. We'll make it one of these days. I'm a pretty good accountant, Polly, and once I get started for myself, I'll... shoot us on a raft. What's this? What's what? Incidental expenses, nursery ten dollars. Well, um... Polly, don't tell me go. Well, I mean...  Of course not. That's Mr. Piney, the nursery man. I bought some plants. Plants? Well, not exactly plants, dear. They're trees. Two nice little trees. They're only four feet tall now, but in a couple of years, oh, I thought you saw them. From now on, I'll bow to them. What kind of trees cost ten bucks? Well, I'm not sure, but you see, Mr. Piney got a shipment of something by mistake, and well, I don't really know, dear. Except that's why I got them so cheap. Two anonymous trees. Ten hard-earned bucks. But it isn't as though I bought them for myself. They're for all of us. And you know how I need to see things grow. What about needing to see our bankroll grow? What about our guns in the movies tonight? Flip, dear, you know Daddy and I are busy. I mean later when... I'm afraid not, Flip. We simply can't afford it. You might explain it to him, dear. We can't see the movies for the trees. Eartha, she brought in this time. All right, cats, come on, now drop it. Come on, drop it. Another mouse. Did you ever see a green mouse? But... What is it? Well, she had this all rolled up. Cat with a private income. Hey, Johnny, you can start charging this cat for room and board. Look. Anybody answered the doorbell? Where's my date? In here. Anything wrong here? Something wrong with the cat? Oh, take a look at this bill. Is this a good ten-dollar bill? Well, it's chewed up a little, but I... Well, I wish I had a bushel of them. What's it all about? Cat's never brought it in so we could all go to the movie. Come on, let's get our coats. Just a minute. If this bill is good, we've got to give it back. Give it back to home. The cat isn't anybody's money, dear. It came to us because we needed it. Polly, for heaven's sake. This morning we needed money for the screen, and we got it. And we need money now for Midge's shoes and a little entertainment. So here it is. Your mother, that just doesn't make sense.  Of course I do, and it's high time life caught up with fairy tales. Come on, kids, we're going to the movie. A five-dollar bill in the morning and a ten-dollar bill at night, out of nowhere. Well, it was now the following evening. I was reading the paper Polly was sewing, Midge was playing with Kazen over the cat, and Flip was actually doing his homework. No problems for many, except I am... Oh, dear. He's been made one of the officials of the alumni desk. But that's good news. It's formal, mother. I haven't got anything to wear. What about your blue with the silver trim? Oh, mother. Take some... No, Polly. Well, now, just a little out of the Christmas party. No, Polly. Diane, I know mother's doing this for your sake. I also know that I am a tyrant. Yes, father. But from now on, we're not going to talk about money for a very simple reason that we don't have any. I'll take $19, please. Midge, I just said that we would not... Bill, for heaven's sake, she's just playing a game. What kind of a game? A play-a-stick. $35. Midge, honey, this is not playing money. This is real money. Now, where did you get it? Must have been someplace in the backyard. Bill, she's just a little girl. $15 yesterday and now $35. But whose money is this? It's all what is just as I said yesterday. We needed it, so it's here. It'll buy Diane's new dress. Polly, darling, you've got to find the rightful owner and give it back. I'll stop off at the police station in the morning and turn it in. And I suppose you're so disgustingly honest that you'll want to give back the other $15, too. Yes. But we've already spent it. Then it will have to come out of your house, man. Father, now really? Now look, both of you, we just don't spend money we haven't come by legitimately. What you're doing, Phillip Baxter, is snatching a dress right off your daughter's back. We'll drop this discussion right now.  You're the most. Polly, how much do we have in the Christmas fund? Now you just sit here and I'll get the little bank book. I think we have almost done. That afternoon as I was watering the lawn. And don't forget. And two little trees. You will be careful, won't you, Phillip?  What kind of trees have buds this time of year?   I did. They probably thought you were crazy. Oh, no, they didn't. They thought I was a good citizen. What's more, I'll bet that right now somebody's come in and claimed it. Probably someone who needs it very badly. We're fixing the hem. I'll be right up here. Uh, don't forget. I was doing the driveway when a police car drew up to the kerf. I'll let you know it's been claimed. Good. Well, who needed it all that, huh? Sure looked like it. Never saw anyone so glad to pick up 50 bucks. They, uh, leave any name? Uh, yeah, Mrs. Polly Baxter. Ha. Yes. But at once, if you've got to yell, come in the house. I saw anywhere until you tell me why. Why did you go to that police station? Because the money is ours. That's insane. And we needed it very badly. There are some things I didn't want to tell you. Now I'll have to go back to the police and tell them my wife's a thief. I didn't, I didn't want to tell you because, well, you've been so worried already about money. I'll have to confess to them that my wife, my wife... I had to have her tonsils add noise out this coming week. And I thought that 50 dollars would help pay for it. Polly, will you please listen to me? No. You listen to me. Just spend a nickel and appreciate it about money which he hasn't got and can't get. Don't let me rot there. But the minute I get... What happens to me when you start to cry? Wrong, right. No, no, no. We've always talked these things over. Honey, just stop crying and calm down and we'll, we'll, we'll... Polly. Polly, look. Oh, no, no. European ones, mainly through the work of a citizen group in New York called Operation Democracy. One of the greatest ties of friendship has been made between American cities and towns in Holland. The people of the American cities supply their Dutch friends with clothing, food. And during the floods early in 1953, the Americans won the undying gratitude of the Hollanders for their health. These have raised money to send a community ambassador to visit the European town they've adopted, and the children keep up a two-way correspondence. To date, several hundred towns in the United States are in contact with others overseas, and the number is steadily increasing. These contacts include towns in 13 European countries, as well as Japan and Hawaii. Recently three more countries were added, Norway, Yugoslavia, and India. And arrangements have been started to include Turkey, Spain, and Peru. Americans in every walk of life have done something to satisfy their desire for international friendship. And you too can learn, as they did, that by helping others, you help your country. Now our producer, Mr. Cummings. Act two of it grows on trees starring Ginger Rogers as Polly, with Marsha Henderson as Diane, Greg Palmer as Ralph, and Ted DeCossia as Phil. I play in the backyard and ran into the house. I called the airport. No, no planes have been flying around dropping five and ten dollar bills. And just then Polly rushed in. Darling, this is no time for me to look. You won't believe me. You will think I'm crazy. The buds have opened. What's a little more important is where did that money come from? That's what I'm trying to tell you. The trillion dollar bills. Phil, you don't believe me. About the money. You are not to spend one cent of it. That is an order. But may just tonsils. We'll borrow on our insurance. Now, what did you do with the money? It's in the kitchen cupboard in the salad bowl. See that it stays there. There's some more of it in the cookie jar. Quite a bit more. Polly, you're not to mention this to a soul. Not until I've figured out something. Just as you say, dear. Oh my, but this is fine. I don't know how much money rested in our kitchen cupboard that night. All I know is that by that time, I still hadn't reached any sort of a sensible conclusion. It's a lovely night, Phil. Did you notice how bright the stars are? One thing is certain. No one is just throwing money away. Polly, have you heard of anyone else finding money?  Are you listening? Of course, dear. They couldn't have found any. Why couldn't they have? Because I would... I would have heard about it. Well, just give it to charity or something. Good night, honey. How's it did? Suppose it did what? Fall out of the trees or grow on trees. Oh, Polly, please. Well, could we spend it? Of course not. Look, honey, I'm awfully tired. Why couldn't we spend it? Of course, it wouldn't be money issued by the government. But if it looked like the government had issued it, I mean, supposing you couldn't tell. Money like that could upset the monetary balance of the United States. It could cause a lot of trouble for a lot of people, including us. Well, I don't see why. It wouldn't be legal. That's why. Now, please go to sleep. It's legal. What if peaches got to do with it? Well, if someone grew peaches on a tree and then he sold them and got money for them, the government wouldn't object to that, would they? No, they would not object. Well, then why would they object if someone found or grew money and exchanged it for peaches? It's the same thing the other way around. Well, isn't it? I am taking this pillow.  Just one more question. I promise that's all. Yes, dear. What's the name of the secretary of the treasury? And both trees are growing money. The garage is in the shade and produces $5, but the other one gets full sun and grows $10 bills, with some of the money. I'm a little puzzled since my husband who that money that grows on trees is not legal is she ate your opinion very much because if the money She's from the beginning? Yes, sir. Dear Mrs. Baxter, in reply to your very interesting and unusual communication, may I say that if you are in possession of trees which produce the currency of our country and if it meets all our standards, it is my opinion that the money is perfectly legal. You're joking, aren't you, sir? Well, no, I'm not. If her money meets all the standards, what's wrong with that? Sorry, Mr. Murchison. Now, a new paragraph. If you could send us some cuttings from your money trees, perhaps we could plant them in back of the White House. She's the president, I'm sure, since he would no longer have to send budget requests to Congress. A procedure which he frequently finds very discouraging. Thanking you in advance, I remain in touch with her. Mr. Murchison, are you really going to send this? Why, that poor woman's liable to take it seriously. Just as seriously as I take the information that money grows on trees. Bye. Now, type it up. I was waiting for it from Washington. You got friends in Washington?  Sorry, we used it all at breakfast. Be good without milk. Cheese of yours. What about them? You've been covering them up so careful with those old sheets. Seems to me very delicate, you know. It was a secret between her and the United States Treasury. Else to think about. Our daughter, Diane, announced her engagement to Ralph. What are you doing? He's making a very nice salary now, but fit, children. Now, now, honey. We weren't much older. We managed to grow up, didn't we? Now, what about the wedding? Oh, well, we'll have a church wedding, of course, and the reception at the country club, and we can rent the ballroom, and I think the bridesmaid should wear taffeta. Yep, taffeta. We should have ushered. No, no, no. Slow down. There's some ridiculous custom that the father of the bride pays the bills, although custom evades the question as to how the poor guy gets the money. Oh, money. I wouldn't have brought it up, except that next month, you're going to be handling ours all by yourself. Phil. Yes, the firm's sending me to Baltimore. I leave Saturday. I'm happy about it. It's one of our biggest clients, dear, and if they like me, well, this could be the opening wedging setting up for myself. Phil, oh, I have a wonderful idea. By the time you get back, the kids will be ready to get married, and they'll go off on their honeymoon, and we'll go, too. With what? With the moon with midget flip. You've always wanted to go to Hawaii. Now, now, come on into the kitchen, and I'll make some coffee. I'll make some sense, too, while you're at it. If you only knew how much sense I was making. The hair that you have left... Let me tell you something, the real reason why I married you. Oh? Not because you're so pretty. Not even because of all that personality. No, I married you for your brains. They disturbed me then, and they disturbed me now more than ever. Don't just wait. You'll be so proud of me. You'll... To Baltimore, as I later discovered, Polly went to the bank. A little visit to our prospective son-in-law. Good money, Ralph. $1,718, and that pays our mortgage off in full. Well, good for you, Mrs. Paxley. I'm nervous because I had a little windfall. Yes, I see. It looks more like a hurricane to me. I bet I know exactly where you got this money. You do? You've been holding out on Mr. Baxter, haven't you? You know a few bucks here and there out of the budget? Oh, every woman does it. You want to know how I figured this out? I'm dying to know. Well, you brought in cash, and all fives and tens. If you'd held out anything bigger, he'd have got suspicious.  Well, thank you. Now, let's see. Oh, dear. Oh, dear. I've got so many things to do today. Oh, shopping now? Oh, yes, in a way. Well, I have to have the house painted, and we need a new picket fence, and I think Midge and Flip should have a new television set. Oh, take it easy, Mrs. Baxter. You can't grow this kind of cabbage, you know. Oh, I'm not so sure about that. Didn't Diane tell you? I have a green thumb. It was all I could do to recognize my house, freshly painted, a new fence. I couldn't understand it. I couldn't understand Polly either when I walked in. Dear. I lived here, remember? Well, I wasn't expecting you until tomorrow, dear. Tomorrow? I was due home yesterday. Hi, darling. Oh, I'm so glad to see you. But if you were due home yesterday, where were you? I might have worried. Well, you should have. I was in jail. Fail? Along with 20 drunks. You weren't drinking. Drinking. That's only a misdemeanor. I'm in the big time. I got jug for passing counterfeit money. But where could you have picked up counterfeit money? Polly, remember, before I left, I gave you my expense check. I asked you to get it cashed for me. As long as I live, I'll never understand it. Anyway, the night before last, I took the client out for dinner, drinks, steaks, brandy, the works. Fortunately, he had to leave early, so I had another brandy, and then I asked for the check. Incidentally, what's been going on here? The house? I don't get it. I'll tell you all about that later, dear, to just tell me about you. Well, I pulled out my wallet, all fives and tens, remember, and then the darnedest thing I ever saw. What? One of the tens broke right in half. Another ten was kind of curled around the edges. When I tried to straighten it out, it just crumbled the bits. And the five dollar bill, well, it just curled up and in sort of granulated. Granulated? I looked in my wallet again, and it was full of crumbly bits of stuff like dust and ashes. No, no, no, it isn't possible. That's what I told the cops when they came for me. The client had to spring me. Here, here, just look in my wallet. You see? I'm going to take it down to the bank in the morning and see if I can't get them to replace the money. Now, uh, what about the kids? Are they all right? Oh, just find her. They'll be home soon. And what about all this redecorating? Bill, you must be awfully tired. Why don't you take a shower in a nice, long nap? Well, I am kind of bush-made. I won't even call you for supper. Polly, you know what that stuff in my wallet reminds me of? Dead leaves. Dead leaves? Now, you tell me, how could that happen to me? I wouldn't adjust it. Polly, I have here a stack of bills I found upstairs. Oh, but they're not bills, dear. They've all been paid. You just didn't look. I looked, washing machine, television, set, painting, fence, draperies, all paid in full. But how? What with? Oh, well, not now, dear. There's something I want to see on the back porch. It'll keep. I hope so. What I want to know is where? Is where I got the money for everything. Well, I just can't tell you. I got it honestly and legally only. Only you'd say it wasn't, and you'd want me to stop spending it or give it back. If you can't get it back, I'm not spending it or give it back. If you came by it honestly, why should I object? Because you're... Well, you got to give me time to...  Well, next time we'll just have to wait. But he's trying to break off our engagement, which is just simply fine with me. New money. Any kind of money, let alone that. Well, Mr. Sleamish, he's the bank manager. Well, he demoted me on account of the money. He said that you were what she said, I said, Mrs. Baxter, honestly. And I wouldn't tell him who you were. Oh, dear, oh, dear. I only said the money you gave me to pay off the mortgage was, well, it was sort of funny, Mrs. Baxter. You mean the installment on the mortgage, son? Oh, no, sir, in full. Paid it off in full. Only it wasn't any good. What was wrong with it? Well, sir, it crumbled. Mr. Sleamish didn't like that at all. Crumbled, sort of granulated? Yes, sir. I never saw anything like that in my life. Proud Proud, not five and ten dollar bills. How did you know? I have moments of clairvoyance. Well, I guess I started something all right. I just don't know what to say, believe me. But if anything happened to me and Diane, and if this wasn't going to be my family, well, I just couldn't take it. Well, Polly, don't you think it's about time you told me where you got this unhappy money? It grows on our trees. I beg your pardon. It does. On the trees I bought from Mr. Piney. Your expense check? I didn't cash it at the bank. I cashed it at the trees. And I suppose the chief teller there is a woodpecker. Which the 4-H clubs of America had in mind when they began sponsoring the International Farm Youth Exchange. The main purpose of the IFYE is to select young farmers or those who've majored in university agricultural courses whom they send abroad for short periods to work with the people and promote understanding and friendship. Last summer, for example, three young California farmers were chosen to spend four to five months in Ecuador. While there, they visited farms, discussed agriculture with the people, and lent what assistance they could. The work of these grass-roots ambassadors, as they are called, is voluntary. For although their trips are sponsored by the 4-H clubs in their neighborhood, the major portion of their expenses is paid by the young farmers themselves. Their work can in no way be considered charity because they learn as much from people in other countries as those people learn from them. Yes, members of the International Farm Youth Exchange have learned the secret of international understanding that by helping others, you help your country. Station Identification This is on Act 3 of It Grows On Trees starring Ginger Rogers as Polly with Marsha Henderson as Diane, Greg Palmer as Ralph, and Ted DeCossia as Phil. She took a blanket off her washbasket.  Say a word until I've finished. All right, you see all this money? Well, something's happening to it. The bills are drying up. I suppose I could complain to Mr. Piney. Please, Polly, don't. After all, it's only a plan.  Anyway, I don't think they're quite dead. I've been sprinkling them with a little cool spray. Like they do lettuce at the market? Oh, good, good. All right, the Treasury Department again. That nice, Mr. Merchison. You'll work again? Of course I wrote them. That's how I found out it was legal. This time, I'll ask if there isn't some preservative to keep them alive. After all, that's why we pay taxes, isn't it? Well, now, we'll walk out into the backyard. Yes, dear. Oh, I know exactly how you feed them. When I found out that the trees had money growing on them, well, believe me, it was quite a shock. But you'll get used to the idea, just like I did. Now, now, prepare yourself, dear. You've never seen anything like this tree before. I'll just throw off the sheet, and there before your eyes is a genuine 100 percent. Take it to me, too. Now, what about the other one? The kitchen cabinet. The money, he said. That's just what it is. That's just what he said. He even asked me to send them some cuttings for the White House. And if you think a man like Mr. Lurk... Paulie frantically searched for the letter, but, of course, there was no letter. Sweetheart, of course. And if you... I hope so, but she wouldn't take a letter. Now, would she? Who called her? Listen to me. And she's taken some of the money, too. Now I'm counted it right. I even... Mrs. Pryer dropped in at the bank. Ralph just happened to observe her. Naturally, he called his... I get her lawyer. You... Where these five and ten dollar bills came from. Is this money legal? Well, it just so... But this letter's addressed to... to Mrs. Philip Baxter. Thank you to step back in my office. I'm going to get to the bottom of it. And don't you worry. If I don't come back, dear, explain it to Father, will you? I'm Mrs. Polly Baxter, and I've come here about Ralph Bowen. You've thrown him in that... Lady. Well, you can just go back there and let him out at once. I gave him that money. Listen to me. It is not phony. It just happens to be dying. You see, when I gave that money to Mr. Bowen, a growing thing that all... Cotton, what was a growing thing, lady? The money. It grows on my... and doesn't believe me, but it's true. Lady, you may be running a little temperature. You maybe don't feel so good. I feel fine, and I demand that you release Ralph... By morning, you could have raped her in any part of the... What's she done? Nothing. She's waiting for Ralph. They're... They're going to let him out on bail. Well, where do we go from here, Polly? Well, now that you ask me... Never mind, old cell, and you can double up with Mrs. Pryor. That doesn't sound right. Oh, my... Mr. Murchison from the Treasury Department, Mr. Leatherby from the Internal Revenue, and Dr. Burrow's botanical research. Well, gentlemen, this is a great honor, I'm sure. At the risk of sounding rude, Mr. and Mrs. Baxter, it's my opinion that this whole thing is a hoax. These two trees... They don't even look capable of growing leaves, let alone money. What's your opinion, Dr. Burrow? Well... Well, they're probably deciduous, Mr. Murchison, which means they lose their foliage this late in the season. Oh, no, no, no. It was all Mrs. Pryor. She picked them there. Well, you must have read her confession. It was in all the newspapers. Polly, please. Mrs. Baxter, do you actually believe these trees grow money? Of course. Very curious. In all my experience, I've never run across this particular species. You see, the buds, well, they're just like tulips. Ah. And when they open inside, each was a lovely little green $10 bill, and on that one, $5 bill. Fascinating. Oh, we've got to put a stop to this, Mrs. Baxter, and you're the only one who can do it. But how? By issuing a statement that was all a deliberate hoax. Oh, but I couldn't do that. It wouldn't be the truth. Besides, Mr. Merchison, if she did, well, there's the letter you signed. You not only condoned, you also encouraged, which makes you an accessory and equally culpable. I am not going to let you make Mrs. Baxter your scapegoat. Thank you, dear. That was very nice of you. Mr. Baxter, have you actually seen money on those trees? No, but my wife and I've had her nearly 20 years, and I should know her by now, is an honest woman. And if she says her tree is grow money, then her tree is grow money. But, my dear sir, it sounds like a... Like a wish come true, and that's exactly what it was. And that's what makes life so full of wonder. Does anyone know what she's talking about? I'm talking about wonder. Personally, I wouldn't want to live in a world without it, and the world does have it, you know.  Or even when they grow up, they meet it and they call it phony and fake. Gentlemen, gentlemen, I have a wonderful news. Well, borrows, what is it? I reexamined the trees, and one of them, the $10 tree, is...is expecting. It has a fund on it. My days, Mr. Murchison, oh my, if the weather will only stay nice and mild like this for a few days. Oh, it will, it just... So what happened? It got wet and colder, rain and frost. Dr. Borrows kept his patient as warm as he could, but on the fifth day, he staggered in with a bullet. I'm afraid it's Moribund, Mr. Murchison. An extremist. What's that mean in English? The bud is dying. Phil? Pardon me, please. I think I'll make a bone ball. If anybody wants me, I'd be outside. I'm still crying, you know. Mr. Murchison made several calls. An hour later, a delegation of reporters and photographers crowded into our living room. And now, gentlemen, I can give you the statement you've waited for so patiently. The bud has proved to be a washout. This not only vindicates us, but it takes the case out of the realm of abracadabra and makes it instead the willful passing of illegal money. Now, I spoke to the attorney and said, Mr. Polly, back to your attorney. Oh, in the bedroom. It's going to be perfectly dreamy. Won't you please? Isn't, young love, just wonderful. Now, all you gentlemen say right here, I'm sure you'd like some coffee. I'll have it made. What's wonderful about it, borough? Something like miraculous has happened. I've never seen anything like it before. Like what? Well, as you know, the bud was in very bad shape this morning. Quite hopeless, in fact. You told us that an hour ago. Is that it was also in a very critical condition last night. So, I plucked it off. And all night, I... and the warmth of my body underneath the blanket with my money-bud. But I've got it right here. Well, let's open it. Stand back, everyone. Stand back, please. Steady, Polly, steady, girl. All right. Hopefully, Dr. borough has opened the bud. And so, help me. There inside was a tiny ten-dollar bill. Who says Wall Street panics? Merchison admits three gross session and money crisis. Mr. Merchison and company held another little session in our living room. Thanks, Mrs. Baxter. Won't do it off. No, indeed. I'm afraid that now you'll have to pay the regular income tax. Well, don't worry, gentlemen. We should have a new crop by March the 15th. We'll pay in cash. This isn't fair. All we have to do is appropriate the trees by due process of law. But according to the Bill of Rights, Mr. Leatherby, no private property may be taken for public use without just compensation. Well, naturally, with pay. How much and with what? With money? We grow our own. To me, that is your patriotic duty to give up those trees so we can destroy them. They're a menace to the economy of our country. I never intended keeping them, and I've never approved of using the money. My wife will confirm that. We can have them then? Just a minute. You've pushed my wife around, and I don't like that. You've called her names, too. All right, we apologize. Don't we? Well, there's something else. What did you call it, Phil? Just compensation. What about just compensation? Well, just that the money I spent will have to be replaced, and we haven't got it. We'll take care of that, Mrs. Baxter. Of course we will. How much? $2,904. I have a full account of everything right here, gentlemen. My husband is a certified public accountant in business for himself now. You will have the money today. Now, where's Borough's? He'll have to prepare the trees for shipment to Washington. I'm right here. Oh, this is terrible, Mrs. Baxter. Simply terrible. What now? It's all my fault. I went to the hotel to write my report to the Institute, and I... I quite forgot what the weather was like outside and the trees. Dad? I'm afraid so, Mrs. Baxter. Oh, this is the end, gentlemen. Just as the gentleman left, a delivery boy arrived, a package for... And you know what? All it cost me was $6.40. Polly, what is that thing? What is it? Antique lamps. $6.40, Polly. Honey, won't you ever understand just because something is cheap that doesn't mean... Well, you just wait and see. Oh, I admit it's a little tarnished and battered maybe, but my goodness, once I clean it up, please don't scold me today. I'm not scolding you. I know how you feel about those trees, but really, Polly, wasn't it all for the best wonder and enchantment? Well, they just don't fit in with everyday life. No more than this crummy old lamp. Yes, dear, but as long as I've got it. Okay, clean it up, have fun. See you later, sweetheart. Well, if that isn't just like a man, just because it's a little messy, just because it has a dancer to... Why, it's a beautiful little lamp. It won't take a minute to clean it. I'll just take this old call cloth and I'll start rubbing it and shining it. Smoke? It's starting to smoke. Was a civilian employee and simply couldn't afford the costly treatments that would be necessary to help his little girl, the two sergeants. They got up entertainments, collected donations, and, well, soon every enlisted man, officer, and civilian worker around the place was in on the project. They raised $4,300, enough to fly the little girl to the United States and provide treatments at Warm Springs, Georgia. You and your friends today are shaping our world, Mr. Cummings, and our star. And we welcome Ginger Rogers to our footlights for a just-to-deserve curtain call. I would like to add a word from Marcia and Greg. I think they were wonderful. We're always happy to give a boost to our young players and watch them rise to stardom. Now, how about your play for next week, Irving? Our play for next week was first a Broadway success, then made into an excellent picture by J. Arthur Rank in England, and released here by Universal International. It's the Browning version. And as our stars, we have invited one of the most beloved couples in Hollywood, Ronald Coleman and Benita Yu. Appearing with the Colmans will be Hugh O'Brien from Universal International. Oh, I wouldn't miss a combination like that. Good night, Irving. Good night. We had a wonderful time. This is Ken Carpenter inviting you to join us next week at this same time for another presentation of the Hollywood Radio Theatration of the United States Armed Forces Radio and Television Service.


Today we talk about Gangnam Style and how YouTube has now been broken. Yeah, that's a thing. And then we find out who the three winners are today in the $100,000 sponsorship powered by freedom. I'm your host Tiffany, and you're watching Impulse. Thanks Tiffany. That's right guys. Gangnam Style, the most viewed video on YouTube, actually broke the view counter. Not in the sense that it was hacked or that it brought down the whole website. It simply meant that after 2,147,483,647 views, the 32-bit integer ran out of space to continue counting new views. Of course, this was really easily fixed by bumping up the view counter up to a 64-bit register, which will now support over 9,000,000 views. Fun fact, if YouTube didn't step in to fix this, the view count would actually continue as a negative number. If you go to the Gangnam Style video and you hover your mouse over the view count, you'll see a little fun Easter egg that pokes fun at this issue. Anyways guys, let's take it over to Tiffany for today's runner-up winners. Thanks Alex. Leave it aside to break YouTube, you know, because he doesn't have enough to do. And now, in no particular order, let's announce the two runners-up in the $100,000 sponsorship picked by Hart B. Crow. You get to choose from these amazing prizes brought to you by our partners with freedom. If you want to learn more about the $100,000 sponsorship, click in the video in the sidebar for more information. Take it away, Rick. Our first runner-up is Max Damage. He provided the Freedom Family some advice for those of us who are brand new to publishing content on YouTube. Rule number one, never give up. Rule number two, see rule number one. Our next runner-up is Sparks Project. He made the point that many creators pick the same games to cover and picking others may help you in the long run. Also, engaging with your audience goes a long way in making them feel important enough to come back for more. What else does he do besides this? I don't know. Congratulations, Freedom Partners. And remember, you're still eligible to win first prize in a future impulse episode. And now, back to Alex. He's got to talk about stuff. I don't know, what just stuff? Thanks, Tiffany. Now for a couple of things that also happened last week on YouTube. It turns out that 85% of adults visit YouTube at least once a month. Yep, that's right. There was actually a study published that covered all of today's social media platforms, and YouTube is actually doing quite well amongst them. We'll leave a link in the description down below so you guys can take a look for yourselves. Also, Susan Wojcicki, YouTube CEO, did an interview with The Today Show, outlining some of her history with the company and how her kids influenced her work at YouTube. Did you know that Google was started out of her grotch? Yeah, very cool. We'll also leave a link in the description for you guys to watch for yourselves. Anyways, let's throw it back over to Tiffany for today's grand prize winner. Thanks, Alex, for talking about stuff. That was interesting stuff. And now for the moment we've all been waiting for. Let's see who's going to take home $250 in grand prizes. You get to choose from all these lovely, amazing products brought to you by our partners with freedom. And now back to Rick, because I have more dancing to do. And today's winner is Nitro Gaming. Nitro informs all YouTubers to be original instead of copying successful YouTubers in order to grow their channel. He was also incredibly active in the comments and posted about how Activision should just leave things alone when it comes to glitch videos and let people enjoy the game as it is. Nitro Gaming wins. Flawless victory. Congratulations, Freedom Partners, on a job well done. Remember, guys, to share your knowledge, discuss today's topics, and interact with fellow Freedom Partners in the comments below. And you, too, could be rewarded for bringing the community together as a family. Hope you guys enjoyed this episode of Impulse. And tomorrow, Mike goes over collaboration and the best way to do it. Until next time, I'm your host Tiffany, and...


Mae cyfnodd yn fwy o bwysig yn oed, o hynny'n gweithio y mae'r cwyrd yn gweithio'r cwyrd, a'r pwysig yn oed o bwysig yn y cyfrannu cyfnodd yn fwy o bwysig yn y cyfrannu cyfrannu cyfrannu cyfrannu cyfrannu. Ond o'r llyniwb yn ymgyrch yn fwy o bwysig, gwneud hynny'n gwybod yn y bwyllfa, rhaid i'n mynd i'n gwybod i'r bwysig. I haven't got my glasses on today. So there are two primary tasks. The first is to do with analysis and the second is to do with vision. When we're doing analysis we're basically looking at the current economic system in order to identify the institutions within the current economy that generates the class system.unt, a'r ysgol chefnodd i ddim yn gallu i'r troi cyfliesol yn hyn, amdion gael y sydd ar gyfer y cyflym. Yn y sgol am gyflym, mae'r ysgol yn adroddiad yn ddim yn ddim yn cyflym i'r ddim yn cyflym i'r ysgol chi yn ddim yn swydd Pryddiad, ond mae'n ddim yn i'r cyflym ymdweud yng Nghymru, a'r ysgol felly we'n bwysig i'ch gwahau'r bywyd cynferfyniadau a'r wyliadau angenololau, a fawr yn llweithio i gyda'r bodi'n gwybodolol â'r newydd. Roeddwn i'n ddod i'n gwybodol fydd ymddangos Ditwyr, nesawdd y gwyrdd ar fy nesawd a'u gogolol yn erbyn y sefynau bod yw'r ysgrifennu'r gwahodd ar gyfer rydym yn cyflawn i'w cyflawn i'r analysau i fynd o bod yn gwneud ffordaeth y four yn fywyd i gyflosio gyda'u washerr. Rhaid, we've got our institutions, our four categories that we're going to put institutions within those and these are the institutions that we want to organise to construct. Collectively these four represent the key institutions within a capitalist economy, and these four represent the key institutions for a participatory economy.ûch. So y ëThe First Institutioní I want to highlight is a private ownership. Private ownership is a source of the class system because it elevates a class. Basically if youíve got anarchyist economy youíve got a class of owners. Those owners make their money by taking the profit, The rest of the economic actors are the working class and they make their money by renting themselves out to the earlier class. Because the companies want to maximise profit naturally, the working class want to maximise the hourly wage naturally. This creates conflict of economic interests. O'ch cyffin hon, mae'r ddweud yn cael eu ddweud yn cael eu ddweud hefyd. Ac mae'n ddweud yn y profiad yw'r gŵr. Ac mae'n credu ystod o'r gyffin economi. Yn yw'r unrhyw bwysig o'r cyffin yw'r disbynedd o'r cyffin ei ddweud ar y lefyd yn y cyfrifoedd. Yma ben hynny'n ddechrau'n gwrthach. Ac mae'n ddweud i ni'n gwrthodol oedd. Mae'r cwrthodol o'r cwrthodol o'r cydweithiau. Mae'n gwrthodol o'r cydweithiau. Yn ymwyaf, yn ymweld, ymweld yw'r cydweithiau yn ymweld. Na'n gwybod â'r ysgolio, mae eich cydweithiau yn gwybod â'r analysau. Mae'r ymweld â'r cydweithiau yn ymweld â'r cydweithiau. is the corporate division of labour. The corporate division of labour comes about as a result of certain job formulations. So if you think of a job as being made up of a bundle of tasks, so we've got a job here, a job there, and these yellow dots are tasks, that's basically what a job is. But if the corporate division of labour comes about as a result of certain jobs being made up of empowering and desirable tasks, and other jobs are being made up of tasks that are not so empowering, not so desirable. So this job, Job X, the yellow dots are basically empowering tasks, desirable tasks. The red dots are tasks that are disempowering and not so desirable. So this creates a corporate division of labour. OK, so the corporate division of labour gives rise to a second class that I want to identify, which you can call the coordinate class. And as we can hopefully see in this illustration, they monopolise all the yellow tasks, which are the empowering and desirable tasks within the economy. And the working class do all the red tasks, which are the disempowering and less desirable tasks. So the corporate division of labour, if you want a classless economy, corporate division of labour has also got to go. So I just want to say a little bit more about the coordinate class, because it might be a new concept for some of you. The coordinate class are classic professional managers who monopolise empowering tasks within the economy. And basically work is to carry out the orders of the coordinate class in their traditional role on the receiving end of orders from the board. And the important insight here is that an anti-capitalist revolution does not equal classlessness. This is an important, very important insight. So, for example, if you remember the hierarchical system we showed, if we get rid of the capitalist class at the top, if we recognise the coordinate class as a third class that sits between a capitalist and a working class, if we get rid of the capitalist, we still are a class system. And people advocates of participatory economics tend to see that what happened in, say, like Russia and China in the 20th century was essentially a coordinate class revolution. OK, so we've got coordinate division of labour as our second institution that I think we should be organising to dismantle it. The third institution, this is quite straightforward really, the third institution is remuneration for ownership and bargaining power. Now I think this is quite straightforward because we've already identified that we need to get rid of private ownership. So we're not going to be remunerating for ownership if we've already got rid of private ownership by definition. And if we've got rid of the corporate division of labour, we've also got rid of remuneration for bargaining power. We can come back and explore these. I'm going to talk about 20 minutes and then we can come back and re-look at all this. OK, so basically we've got rid of ownership in the corporate division of labour, so we address this already. But we need to highlight it because we do need to have an alternative criteria for remuneration. So that's right in there. OK, so remuneration for ownership and bargaining power is our third institution. That's our analysis leads us to kind of hone in on in terms of what we need to be organising to dismantle it if we want to process it. OK, so the fourth institution, this is probably the most difficult one to explain very briefly. But basically, competitive markets need to go because they essentially generate a context, an overall context with the economy whereby it generates a logic that rationalises the maintenance or the reintroduction of elitist institutions. So, for example, if you imagine two workplaces operating within a competitive market context and say they're both making clocks or something like that, and you've got in order to survive, this business needs to out-compete this business and this business needs to out-compete this business. One of the ways in which you can out-compete your competitive is by cutting wages, reducing health and safety measures, and the only real sensible way of doing that is by having a managerial class to impose it on the working class. The working class are not very good at doing that to themselves. So, basically, we need a managerial class to impose these harsh measures on the working class, on the producers. So, it creates this logic whereby you need to reintroduce a class system. So, this is why we need to get rid of competitive markets. Sorry. Elitist institutions. I just want to follow what you said, elite institutions, like it creates that? Like the corporate divisional aid base, the one we saw this one. So, if you want to market to rationalise the corporate divisional aid base, if you're competing in that context, it makes sense to have some managers above you to impose these harsh measures on you, so you reintroduce the corporate divisional aid base. And if you look at workers when they've taken over factories and they've maintained their operating within a competitive market context, this is what they tend to do. I think this has happened in Argentina and places like that. Okay. So, we've come to the end. We've filled our four categories for our analysis. Like I said, this is very brief, very quick. We're moving quite quick. There's a lot to cover. But we can come back and explore these a little bit more after. We're going to have about half an hour left for questions and answers. So, we've got our analysis done. But before moving on to our vision, I just want to make another general point that I think is very important. I think this essentially constitutes anti-capitalism, if you like, and most anti-capitalists focus on what they want to dismantle, what institutions, what systems they want to bring down. When we're dismantling these institutions, we need at the same time to be constructing new institutions, otherwise it's suicidal. But most anti-capitalists, I think, are actually guilty of this. Okay. So, we're going to look at... Okay, so we're going to now move over and we're going to start working on our vision side of things. So, the first institution I want to highlight here is self-managed work and consumer council. Also, this is like one of the institutions that we advocate for participatory economics. And this is our alternative to private ownership. So, self-managed work and consumer council, basically, this is a venue for production. This is a venue for consumption. Everybody in a participatory economy belongs to both a workers council and a consumer council. And I just want to highlight what I mean by self-management because it's a very important aspect of participatory economics. It's a kind of like a principle that guides decision making within the economy. And basically, what it boils down to is that people have the same decisions in proportion to how much they are affected by the outcome of that decision. That's the guiding principle.  Following this principle, I get to make it known as. If I'm at work, let's say this is our work, this is our workers council, and us guys over here, we all work in one area and we want to put some, put a radio on. But no one else can hear that radio. We get to make that decision, none of you guys. If there's something like, we want to redecorate our workplace, the colour, and it affects everybody, but we want to choose and ask, we want to have an input into what colour we want to choose. Everybody has a say on that. So that's basically how the self-management works. So there's no central committee, no top-down decision, no top-down. So that's basically the principle. Again, we can explore this a little bit further, if you like, about things. Okay, so that's our first institution for our vision. Like I say, this is what we propose as an alternative to private ownership. The second institution is what we call a balanced job complex, and this is our alternative to the corporate division of labour. So I mean, never really. Jobs are made up of bonds of tasks, and with the corporate division of labour, some people, the coordinator class, get to monopolise all of the empowering and desirable tasks in their work, and the working class get to do the disempowering and less desirable tasks. So to overcome this, this causes a class division. To overcome this, and to create classlessness, we need balanced job complexes, so this is what we propose. And basically, you're kind of reformulating jobs, so you've still got tasks. Everybody has a job, but at the heart of everybody's job, if you like, this is kind of like how I like to think of it, everybody has at the heart of their job something that they feel passionate about, something that they find desirable, something that they find empowering. But in addition to doing that, everybody has a responsibility to also do their fair share of the disempowering tasks and the less desirable tasks, and that's what we've read, dot symbolise, around the outside. So that's a balanced job complex. OK, so that's our second institution for our vision, and like I say, this is our alternative to the corporate vision labour. So this is how we overcome private owned, the capitalist class division. This is how we overcome the coordinate class division. OK, so we're moving on to our third institution, which is remuneration for efforts and sacrifice. We advocate as an alternative to remuneration for ownership and bargaining power. So bargaining power is gone because we've got balanced job complexes. Nobody has more bargaining power than anybody else in a participatory economy. So that's gone, ownership's gone, but we do need a criteria for remuneration, and what we advocate and what we think is a good criteria is that you're remunerated for efforts and sacrifice, which essentially boils down to the hard, if you work hard and you get more, and if you work longer, you get more. That's it. OK? We can come back and talk about this. OK, so there it is. There's our third institution, remuneration for efforts and sacrifice, and our fourth institution, again this is the most complicated one of the four, and this is our alternative to competitive markets. You could do a workshop on this, so nobody should be satisfied with what I'm saying, but it will just give you a lot of taste. So we've already seen that we've got workers councils, and we've already seen that we've got consumer councils. But the idea with participatory planning is that it's a means of arriving at an economic plan, but without central planning or without markets. This is what we propose for a classless economy. So the way in which it works is, the works council submits what it is prepared to produce to a specialised workplace called isolation facilitation board, at Fattys Island. And the consumer council submits what they would like to consume to the facilitation board. And basically these people who work in a specialised workplace do some number crunching, do some analysis, and then feedback to the workers council and to the consumer council. And this process basically goes on for a series of rounds until there is a mutually agreed upon plan for production and consumption. Okay, so that's our fourth institution, and basically that is the four institutions for a participatory economy for a classless economy. I just want to say something very briefly about the transition, because basically that our analysis and our vision here is basically that the transition from private ownership to self-managed work and consumer councils, the transition from corporate version of labour to balanced job complexes, the transition from remuneration of ownership to bargaining power to remuneration for effort and sacrifice, a transition from capacity markets to participatory planning. And essentially that is the revolution. It's the transition from capitalist economics to participatory economics. But we need to just say a little bit about what's going on in here, because this is the most important bit. Okay, so what's important, first of all, I think is just to point out that we've already got this anyway, but just to point out that we've done our analysis, we've done our vision, and these two impact on each other. We inform each other. But both of these should inform our strategy. So when we're formalating out, when we're sitting down as organisers, we should be using our analysis and our vision to inform our strategy. But I just want to make three quite general points about strategy as well. The first is something that I think is just a truism and it's internationally truiling, and that is that to do this, we will need popular movements. The work in Stockholm, for example, will not necessarily work in London, where Jason lives, or in, say, Cape Town in South Africa. So it's context specific. So like if you look at the internationals of the past, they've tended to come off with universal and kind of absolute strategies that they say apply everywhere. And I think this is a major mistake and it causes all kinds of problems and splits and stuff. So we say that strategy is context specific but it needs to be informed by your analysis and your vision. And thirdly, to do with strategy and through the transition, we're not going to see, like capitalism one step overnight jump part of speech economics. It's going to be a series of progressive reforms. This is how we kind of visualise it. So you could have like a, and it's those specific campaigns that you formulate that might be different here than in Cape Town or London. And this is what we call non-reforms reforms. So they're reforms but they're intended to have an ultimate revolutionary outcome. Yeah? Okay, oh that's it. I thought we've got more. So this is, I'm writing this off as a pamphlet. I'm very interested in getting feedback off people. Any areas that aren't clear, any areas you think I've missed, anything you think that I've, I don't know, anything basically. And this is my email address. Anybody who wants to email me after the conference can do so. And also there is a website here. This is the website for further information on participatory economics.


Today we're excited to welcome someone who tripled her income by transitioning into the freelance economy. Natalie's a fat joins us to talk about walking away from a high-paying job to launch her own social media consulting company in New York City. This is School of Hustle, the show where we find advice and inspiration from people who are making their own way. I'm Shannon, the VP of social here at GoDaddy, and I live and breathe at the Hustle of Business. Today we're filming from the Hustle of Adal at the WeWork Time Square in New York City. Everybody, let's give Natalie a big warm welcome. Thank you so much for being here today. Thanks so much for having me. This is so exciting. I'm fascinated by your story. You were in a high-paying role as a writer and you decided to walk away from Adal and start your own business. What was that role and how did you know that you wanted to walk away? You know, I think walking away sometimes is the hardest part and people get really scared, you know, to leave a high-paying job with benefits and a salary. But I think sometimes when you see that the opportunity is actually bigger to do your own thing, it can actually be easier to walk away than it is to stay. That's exactly what happened. And what was it that motivated you to do that? So, like any good entrepreneur, I recognized a demand for services, for social media consulting. This is about 10 years ago when social media went from an option to a priority. And a lot of brands were knocking on my door and saying, hey, can you help us out with social media? Can you run a magazine for us? Can you help us run our blog? And so I think, you know, like any good entrepreneur, I recognized the demand and provided a supply. So I read about how you let your boss know that you would be leaving. And I believe that your boss was your first client. Yep. Is that true? It's all true. I say that I made him an offer that would have been very difficult to refuse. I asked him if he was interested in cutting my salary in half and having me in two days a week instead of five. And I also informed him that I was sitting in a lot of meetings that weren't relevant to the job at hand. If he was able to let me come in two days a week, I could still get all the same work done and save him a lot of money. That's great. That's so great. How did you go about getting clients thereafter? So we get clients three ways at my company. The first is social media, no surprise. A lot of brands are reaching out to me on Instagram and Facebook asking to do projects with them. The second way is I have an agent who's terrific. And then the third way, like any other business, is word of mouth. So doing a great job for one client will often have them recommend me to somebody else. Tell me about your business. What's it called? What does the team look like? Where do you sit? So we actually have a WeWork. So I feel right at home here. Really? Yep, absolutely. We have a WeWork in downtown Tribeca, New York. And we have a few employees who help me out with everything from content creation to social media consulting, meeting with our clients, doing strategy. And so that's kind of the bulk of the work. You can create everything from YouTube videos to daily tweets, Instagram stories that you see on your feed. And what is the favorite aspect for you in terms of owning your own business? You know, one of my favorite parts of my job is being able to set my own rates and give myself a raise when I feel I've earned one. Take a yoga class on my lunch break when I need the break. I think having the autonomy and also being able to set my own prices and not participate in the wage gap is one of the best parts of my job. I would imagine in New York there's a lot of competitions around you, especially in a space as hot as social media. So how do you think about differentiating your business and your employees and your services and staying ahead of that curve? You know, I think when you create compelling content and hopefully are striving for that quality over quantity approach, you stand out from your competitors, right? My goal was never to build a 200% business and get every client that we approach and that approaches us. We're selective. We want to work with brands who we think are doing interesting things and who we can help. That's interesting. So it's not a model of just take whatever business you can get, but be selective. What are some of the criteria that you look for when you pick your clients? So one of the things I make sure anytime I work with a brand is that they're a good fit for my personal brand. And usually that comes down to having a few of the same values. So we work with brands that are very progressive in not just their belief system but also the content that they create. We like working with brands that let us be autonomous and create things that we think are going to do well rather than sort of dictating the approach to us. And then we also like working with brands that are supportive of women-owned business, small business, two things that we certainly are. What is your process when you're going into like the room to pitch for business? You know, I try not to think about what my competitors are doing. I try to really focus on what we're bringing to the table. And oftentimes I think it's really interesting to brands that we're not this huge unapproachable agency that you're going to have to call 40 times before someone picks up. It's a small team. I'm very involved in every single client that we sign. I think sometimes that can be used to an advantage versus some of those bigger brands. How do you stay balanced? I know that you mentioned earlier that you do go to yoga at lunch, for example. But then you have that real responsibility of being a business owner, a manager, a mentor, you're out pitching, you're wearing many hats. And how do you make sure that you leave time for those important pieces that balance your life at like yoga? I think, you know, my motto, like many of the peers I have, is work hard, play hard. I work extremely hard. I've been working at my own company for the last 10 years. I also love to travel and see the world. And I think oftentimes it's what makes me so good at my job that I let myself take a break when I feel I've earned one. And of course, I think we're all guilty of not doing that enough. I'm certainly guilty of it, but I do my best to take the time off. I have to ask you, what trend in social are you most excited about right now? Yeah, it's a great question. I think one of my favorite trends right now is live video.  Anytime you do live video, your consumers can ask questions. They can provide feedback in real time. And I also think it separates sort of the amateurs from the pros, right? If you're able to really create content in real time, speak in a way that is compelling and arresting and do it in a live video format, I think you're really going to be setting yourself apart from your competitors. And how do you think about mitigating the risk with live? Because it's live. It's live. There's no going back. Well, I think that's one of the best things about the internet, right? Yeah. It's all happening in real time and there's not a lot of editing. There's not a lot of doctoring. Yeah. I think that's what's so appealing about it. That's certainly why I've taken an interest in it professionally. Sometimes you do roll the dice though. You're absolutely right. You know, we've seen it all at some of our productions. So just being thoughtful and exercising restraint and judgment. And you know, I think those are the keys to the castle. You've been in business for 10 successful years. But as you think back throughout that entire journey, is there any one particular moment in the last decade that you feel was your made-it moment where you felt like, wow, this really worked?  I grew up on video games and using a PC when I was five. That was my fifth birthday present my parents gave me. I've also always loved the brand Samsung. So I have always talked about the things I loved about the company, the phones, the VR devices, et cetera. And about two years ago, they sent me an email saying, hey, we took notice and we would love to work with you. And I'm really excited. Two and a half years later, I still get to work with them. I feel like that was a moment that I said, you know what? What I'm doing is actually resonating, not just for my followers and community, but with awesome companies that I've aspired to work with. And so that was a kind of a made-it moment if I had one. Now we are going to play a game that we call hustle time. Can I have 60 seconds, team? All right. Favorite pastime music or movies? Music. First place to visit when you retire? Barcelona. Number one guilty pleasure? 18 copies a day. One word you wish you could take away from the English language? Um, pastime. Boosie brunch or morning workout? Morning workout. Football, NFL or soccer? Neither. Aliens, factor fiction? Fact. Beer or wine? Wine. Favorite part of a s'more? The marshmallow. Top quality you look for in an employee? I would say equal parts, hunger and hard work. Camping or glamping? Glamping. Finish this sentence, when I dance, I look like blank. Cool. New York tourists, help with directions or keep your own way? Help. If you could have a superpower, what would it be? Patience. The best chocolate in the world comes from blank? Um, Israel. King size or fun size? King. Would you rather fly or talk to animals? What? Fly. Favorite holiday? Um, I like Halloween. Instagram or Twitter? Instagram. Wow. Yay! Oh my gosh! That was really fun. 19. Woo! Yeah? It seems like I'd love to support. Favorite part of your day? When the coffee hits. Best piece of advice you've ever gotten? A friend of mine said that there is no good time to start a business, so just do it. Worst piece of advice? Anybody who told me to stay the course, make sure I had a salary and not to start my business. How do you use your career to inspire others? The thing I try to do when I'm posting to social media is to remind people that you can make a living doing untraditional things. You don't have to sit at a desk eight hours a day in order to make a great living and do something you love. And so a lot of my followers are young, young women, and so I'm trying to sort of show them that making money on the internet is a very possible thing that is actually cool and doesn't have to mean that you're struggling. Ever felt like walking away? Yeah, I think walking away when you feel some level of defeat is healthy, it's just important to remember to walk back to your desk. One thing you still need to learn? Patience. Working on it. What do you want people to learn from you? That's what I said a little bit before, but you know, I like this idea that we are not our parents' generation. We don't have to sit at our desks and take jobs that we hate and work 40 or 50 or more hours a week to make a living. For 40 or 50 years is the same job. Correct. Yeah, I hear you. What's next for you? You know, I just, I love what I do and if I can get away with doing it for the rest of my life, I'd be very happy. I want to continue to inspire and hopefully mobilize people to reconsider the way they work. Who inspires you? My parents. And who challenges you? Also my parents and my partner and my friends, my team, myself. Well, we have one last piece of advice that needs to be had. This advice would be for Noodle. Our favorite pug. My gosh, is he gonna come into the segment? I love him. Can I have one? Oh, I would love to hold him. Oh, Noodle. He'll get situated inside. So sweet. I don't know if you know this, but Noodle is a micro-influencer. He should be macro. Let's get to that. So he's pushing about 50,000 followers on Instagram. Okay. He is constantly tasked with keeping his followers engaged and staying relevant to grow into this macro-level territory, which is what he really wants to do. Okay. What is the key to his longevity in social media and growing that follower base? Well, I will say the first thing is eye contact, prolonged eye contact into the camera, which is not a problem for him currently. He's doing a really good job on that. But I think anybody who's looking to grow their social following and stay engaged, and this is for you, Noodle, should really strive for quality over quantity. I think we are all sort of, you know, feel this pressure to post daily and chronicle our every move. But I say don't. I say if you have value to share, if there's something compelling and arresting you want people to know, post it.  There's a lot of clutter and chaos happening. Share when you feel there's value to be added. Okay, Noodle? No, Noodle, you're on your way to adding tremendous value, becoming that macro influencer. And I'm excited to see this. I'm a follower. I'm going to follow him. And speaking, how can people follow you? Oh, well, my name is my handle on every account, so it's just Natalie's effect. Fantastic. Well, in closing, we like to end on an inspiring quote. Final thought, like a little fortune cookie at the end of a meal. I'm going to read you three quotes and ask you to share the quote that you feel resonates most with you and why. Okay. Okay. Don't make excuses for why you can't get it done. Focus on all the reasons why you must make it happen. Two, if you don't like where you are, move. You are not a tree. Three, the question isn't who's going to let me. It's who's going to stop me. I'm going to go with don't make excuses. It feels timely. I think we're here in the heart of summer and people are constantly saying, I'll do it in the fall. I'll do it when I get back. Nobody's at their desk. I can't pitch an idea right now. Nobody's serious. But I think that's actually the perfect time to really break out of the noise and do something unexpected and kind of keep people on their toes. So don't make excuses. Just do it. Well, that's great closing words. Thank you. I enjoyed this conversation. Lovely. Thanks for having me. You're welcome. I feel like I get to take noodle for a spin after this, right? I get to take him home. That's what comes with me. I don't want to say goodbye to him. I know he's special. So sweet. I know everyone watching enjoyed this conversation. I know everyone loves noodle too. And every week, we are bringing fabulous entrepreneurs like Natalie to School of Hustle. So follow Go Daddy and Social to have more inspiration just like this coming your way. And we'll see you all soon. Bye.