Would you mind first introducing yourself? Hello, I'm Audrey Tang, Taiwan's digital minister in charge of social innovation, open government and youth engagement. That's great. What does that mean that you do on a day-to-day basis or what's your responsibilities in that? More like what do you think the purpose is of what you do? As a conservative anarchist, I'm working with the government, not for the government. And again, I want the government to trust the people to work with them. And so very concretely speaking, whenever people complain about anything that the government does, we invite the people who complain into the kitchen, which is a social innovation lab co-designed by social entrepreneurs, and figure out solutions together. That was quite a short little bite there. Do you want to tell me the story of how that came to be? That sounds amazing. That's what you were explaining over there with the other ladies, isn't it? Just tell me the story of that. Right. When I was 15 years old, I dropped out of junior high school to start my education on the Y Web because knowledge was being created there. And then I ran into this fabulous internet society that runs this crazy idea, what they call rough consensus and collaborative governance. They're still powers to the internet till today. So the idea is that we demonstrated this kind of collaborative governance with half a million people on the street by occupying the parliament for 22 days during 2014. And that's called the sunflower revolution. And in the sunflower revolution, people who took the place of the MPs, the parliament, demonstrated that if you use good civic technology, you can have over the course of three weeks a converging consensus rather than going nowhere like some other occupies did. And so it's a real public demonstration. And after that, all the mayors who did not support the occupy gets not reelected. And the mayors who did support the occupy found themselves elected even without preparation of inauguration speech. So afterwards, Taiwan's political climate become open government first and crowdsourcing first, which is why we're now number one on international open data, e-participation, women's inclusivity in online participation, and so on. And so that was because the civil society did a really large demo of how to do collaboration together that I have this position today to act as a channel. That's very to the point and amazing, wonderful. What's the relationship here with social enterprise? So when I was a child and started learning coding when I was eight years old, I did that to teach my brother and cousin's mathematics. So to me, coding was always for social good. And it's always like coding was the logic as the notes and the possibility of interaction as its melodies. And earlier, like when I was 16 or so, I joined this free software movement. And there came a pivotal moment in 1998 where the free software movement part of our people became the open source movement and convincing the largest corporations in Silicon Valley to switch to a collaboratively production model. And so this model, for example, the Nasccape becomes Mozilla. Mozilla makes Firefox. But very few people know that Mozilla Corporation is a 100% mission locked subsidiary of Mozilla Foundation. They call themselves a social enterprise right on the front page. And so it's like 500 million in revenue yearly. It's like employing over 1,000 people. And it's one of the pinnacles of this open source movement that we can find sustainable entrepreneurship models for the large corporations who see collaboration as an inherent good, not something that they do in CSR. And so I think the social enterprise movement is somewhat like open source movement 10 years ago. We're going from a movement into a generally accepted practice, maybe not the best practice but certainly better practice. So that is how I connect my work in the open source and free culture movement to the social enterprise and social innovation movements. How is it that government changed so radically in Taiwan in such a short period? How is that example possible in a world where there's massive disruption and in Australia there's political chaos, I'm sure you've heard about that. How is it that there's, what's the hope here for us in that context that you seem to have an example of? Mostly I think democracy for us is a very new thing. I still remember the martial law. That was 30 years ago when we had our first presidential election. So we don't have hundreds of years of representative democracy as a tradition. For us internet and democracy comes on the same year. So it's natural for people to experiment and combine the two together. And we see that in newer countries as well, in Estonia for sure, but also in Madrid after their transitional period from a dictatorship. So I think this newer democracies because they were born with the internet has more of this rough consensus, collaborative nature in mind. But then that only means that we get to pioneer and pilot even when it's very expensive. Any models that we experiments out, for example, the participation office network, for example, the V-Taiwan method and so on, we all publish publicly on open access journals. And so we are now working closely with mostly municipalities because we think that's mostly where the innovation happens. And that's where people have the same lift in experience to solve common social problems. We don't know how to do national or federal level yet, but there's quite a few cities that are in an alliance. For example, the Descent Project, now the Decode Project, and so on that works on this kind of collaborative governments in a city to city basis. Okay, okay, this is good. This is really good. This is quite inspiring. Thank you.  How do you feel about that when you meet someone and you know you can recognize when somebody's like, what?  Just speak to that for a moment, and then why you might feel at home here in a social enterprise house, if you will. So as a government minister, I'm well aware that there's many unexpected expectations that's usually associated with hierarchical power, and which the value of the internet really is to make sure that people who experience hierarchical power can feel that it's being complemented, but not reinforced by what we call the new power or the peer to peer power. So for me, I act as a kind of bridge between the generations. And when I go into the government, I don't have a contract. I have a compact or a covenant from the civil society and the government's side with me in the middle. And the covenant is three points. First is radical transparency. Everything I see, I get to publish for the common good. And I don't know any state secret. And the second thing is that I don't give command nor take command. It's all by voluntary association. And the third thing and the most important is location independence. So wherever I am on earth, I am working in the capacity as the digital minister. And I get to tour around Taiwan, around Asia Pacific, around the globe, meeting people who are experiencing social injustice, experiencing environmental issues in Taiwan, and tell them that Taiwan can help and connect back to the social entrepreneurs in Taiwan, and indeed to the 12 different ministries associated with social innovation so that they see through my eyes, through live streaming, through 360 live streaming, through virtual reality, the stories, the ethnographic descriptions of what people feel like in the field and how their policies result in good or bad of the community development. So again, I'm acting as a channel to make the strengths of the community and the strengths of existing career public service connect together, absorbing the risk, and make sure that the credit goes where credit is due. I want to ask you so many questions, but I'm going to just check my list. I don't want to do all of them, but I want to make sure we have a few things that fit within this narrative that we have defined, which are blowing apart anyway. In a good way, don't worry. I've heard a lot about the government thing here and social enterprise. Now, what would your message be for governments around the world looking at the social enterprise space? So the social enterprise people know how to do public governance facing a particular issue a social injustice and environmental problem and equality and so on. So for any minister, my message is that whatever your ministry does that corresponds to sustainable development goals, there exists social entrepreneurs that can do this job at a community level better than you. So you better collaborate and make them partners, not just contractors, not just vendors, not just grant receivers, but truly partners and include them in the policymaking because the process determines the content of the policy. If you engage social entrepreneurs at the very beginning of ideation of policy, then the policy will not get wrong. And if you look again and again, like for me, every week is my office hour from 10 a.m. to 10 p.m., anyone can just come to me, rough sleepers, people working on social work and things like that, as long as they agree to the transcription to be published on the internet. So I encourage fellow ministers to do the same. Maybe not one day every week, but certainly one day every month or every quarter to review, to renew the compact with the civil society and especially the social sector. How did you discover this purpose of doing this in this very unique way of bringing so much to the government part of it? You could have gone anywhere, but why government? Because democracy is recessing around the world. Taiwan has one of actually the most open civil society, the most thriving civil society. According to the Civicus Monitor, the freedom of assembly, of speech, of association, if you click Asia and then fully open, you only see Taiwan. And so this is not saying, you know, our Australian or New Zealand partners or our Nordic partners are not doing better than us, but especially in Asia, we're the one with the freest civil society. But with that, we have another status as it says, the more free the civil society is, the less trust they have on its institutions. It's a paradox of our times because the social media, the internet with this information, it encouraged outrage, but it doesn't encourage consensus. So I think as Taiwan is the region's leader in terms of civil society freedom, we must develop civic technology to prove that you can invite the people with dissent and make them into co-chefs in the kitchen. Otherwise, other countries in our region are tempted to go authoritarian or go back to dictatorship. And I think this freedom, the torch of freedom, if you will, in the region is one of the reasons why Taiwan exists and how Taiwan can help. How do you feel being here in Scotland? It's awesome. It's my second time here. Yeah? Yeah. And any comment on social enterprise from what you've seen here? Yeah, I think this year, after a decade, we see the narratives being very mature. Like this sector is ready to engage other sectors on an equal basis. And I think we're really finding our identity here and also spreading the identity to places like Ethiopia, to places where the traditional development programs have not exactly overachieved and spread this new message of social entrepreneurship and value co-creation. How can we help you share this broader story of a radically different way of governing? Well, there's people writing books about the Taiwan experience. There's New Power. There's Desk of the Gods. There's multiple academic papers, some of which we publish ourselves. So you can follow me on Twitter. It's Audrey T, T as in Tang. And also you can just follow the idea of Gov Zero, which is G, zero, V, and that is the movement where people get to fork the government, to look at a government service, do something better as an alternative, relinquish the copyright in the next procurement cycle. The government just merges it back. So G, zero, V, and the Taiwan government, I think, are a perfect example of the civil society talking with the public sector as equals and not as its subject. Very good. You'd like to share that I haven't talked about. The container for this is the closing film of Social Enterprise World Forum. Can you share the whole video with me? Because I know you're just going to use a fragment. Yeah, exactly. I'll be more than happy to. Right, you have my email, right? I give you my promise to do that, okay? Sure, of course. Yes, because I understand that that would be useful for you and that's how you operate. That's right. It's an agreement. Awesome. Was there anything else you wanted to say? Well, yes. I would like to say that the Sustainable Development Goals is a really useful index for us to identify the work that we do. For example, most of my work is in the 17s, including Open Data, International Collaboration, Cross-Sectoral, Evidence-Based Collaboration, and so on. And so I would encourage people who work on social entrepreneurship to index themselves with SDGs, because if they do so, we can discover each other much easily and talent can help in each and every of those sustainable goals. Good idea. I like that. And anything you want to say to the hosts? Thank you. Let's meet again in Ethiopia. And also next May in Taiwan. We're going to co-host the event with as the WF fingers crossed. Oh, I see. There's a little plug and stuff like that. That's right. Okay. All right.


Gun Smoke brought to you by L and M Filters. This is it. L and M is best. Stands out from all the rest. A roundabout city and in the territory on west. There's just one way to handle the killers and the spoilers, and that's with the U.S. Marshal and the smell of Gun Smoke. Starring William Conrad. The French broad story of the violence that moved west with young America. And the story of a man who moved with him. I'm that man, Matt Dillon, United States Marshal. The first man they look for and the last they want to meet. It's a chancey job, and it makes a man watchful. And a little lonely. I'm waiting to go to dinner with Doc if he ever comes out of his office. Well, have you been here a half hour? No, not that long. I don't think quite. Well, I thought maybe you'd seen Miss Kitty out here in the street somewhere. No, I haven't seen her. She's got to be someplace. Well, I expect she is, Justin. Well, there's no place I know of. I can't find her. How'd you try the Longhorn? No, sir. She's never in there before afternoon sometime. Oh, what about her room? That's where I was supposed to meet her, Mr. Dillon. But she ain't there, and nobody's saw her. Nobody I talked to, anyway. Well, she'll be around. It's not to be where she says she'll be. I don't get so worried, Chester. It can't be that important. Well, it's pretty important to me. Oh? Yes, sir. I got a date tonight with a little girl who worked over at the Alfa-Gamza. Oh, what's that got to do with Kitty? Well, my only pair of good pants got busted, Mr. Dillon, and Miss Kitty was patching them up for me. She told me to come pick them up today just for noon. Now, what are you worried? Is this a new girl that you got, Chester? Yes, sir. Well, she's new to me. A little southern gal with a mouthful of honey, Mr. Dillon. Honey, huh? Well, that makes a good bait for old bears like you. Oh, Mr. Dillon, I ain't no bear. Not really. Hello, Mac. Hello, Doctor. Hello, Doc. How are you? Oh, I hope I haven't kept you waiting too long, Matt. Well, that's okay, Doc. Now I won't have to worry if I'm the one that's late next time. Huh? I'm not the one that's late. Oh, you're not? No. Kitty is. Kitty? Yes, she said yesterday she'd be in at noon. Wanted me to look at a tooth that's been bothering her, and I promise I'd be there, but I can't wait forever. Oh, it seems like Kitty's late all the way around today, doesn't she? I was supposed to see her, too, Doc, but I can't find your notebook. Well, it doesn't matter. She's probably sleeping in for a change. No, she ain't. I've been to her room. Nobody saw her around there at all. Is that so? She said she'd be there. Well, come to think of it, it's not like Kitty. When she says she'll be there, she's there, and kindly worries me. Now, you two couldn't all worked up over nothing. Kitty isn't that clock-like. Well, then where is she, Matt? I don't know where she is. Kitty's a big girl. She can take care of herself. Now, stop worrying about her. Hey, here comes Sam Noonan. Maybe he knows where she's at. Well, how would he know? Well, Miss Kitty works for him at the long branch, don't you? Sure, but Sam doesn't keep her on a string. Her time's her own. Good morning, gentlemen. Hello, Sam. How are you, Sam?  No, Chester, I ain't. Notice you men standing here thought I'd come ask you. You mean that you're looking forward to? She was going to come to the long branch about 10 o'clock. Went down early to meet her and she ain't showed up yet, Marshal. Oh, 10 o'clock's pretty early for Kitty, isn't it, Sam? Sure, but she was doing it as a favor to me. I wanted to get started repainting the place and she was going to give me some ideas about making it real fancy. She said she'd be there and I got a man waiting to go to work on it this afternoon.  Kitty takes one morning off and everybody and dodges out looking for it. Well, I don't know about everybody else, Marshal, but I do know when Kitty says she'll do something. She does it. That's just what we've been saying, Sam. Where do you think she's got to, anyway? I ain't going looking for it. Chester, I've just been waiting. Matt. Yeah, what, Doc? Kitty might miss one appointment, but she'd never in the world miss three. Uh, who saw her last? You, Sam? What time did she leave the long branch last night? It was early, Marshal. It was real early. Oh, why? Where did she go? Well, she was talking to some dude from back east. I never saw him before, and they both disappeared about ten o'clock. I don't know where they went. She didn't come back? That's the last I've seen of her. Who is this dude, do you know his name? No, I don't. He was a tall, thin fella. Fancy clothes. That's all I know. I don't trust him, dudes. I never did. Well, maybe we better find him and talk to him. Well, where are we going to find him? The Dodge House, Chester. A man like that wouldn't stop any place else. Look, Doc, you better go ahead and eat. I'll join you if I can. We hope you're having a wonderful Christmas that the holly and mistletoe look brighter than ever, that you're enjoying your gifts and the fun that goes with them. While you're relaxing with your holiday thoughts, I'd like to suggest one more touch that's perfect for times like this. Light up an L and M. If you're a filter tip smoker, L and M is best. Stands out from all the rest. Stands out for flavor, for effective filtration, for highest quality tobaccos. It adds up to the greatest pleasure in filter tip smoking. L and M's got everything. This is it. L and M filters. This is it. Light and mild. It's the best. L and M filters. Highest quality filter tip. This is it. L and M filters. L and M filters with the miracle tip. King size or regular, L and M is best. Stands out from all the rest. Maybe this fella got her outside and knocked her in the head and robbed her, Mr. Dillon. Kitty doesn't carry money on her, Chester. Well, she wears jewelry. She's also over 21 years old and she's got enough sense not to let anybody knock her on the head. And if he did, I suppose somebody to found her, but now... Yeah, sure. Hey, look. Is Mr. Dobie himself at the desk in there? Oh, good. Oh, Mr. Dobie. Are you Dobie? Now, don't tell me the Dodge House is taking in another gunman.  Well, that wouldn't happen so often if you'd make your guests check their guns, Dobie. Kind of people come in here to take the army to do that. That's a poor rule anyway. A man can always hide a gun. Or a knife? It's not that kind of a man I'm looking for this time, Dobie. It's an Easterner, some dude. What's his name? Well, I don't know his name, but he's tall and thin. He's sort of a fancy dresser. He's new to Dodge. Maybe that fella Rackmil. Rackmil? He fits your description, but he sure didn't look like no troublemaker to me. What's he done? I don't know, Dobie. I don't know. Maybe nothing. Is he in his room? No. No, he ain't. Funny thing. Now you mention it.  He didn't? I didn't think nothing about it till now.  They get to play in cards or something. He ain't up to no good, Mr. Dillon. I just know he knows. Dobie, what do you know about him? I told you all I know. He'd come here day before yesterday, said he was traveling around, seeing the West. I don't think he's working. He don't act sharp enough to be a gambler. Okay, Dobie. Thanks. Thanks very much. Look, if he does come in, don't say anything about my being here, will you? Not a word, Marshal. But I sent somebody after you if you want. Good. Good. I got to go find that clerk. I ain't paying him for me to stand here all day. Well, what are we going to do now, Mr. Dillon? Uh...  I'm going to go over to the depot, and I'll see you back at the office. You think you might have kidnapped her? Well, we'll know when we find her, Chester. Anything, Chester? Hello, Doc. Hello, Matt. Nobody ain't seen him at the stage office, Mr. Dillon. There's only one stage out today, and that left this morning, and they wasn't on it. Matt, I didn't think there would be. What about the train? Did they leave on that? Well, they remember Rackmill when he came in the other day, but, uh, he hasn't bought any ticket to leave. Then he must be somewhere in Dodge, Matt. I stopped by Miss Kitty's room. I'm way back, Mr. Dillon. She ain't been in yet.  That's how many disappear all the time. Do they find them, Doc? Sometimes. Yes, of course. They always check the city moored first. Oh, that's where they find a lot of them. People have got killed, you mean?  Heart seizure, you know, something like that kind of hits them. But, of course, a lot of them are victims of murder, or killing one kind of, you know, fights and things like that. Yeah, it must happen a lot. They've got so many people living there. It does, but it can happen anywhere, Chester. Only in New York, they're better organized to locate people that are missing them and don't come home when they should. Always check the moored first, huh? Yeah, oh, that's the best place. It saves a lot of time and trouble. Hey, we ought to have a moored here in Dodge. Oh, whatever. Yeah, we don't need one, but Dodge isn't big enough for a moored. Oh, I guess it ain't. And besides, people don't come up missing here very often. Well, if you two well-wishers have got the moored problem settled, I'd like to say something. Well, surely, Matt, go ahead. If Kitty was in Dodge, we'd have heard from her by now.  Oh, of course she is. Well, of course she's alive. I was telling Chester about things back east, that's all. And if she's left, Dodge, and she didn't go by stage or by train, then there's only one other way that she could have gone, isn't it? You mean she walked? That'd be about as likely as you walk in somewhere, Chester. I don't know why I didn't think about it before. Let's go down to the stable. I didn't think about them going horseback either, Mr. Dillon. I guess maybe it's because I say that fellow racknodes a dude. Horses don't seem his style. We don't know that much about him, Chester. What if he went alone? What if he didn't take Miss Kitty with him after all? Hell, he can go anywhere he wants to. Alone? I don't see Moss Grimmick no worries. Hey, Moss! He's laying in that stall over there, Mr. Dillon. He's been sleeping too much.  I'm sorry to bother you, Moss, but I got to talk to you. Trouble, Marshal? Well, I don't know. But if there is, maybe you can help me. Always willing to help, Marshal. Tell me, have you rented out any horses lately, Moss? Last night or today? No, I haven't. Business has been mighty slow all week, Marshal. Oh, you haven't. Are you sure? Well, you mean saddle horses, don't you? Yeah, yeah, sure. I thought so. No matter who makes a getaway in a buggy, is he? In a buggy? More than you rent buggies? Not often, but I did last night. White golly, I'm glad you reminded me. He ain't brought it back yet. That fellow still got my buggy, Marshal. Who was it, Moss? Some stranger I never saw him before. Was he an Easterner? Me from around here, not in them clothes. Did he have anybody with him? Yeah. Yeah, he had a girl. She went outside for a mind and pain, no attention to her. It was a good moon last night, and it was going for a little drive. But I wanted my horse and buggy back, Marshal. You think they went and stole it? Tell me, Moss, did he say where they were going? He said something about Indian Spring. He asked me how far it was, I told him 20 miles. He figured that was too far, but he said maybe they drive down the hard way. What do I do, Marshal? Oh, what time was it when they took the buggy? 10 o'clock, maybe. You know, there's nothing down toward Indian Spring, I know of, Mr. Dillon. There's hardly even any ranches down there. They must have run into trouble of some kind. Maybe you'll have to, Marshal. I'll tell you. I didn't bother to mention it since they wasn't going far, but one of the iron rims is off the left wheel on that buggy. Could be they hit a rock and the wheel busted. Yeah, maybe, but it doesn't take all night and half a day to walk 20 miles. But don't worry about your buggy, Moss. We'll find it. Along with the traditional pleasures of the holiday, many a filter tip smoker has discovered a new pleasure. He's received his first carton of L&M's. If it happened to you and you've started to smoke those L&M's, you know how they stand out from all the rest. You're enjoying the incomparable taste of highest quality tobaccos. Best flavor ever to come through a filter. You've discovered that no filter compares with L&M's pure, quite easy drawing miracle tip. Yes, if someone gave you L&M's for Christmas, you've got the best because L&M's got everything. There was no trail going to Indian Spring, so all we could do was start out in the general direction and then ride back and forth across the prairie till we found the buggy tracks. That took an hour, but from then on it was easy. We covered the first 10 miles fast, so fast that we almost missed where the buggy had stopped and a woman's footprints led away from it. We followed these for a mile or two, and then up ahead we suddenly saw puffs of smoke coming from a clump of box elder Indian style. That must be Miss Kitty in there, Mr. Dillon. Yeah. At least she's signaling her what. Thought it looks like it. And then she must be in trouble. Maybe. That rack mill fellow must have put her out and just left her to starve. Now why would he do a thing like that? Well, he's not going to get far enough in that buggy for me not to ask him personally, trust him. But first, we'll take care of Kitty. There she is. She sees us. She's waving. Hi, Miss Kitty. She's all right, Mr. Dillon. She ain't hurt. Oh, look. Over every morning, she's been using a petticoat to make them smoke signals with. No, we tracked him, Miss Kitty. Sure is good to see you. What's the matter with your ankle, Kitty? Oh, no, I turned it. It's not that swollen. How'd you know? Well, I could tell by your tracks back there that you were favoring it. I never noticed that. Well, that's why I had to stop walking that. I knew it would get worse, and I'd never make dodge on it. I figured I was better off here than out in the prairie where I couldn't even build a fire. Well, I was smart of you, Kitty. Now look, you can ride on one of our horses back and we'll go double, huh? And this skirt? Oh. Well, uh, one of us can wait here with you while the other one goes and fetches a buggy, okay? No, that'll take too long. I'll make it. I can ride side-saddle if we don't go too fast. Okay. You must be hungry. You know, we didn't think to bring anything to eat. I'm starved. At least I've had water. There's a tiny little spring under that rock over there. Yeah. You're, uh, lucky you had matches, too. I wish I'd had a gun. It's alive with rabbits around here.  Um, I'll show you how someday. Thanks. I hope I never need to know how. Oh, Chester.  All right, sir. And I'll have me a drink of water while I'm at it. Then we'll get started for dodge, kitty. Yeah, the sooner we get there, the sooner you can eat. A side of beef and a sack of potatoes will make a good start. And I come to think of it. I, uh, missed dinner myself. I'll join you. I'm sorry I'm so much trouble, ma'am.  Me and Chester and Doc and Sam Nuneau. I know. I've been thinking about it.  And you don't even ask me how I got here. I know how you got here. Well, sure, of course. With Jim Lackmill and that little buggy partway anyhow. But that's not what I mean, ma'am. Well, if he'd been out to kidnap or murder you, I guess you'd have mentioned it before this, wouldn't you? Those are silly. I feel like a fool telling that. Well, go ahead and say it. It can't be that bad. Lackmill's an Easterner. He's never been out here before. We got to talking. He said he'd like to see the prairie and the moonlight. It was my idea. We ran a buggy and took a drive for an hour or so. Anything to get out of that smoky saloon for a while. So we did. And he tried to hold your hand. And you got mad. And you slapped him. And you jumped down and you started walking. How'd you know that? I know you, kitty. You know, sometimes you've got a terrible temper. Well, I paid for it this time. Honest, Matt, that's all he did. Tried to hold my hand. I believe it. You know, but you'd have been smarter if you just slapped him and let it go at that. You could have ridden back to dodge and style. Why do I have to act like a schoolgirl, Matt? I don't know, kitty. Some people grow up slow. But I'll tell you one thing. It's a lot better than growing up too fast. Oh, thanks for that anyway, Matt. Hey, look how he honed him, Mr. Diller. Look what's coming. What? It's Rackmill and the buggy. I forgot all about him. When has he been all this time? Well, looks like we ain't going to have to run him down after all, don't we? I didn't do anything, Chester. He tried to hold my hand. Well, he sure looks wild now. Now listen, you two. You stay out of this. Leave Rackmill to me. I'll handle him. Uh, come on, Chester. Let's ease up those saddles, huh? Yes, sir. Miss Kitty, are you all right? Am I all right? I've been going crazy trying to find you. It was dark and you disappeared so fast, and then I finally saw the smoke a while ago. You did, huh? How'd you know that smoke wasn't Indian? Well, I didn't know. In fact, I thought it must be. I had to make sure, Miss Kitty.  Oh, I knew it wasn't Indians as soon as I saw them. Have they been bothering you, Miss Kitty? What? Come on, Miss Kitty, get in the buggy. Aren't you forgetting I got out of that buggy once. We'll talk about it later. Take my arm. Take it. I'll say one thing, Mr. Rackmill. You're sure right about going crazy. Please, Miss Kitty. No, I like it here. I've been real comfortable. I'm going to stay, learn how to trap rabbits. I may decide to live here, Mr. Rackmill. No, no, no, you don't understand. Miss Kitty, we're all alone, way out in a prairie. I don't like the looks of those men. I've got to get you out of here. You've got to get me out of here. You! Please be sensible before it's too late. It's already too late.  You can find it. I can find it all right. I promise you I can. Come, Miss Kitty. Which way is Dodge? Well, why, it's right back there. You're pointing towards Texas. Well, it doesn't matter. We'll find it. I won't leave you here, Miss Kitty. I don't care how mad you get.  It doesn't matter. I don't blame you for last night. I apologize. I shouldn't have tried to hold your hand. I just lost myself for a moment. That's all. It won't happen again. I promise you, but I am not going to leave you here. Oh, I'm sorry, Mr. Rackmill. I've been unfair. I do have a bad temper, you know. Yes, I know. And you write about those two. They are a pretty tough-looking pair, aren't they? They're coming back. As a matter of fact, they do look more like desperadoes than lawmen. Lawmen? Mr. Rackmill, this is Marshall Dillon of Dodge City, Kansas. Marshall Dillon? And that's Chester Powerfoot. How do you do? Oh. How do you do? It's OK, Rackmill. We're not after you. Well, I didn't know that she knew you. I mean, I thought you were strangers. No, no, we're not strangers. In fact, we rode out here to find Kitty. I've been trying to find her, too. All night and all day, I've been driving around, around. Now, wait a minute. You may not going to make all this my fault. I only did what any lady had to do. Kitty, you do a lot better if you get something to eat. Eat? What are we standing around here for? Matt, well, you and Chester ride along with us? Sure we will, Kitty. And Mr. Rackmill, when we get to Dodge, maybe you'll have supper with us. That's very kind of you, Miss Kitty. Good. Now, if you'll hold my hand, you can help me into the buggy. Our star, William Conrad. Thank you, George. Speaking for all the folks who make and sell Chester fields as well as L&M filters, Ligard and Myers Tobacco Company. They're 1,300,000 retail dealers and more than 6,000 wholesale distributors. I sincerely hope this is the merriest Christmas ever for you. And those close to you. Sound patterns by Tom Handley and Ray Kemper. Featured in the cast were John Daener, James Nusser, Barney Phillips and Vic Perrin. Harley Bear is Chester, Howard McNeer is Doc, and Georgia Ellis is Kitty. Join us again next week as Matt Dillon, U.S. Marshal, fights to bring law and order out of the wild violence of the West in guns smoke. What keeps a family happy? You'll agree if you look at the happiest families you know that it takes more than dads paying the bills. Mostly, it's doing things together. A family outing, a backyard barbecue, or games together in the evening. These are the precious moments of family life, the shared moments. Going to worship each week is another of the good things in life for the family to share. Enrich the lives of your family. Worship together. Remember, listen again next week for another story of the Western Frontier when Marshal Matt Dillon, Chester Proudfoot, Doc and Kitty, together with all the other hard-living citizens of Dodge, will be with you once more. It's America growing west in the 1870s. It's drama. It's gun smoke. Brought to you by L and M Filters. This is the CBS Radio Network.


A successful mission starts with nutrition, presented by Science at NASA. Centuries ago, large wooden ships explored the seven seas, but often a ship that began its voyage with a crew of hundreds could return with tens. The silent killer? Scurvy. A disease that occurs when there's a lack of vitamin C in the diet. On the other extreme, explorers of the north and south poles could fall ill by eating the liver of polar bears and seals, exposing them to toxic levels of vitamin A. Centuries of exploration have taught us there is a vital relationship between a successful exploration mission and balanced nutrition. And nowhere is that lesson more vital than in the extreme vastness of outer space. NASA nutritionist and manager for nutritional biochemistry Scott M. Smith, Ph.D., notes, we're studying nutrition aboard the International Space Station, or ISS, by tracking what astronauts eat and how their body mass and health change over time in microgravity. Menus that lack variety and busy schedules can impact the astronaut's dietary intake, and insufficient intake leads to weight or mass loss, bone and muscle loss, cardiovascular effects, and more. The foods on ISS are all shelf-stable. There is no refrigerator or freezer for food. Right now, we're lucky because we're able to deliver fresh fruits and vegetables to the station. But think about the first human trip to Mars and back, which may take 30 months or more. How do we maintain optimal nutrition for our astronauts over that much time? The challenge is clear. In space, the astronaut's environment impacts their nutritional needs. Astronauts have higher radiation exposure, higher atmospheric levels of carbon dioxide, low humidity, and microgravity, which can all have effects on their health. Having a balanced, nutritious diet is important to help counteract spaceflight effects on the body. These can have short-term consequences, like on mood and performance and kidney stone risk, and raises long-term concerns such as bone and muscle loss, cardiovascular degradation, impairment of the immune function, and vision changes. Smith says the foods we give them will be of utmost importance for counteracting these effects, which is why we need to find ways to keep the food palatable, nutritious, and safe, even after it's stored for months or years. Keeping an eye on intake will be important, too. Currently on ISS, astronauts use an iPad app to track intake, and this gives them real-time information on their diet. The nutrition team and flight surgeons also watch this information to help provide feedback to astronauts. This attention to astronaut nutrition is also paying dividends for those on Earth. Smith notes that astronauts onboard the space station have already delivered a plethora of nutritional data that can be applied to all people. He says we've gained new insights into how nutrition can have effects on all human systems, including dietary effects on bone loss, which affects the elderly in particular, and how to better treat that condition and others. Of course, says Smith, a simple start for people on Earth to maintain optimal health is the same as it's been for centuries. Keep eating your fruits and veggies. For more science from the International Space Station, go to www.nasa.gov.com For more appetizing information about space exploration, visit science.nasa.gov


Item number SCP-990-J Object Class Keter Special Containment Procedures Currently, no containment measures for SCP-990-J have been devised, and, due to extensive budget cuts, we can no longer keep paying personnel to come up with ideas. All suggestions are welcome, however, do not expect any sort of raise or recognition for your efforts. Also, this may not be the best place to put this, but, while we're on the subject of money, we're gonna have to limit everyone in Site-19 the two cups of coffee per day. SCP-294 refuses to comply with personnel requests for liquids of any kind, and you seriously do not realize how much we spend per quarter on folders alone. It's appalling. Description SCP-990-J is a designation for a human male dressed in Tommy Bahama brand clothing that appears to Foundation personnel through dreams.  If he corresponds to an actual human being, we have yet to find him, and because of the aforementioned budget cuts, we probably won't find him. SCP-990-J has been appearing to Foundation personnel since 1993, but his existence as an anomalous entity did not come to light until 2004, when the Foundation Human Resources Department responded to the original tickets submitted a decade prior. The entity did not receive official classification until the events of Incident-990-1. Incident Log-990-1 EverJ-1's junior research technician working in the Site-19 anomalous entity intake ward reportedly failed to clock out for his unpaid lunch on October 21st, 2005, leading to a formal audit the following day. Camera footage of ████ revealed that he had fallen asleep during this period, yet did not possess any knowledge of having done so, insisting he had spent that time doing intake of an entity, preceding to transcribe his conversation with SCP-990-J for use as evidence in the audit. Following the conclusion of said audit, this transcript should be available below for personnel to read. Update, October 23rd, 2005, as per majority vote of the O5 Council ██ will be allowed to retain his wages for time spent asleep on the grounds that he was under the influence of anomalous phenomena at the time. Ready to go, Eddie. Fight the system. Transcript-990-1 Okay, so welcome to Site-19. My name is Edward. I'm a junior technician here, and my job right now is to get some basic information from you and answer any questions you might have about what you're going through as you transition to long-term living here at Site-19. Oh, so like an interview? Yeah, more or less. Cool, cool. Sounds good to me. Alright, please state your name. Uh, what about Bobby? Bobby? Is that your name? Yeah, no wait. How about Phil? Is Phil taken? Taken. That's not how names work. You're right. Bobby is better. Can I go back to Bobby? Bobby it is, then. You know what? You're gonna hate me, but I don't think I'm feeling Bobby anymore. I said it over and over, and now it doesn't sound like a real name. Bobby. Bobby. Just pick something for me. I'm indecisive. I literally can't progress to the next page until I put something in the field for name. I'm going to put Tommy Bahama because of your shirt. SCP-990-J lasts for an objectively uncomfortable amount of time. It really wasn't that funny. Actually, while I have you here, can I talk to you about something? It's important. Uh, sure? Great, great. Great, great. So listen, buddy. Last year, I've been $1,800 a week working from the comfort of my own home. Is it financial independence the best?   You could also be making this kind of cash, man. You could have two cars and a mansion, too, baby. You just gotta invest in your future. Just in herb-a-life.  SCP-990-J retrieves a case of supplement and a binder from under the table.  I am so serious, Ethan. It's Edward. I am so very serious about giving you the opportunities you've only dreamed of. Now, I'm a straight shooter.  Let's get down to brass tacks. I want you to be my prime VIP down-line distributor. Can I sign you up for the welcome package or what? Uhhh… SCP-990-J opens the binder in presentation, too.  There is literally no limit to the cash you can make. This is a pyramid scheme. And what now? A pyramid scheme. You know, the guy at the top gets the big cheese, the lesser guys make money based on the number of people you recruit under you, I don't even know what your product is. What does it do? Herbalife is a, ahem, a proprietary blend of antioxidants, enzymes, and essential vitamins specifically designed to rid the body of toxins and… I can see you're reading off the label. You don't know anything about the products you sell, do you? It's organic. It's full of organics. What does that mean? There was more to this conversation, but the transcription is assigned to copy in the interview on the digital storage when laid off. Essentially, SCP-990-J continued to pitch Herbalife for several minutes, despite ██████ obvious growing discomfort of the situation. Tried to push through by bringing out some of the Site-19 residency contracts, the legalese of which SCP-990-J found highly distressing and very airtight. SCP-990-J reportedly produced a smoke bomb from an unknown location and quickly threw it at the ground, causing the room to fill with smoke, with ████ waking up shortly thereafter. Addendum ██-J-A Due to a sharp increase in sightings of SCP-990-J in Dreams of Personnel with suboptimal credit scores, Site-19 has been retrofitted with several thousand R.E.M. inhibiting waveform generators. As of May 12, 2016, SCP-990-J encounters have been successfully reduced by 99%. Incident Log 990-2 On June 4, 2016, O5-1 discovered a hand-written note taped to its forehead as well as 11 tubs of Herbalife Formula 1 advanced nutritional shake mix, three cases of Herbalife Formula 2 multivitamins, and 17 packages of Herbalife Simply Probiotic and Active Fiber Complex when he awoke in his quarters. The note reads as follows, Hey there, killer! Just got you set up with our deluxe package. I'll check back in with you in a week to get an update on yourselves. Remember, always start with a smile. TB O5-1 has denied having any interaction with SCP-990-J. Absolutely preposterous. Now, how would you like to be your own boss? O5-1


Fiber Optic FAQs. What is fiber optic cabling? Fiber optic cabling is a type of cable that is used to transmit data at high speeds.  Fiber optic cables can carry much more information than traditional copper cables, and they are also much faster. Why do we need fiber optic cables? Fiber optic cables are used in a variety of applications where high speed and large bandwidth are required. They are commonly used in long-distance telephone and data communications, cable television, and internet connections. How do fiber optic cables work? Fiber optic cables work by transmitting light instead of electricity. The light is generated by a laser or LED, and is then sent through the fiber optic cable. The light signals are then converted back into electrical signals at the other end. How are fiber optic cables installed? Fiber optic cables must be installed by trained and certified professionals. The installation process can be quite complex, and it is important that it is done correctly in order to avoid any damage to the cables. What are the benefits of fiber optic cables? Fiber optic cables offer many benefits over traditional copper cables, including higher bandwidth, lower signal loss, and immunity to electromagnetic interference. Fiber optic cables are also much thinner and lighter than copper cables, making them easier to install and work with. If you are in need of high speed and large bandwidth data transmission, then fiber optic cables may be the right solution for you. Be sure to hire a trained and certified professional to complete the installation process. What are the two types of fiber? Single mode fiber is used for long-distance communications, such as between cities or countries. It can carry signals over much longer distances than multi-mode fiber, but it is also more expensive. Multi-mode fiber is typically used for shorter distances, such as within buildings or between neighborhood homes. It is less expensive than single-mode fiber, but it has a lower bandwidth and cannot carry signals as far. What are the three different types of fiber optic cable? Loose tube fiber optic cable is used for long-distance applications, such as between cities or countries. It is made up of a series of tubes that each contain a single optical fiber. The tubes are then surrounded by a protective jacket. Tight buffered fiber optic cable is used for shorter distances, such as within buildings or between neighborhood homes. It is made up of a single optical fiber that is surrounded by a buffer tube. The buffer tube is then surrounded by a protective jacket. Armored fiber optic cable is used in applications where the cable needs to be resistant to physical damage, such as in underground conduit or in areas with high traffic. The optical fiber is surrounded by a metal armoring, which is then surrounded by a protective jacket. Is fiber faster than copper? Yes, fiber optic cable is capable of transmitting data at much higher speeds than copper cable. Fiber optic cables have a larger bandwidth than copper cables, which means they can carry more information. Can fiber be used in audio visual? Yes, fiber optic cable can be used in audio visual applications. Fiber optic cables can be used to connect video and audio components, such as TVs, DVD players, and stereo systems. What are the disadvantages of using fiber optics? There are several disadvantages associated with using fiber optics. Fiber optics are more expensive than traditional copper cables. Fiber optic cables are more delicate and can be damaged more easily than copper cables. Installation can be complex and time consuming, and it is important to hire a trained and certified professional to complete the installation process. What are the advantages of fiber optics? There are several advantages associated with using fiber optics. These cables have a larger bandwidth than copper cables, which means they can carry more information. Fiber optic cabling is not affected by electromagnetic interference, making them ideal for use in electronic equipment. Fiber optic cables are much thinner and lighter than copper cables, making them easier to install and less disruptive to construction projects. What is PON? PON is an acronym for passive optical network. A passive optical network is a type of fiber optic network that uses passive components, such as mirrors and splitters, to redirect light signals. PONs are typically used in long distance applications, such as between cities or countries. How does PON work? PONs use a central office to connect multiple subscribers. The central office contains a fiber optic line that is connected to an optical splitter. The optical splitter splits the light signals into multiple paths, with each path leading to a different subscriber. As a result, the subscribers are then able to access the network by connecting their own fiber optic cables to the optical splitter. What is the difference between active and passive optical networks? Active optical networks, AONs use active components, such as lasers and amplifiers, to boost the light signals. Passive optical networks, PONs use passive components, such as mirrors and splitters, to redirect light signals. AONs are typically used in shorter distance applications, while PONs are used in long distance applications. For further assistance or a free survey, please email or call on the details below, and click like and subscribe if you have enjoyed this video.


Replying to emails can be repetitive and tiring. Let's see how Gmail auto responses can fix this. Rod here and welcome to Burn to Learn. Auto responses are automatic email replies based on your specifications. We'll divide the process into two steps. Setting up and designing. Let's get started with setting up. Once you log into your Gmail, click on Settings. Then look for Vacation Responder at the very bottom and enable it. Now set when you want them to start auto sending in the first day. You can set a last day too but it's optional. Quick note, your auto reply will start sending out at 12am on the start date and stop at 11.59pm on the end date. Great. Then add a subject and focus on design. So let's spice it up in message. I'm going to change it to a bold font. You can edit the font and color and a blue text like this. You can also attach an image to make it look more attractive. Just make sure it's taken from a URL address. Great. Now let's compose a brief message. I'll just paste what I have already written out and copied. Then it'll give you the option to reply out only to your contacts. If you're using a work or school account, you also have the option to send it out just to those in the company or organization. Since I want the reply to go out to everyone that emails me, I won't select either option. Now click on Save Changes. At the top, you'll see a yellow bar indicating that your auto response is activated. Let's test it out. Send an email from a different account to the account where you activated your auto response. You'll receive a notification with your auto reply in no time. Just open it and there we have it. We've set up, designed and tested out the auto replies for our marketing campaign. In the next video, we'll learn how to set up auto replies using MailChimp. Be sure to leave a comment down below if you have any questions. This was Rod from Burn to Learn and thanks for watching. Also join the Inner Circle, our Technical Skills Learning Accelerator.


A Christmas musical in Wadena was almost not able to happen after the director was involved in a serious car crash that left her in intensive care. The cast came together though to make sure the show would still go on. Reporter Rachel Johnson has that story. The Mad Hatteras Community Theater in Wadena was in their second week of rehearsals for their musical Believe when tragedy struck. Our president of our board, Mim, picked out this show and then was in a very bad car accident and unable to go on. On the evening of Tuesday, October 30th, Melanie Mim Moss, the director of the musical, was in a serious role of her accident that put her in intensive care. She was ejected from the vehicle. She had some pretty severe injuries. She was in the ICU and staying quiet for a while. She was recently moved to a different hospital in Fargo. But since then, I just decided it was up to us to kind of take up the reins and make sure the show kept going the way she wanted it to be. The cast came together to make sure that the show would go on. Mim was director, producer. She was everything other than music director. So we've had to take on those roles and there were enough for definitely three people because it's too much for just one person. I was curious, would the show make it? Would we just call it quits? Like what was going to happen?  And so I decided that if they were going to give their all, I should too. Belief is about a boy who becomes disillusioned with Christmas and finds it harder and harder to believe. It was a show that everybody believed that if we wanted to put on a show that Mim would be proud of, we would be proud of. And that's what we've been doing. The cast knew that carrying on was what Mim would want them to do. She would want the show to go on. Worthyater people, the show goes on. I just think it's really important for the community to see this show and just do the show for Mim and show her that we can do it. The message of the musical resonated with the cast and helped them to persevere through the trial of Mim's accident. We thought it was an important message to send that we won't give up on ourselves. No matter what happens, we will always try to persevere. The cast of Belief are examples that even through hardship, the show can go on. Reporting from Wadena, Rachel Johnson, Lakeland News. The musical will run December 14th through the 16th at the first congregational United Church of Christ in Wadena. If you enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland PBS.


Today's edition of Frightfully Forgotten. But first of all, what are we drinking today? We're drinking Drag Me To Hellis.  Yeah, feel like hellis. Today we are doing, as promised, the Exorcist 3 Legion, the full on retrospective review as opposed to just our little VHS tale we did last week. It is written and directed by William Peter Blatty who wrote the novel that the first movie was based on. He's also directed some movies too, Ninth Configuration, based off of the novel Legion which he wrote which is the proper direct sequel to the Exorcist. It is starring George C. Scott. He's in one of the best haunting movies ever which we covered called The Changeling. Brad Durif is also in this. He of course is the voice of Chucky in the Child's Play movies. It starts with a dark, eerie, windy atmosphere with leaves blowing around. We see kinderman and he's on a dock investigating the murder of a 12-year-old boy. He was crucified to rowing oars, steel spikes driven through his eyes.  Not only is he defiling the body, he's defiling the kid's race. Yeah. It turns out that he is very good friends with a priest named Father Dyer and he is from the first movie. They're trying to cheer each other up because it's the anniversary of that night. Where Father Karris died. He cuts to a scene of a priest in a confessional. All you see is blackness but you hear a woman's voice on the other side and she's like it's very dark and creepy. First victim was in Candlestick Park and they cut to the priest's face and it's just a look of horror. You see a bit of blood kind of running down the floor and so you know what happened. It shows kinderman uncovers the veil that's covering the priest's body and he notices that there's a finger missing on one hand. On the other hand there's a sign of the Gemini. He's starting to link this stuff to the Gemini killer which was 17 years ago. The Gemini killer was apparently caught and executed. Kinderman begins talking to this doctor temple who is super chained smoking the whole time. As soon as he finishes his cigarette he lights up another one like right away. It happens to tell kinderman of the story about this patient they found who's in the psych ward who was catatonic up until when the murders started. They had found him 17 years ago wandering the streets with amnesia dressed like a priest. This patient intrigues kinderman. Kinderman goes down to cell 11. Who does it resemble? Who is it look exactly like? Who is this person? It is Damian Karris from the first movie who had supposedly died after being thrown out of a window down a flight of stairs and buried and he is in this cell in a straight jacket just woken up from a catatonic state. Dead people don't just move around and talk. What do you mean rigamortis? So if you want to find out what happens with Damian Karris, kinderman and the Gemini killer keep watching Exorcist 3 Legion. It's a fantastic sequel. It's a true real sequel to the first one. A lot of sequels it's like I saw this one already it was called the first one. This one is in a way it's completely different. The only reason it's called the Exorcist 3 is because some characters carry over into this story. That's the only real connection to the first one. There is an exorcism that happens at the end. Right, but that was because of the studio. But that's because of the studio insisted on having an exorcism in this movie. It feels like the exorcist. It feels like you're in the same city with the same atmosphere and the same characters right? Different actors play the characters. They use a lot of the scary church imagery that they used in the first one as well. And they actually I think in this movie they do a better job at making the statues and the interior of the church look not just scary but almost like threatening. Yeah. They make the church out to be a place that you don't want to go. Yeah. Exactly. Yeah. It's a scary setting. In the hospital of course there's a psychiatric ward. And can you get much scarier than a psychiatric ward? It's cold and sterile and these crazy people everywhere. And then he goes to visit all the old people on that one floor. Old people who have lost their mind are scary. Yeah, they're all grabbing at you. Every setting that Kinderman is put in is uncomfortable and creepy. The settings of this movie are chosen for a great reason because it puts you off. You feel unsettled. George C. Scott does a good job of portraying how unsettling everything is, right? Brad Durif is in this and we haven't even touched on his character at all in the plot or anything yet. It's one of his best performances. He just grips you in. You can't take your eyes off this man. There was a lot that was shot with Brad Durif that was never used in the movie because they cut. All that stuff in with the Damien Karris. Dialogue is so deep. It's like you're watching a play. Directed and written by the same person who wrote the novel. It's very wordy. The dialogue in this movie is outstanding. It's a great dialogue. It's some of the best dialogue I think written for a movie. Genuine dialogue between characters. Not only a genuine dialogue, a genuine psychological thriller that doesn't use gore and blood and the actual act of seeing a murder happen to scare you. It's all the aftermath. It's all the description. You never see the boy who is crucified to the oars. Kindergarten is speaking to Dyer about it in the bar. And just the description and the way he talks about it. That's the scary part. Not seeing it. It's him describing it to another man. And a lot of the scenes were actually cut that showed the aftermath of the murders. The priest in the confessional booth is holding his own head basically. But they cut that out. And it's actually better because they describe it. They show just before the people die all the time in this movie. They never actually show a killing. Which leads us to what everyone wants us to talk about is the infamous jump scare. Some people say it's the best jump scare in horror movie history. I kind of think so. It might be. You know that that infamous double climax. There's a nurse in the hospital. She hears something and she goes to go check up on a patient. One angle down the hallway. She walks into the room and you can see in the room there's some curtains kind of flowing a little bit from the wind or whatever and it's like, well what's behind that? There's a sound that happens and she looks and it's a glass and this ice slowly melting in glass causes a sound and she's like, oh, that was it, right? She reaches for the glass. Yeah. Oh, my God. I can't get out of the sleep. Poor patient. He was up there.  He got woken up by a nurse. Then it cuts to the hallway again, peering down to where there's an elevator in the back and the nurse station. This shot is continuous. There's no cuts. Yeah. Which is rare again. Yeah. It's very rare. And it's what makes it work very well. And there's so many little things happening in there. And there's a cop that comes in at one point and he sits down and it's again very subtly.  The cop's there. Nothing's going to happen. The cop is there, you know. Yeah. And then nurse gets up and she goes to a different room to check on something and another cop comes and gets that cop and they leave together like, okay, she's by herself now. Then the cop comes back. Then the cop comes back. And you're like, okay, well the cop is there, I guess, you know, she's kind of safe. And the cop leaves again and like, just seconds later she comes out of the room and then... That's your second scare, right? And again, you don't see the murder happen. The time that takes place between the first jump scare and the second one, I think is what makes it work so well because a lot of jump scares, you know, the cat comes out, you know, it's seconds away. The next jump scare is seconds away, but this is like minutes away. Yeah. You've already calmed down from the first scare, right? I had forgotten all about the first jump scare part.  So it worked on me, you know, because my heart was beating and then it calmed right down. Okay, I know something's coming, but when, you know, I can't quite remember. Yeah. And I was calm. And then... Yeah. Right? Yeah. It's perfect. Yeah.  That white gown... That white gown figure. The murders are very inventive. This guy or this person took their time, right? All the murders are done to sort of almost defile the church as well, right? And to kind of throw it in the church's face. This movie had a lot of cuts made to it due to the studio. There was an alternate opening. There was an alternate ending. Movie never actually had the actor who plays Damien Karris in it originally. Yeah. Which would have made it more confusing. And there is an alternate version of the movie out there called Legion, which is kind of more of the director's cut. But I'm not glad they put in the forced studio exorcism.  Like the priest comes in to exercise Damien Karris and he gets all thrown onto the ceiling and like sticks to the ceiling and peels off.  The Bible all blows up. You can tell where Hollywood is like, they put their finger on that one, right? This movie does follow the book like very close. Very close. You read it? Yeah, I just read it. Yeah, I didn't read it. Cinematically, it does everything a horror movie should do. It really gets on your skin. It builds tension so well. It's very psychological in a way too because you don't know what kindremin when he's in the cell with patient X was what he's seeing real like that question that you keep asking yourself, what is he really seeing? Who is he really talking to? Can't sleep after watching this movie.  You run a few laps or something or drink a few beers, pass out. So if you want a movie that's a true sequel to the Exorcist, one of the best sequels out there, please check out the Exorcist 3. It is one of the best mind fucks in scariest movies you'll see. Keep drinking.


This study investigated the synthesis of NECO-204 nanosheets on flexible AL and CU substrates using hydrothermal method. The thickness of the nanosheet was measured using three-dimensional profilometry and found to be 4.3 micrometers for AL and 8.4 micrometers for CU. The asymmetric supercapacitors were fabricated using NECO-204 and graphite electrodes and separated by filter paper. The performance of the supercapacitors was evaluated using cyclic voltammetry and galvanostatic charge discharge tests. The results reveal that the NECO-204-CU supercapacitor exhibited higher energy density and power density than the NECO-204-L supercapacitor. Furthermore, the NECO-204-CU supercapacitor showed superior electrochemical performance in terms of specific capacitance, energy density, and power density when operated in the basic KOH electrolyte. This article was authored by Abdelilah Alshinable, Boran Aldeen Albus, Bashar Aljourna, and others. We are article.tv, links in the description below.


How are you all doing? Okay, let us Turn the camera around Turn the camera around I said What we're going to be Going to be doing today is a little bit different. We are simply going to be drawing from this book with a pencil even so, so it's going to be Not about drawing ink monsters, but about the fundamentals of drawing Of drawing what you'd call constructive drawing So it says here. This is the story of the blocked human form Where the bending twisting and turning of the volume of volume gives the sensation of movement held together By rhythm its purpose is to awaken the sense of research and analysis of the structure hidden beneath It is hoped that the idea That that the ideas conveyed in the drawing and text of this book may enable the reader to carry on To independent and better ideas. Hi, leafy let's just start warming up by Copying those and the reason why Hey, muna the reason why I'll be Doing some lives copying this Is simply to get my mind thinking about This book again and about anatomy constructive anatomy again and uh Hopefully improving my art And i'm thinking about doing a lot of different sessions some from this book some from other books some from no book at all just about sketching and about practice because most of what I do online is Well, it is a sort of a practice, but it is it is um all It's all focused on Making a finished product Yeah, so a very important Thing to notice or to know about bridgeman's Book is that first of all it's a great book second of all you can't really trust it because It is not an art book or art theory book written by an author In order to You know make a cohesive Guide to drawing Bridgeman was an art teacher at the new york at A couple of different new york schools, so we had like hundreds of people in his classes and uh He Quite frankly didn't have time to do An art book So when it was suggested that he do one what they did is that they collected Notes from his classes and sketches from his classes and Cut and paste those together in order to make something that sort of is like an art practice book That means a lot of the text doesn't really fit with perfectly with what you're drawing and some of the drawings are more wonky than the others and Some of it is Very Loose most of the drawings are I mean some of them are student drawings, but most of them are Bridgeman's drawings or copies of bridgeman's drawings and the way he drew them was There was a huge sheet of paper on the board Down from the ceiling And He was a short tiny little man and he Drew on this board in the ceiling with a very long stick with a pencil on top So it's a very weird way to draw and it doesn't really Make for great Results, but still The fundamentals you get in this book is probably some of the best Best anatomy practice you can have it's just that It's just that you have to Encode it you you have to decipher it. It is like a puzzle um So so even if you haven't heard about this book You have Noted you have noticed Or you've probably looked at artists who and art books that are influenced by them for instance Andrew Loomis who whose art books haven't a huge influence on Online and on video game On video game concept art designers he was a student of Bridgeman and I believe he studied quite a long time under bridgeman um And then you have Let's uh start reading this soon as well Uh, then you have I think Hal Foster was In his classes john basheema who drew conan was in his classes will eisner Who also did books about drawing comics? Was in his classes. Um, I think frank facetta was in his classes. Are you Do All of these huge figures for both art Teaching and art for more commercial Uh art itself were in his classes. So, you know, it is very even though it is a Strange book it is very influential But this time and one of the reasons why I'm going to be doing this live is because then I actually get to go through the text and try to Explain it and understand it and think about the forms and the figures A little bit more deeply than I would when I do it on my own because I've been through this book a couple of times But I will also, you know, sometimes probably focus on other books and learning other things I just thought it would be good to start with this How to draw the figure Before you make a line You must have a clear conception of what you want to draw In your mind, it is necessary to have an idea of what The figure to be drawn is doing Study the the model from different angles Sense the nature and condition of the action or inaction This conception is the real beginning of your drawing And here he There are some boxes here Give you consideration to the placement of your drawing on the paper for balance and arrangement Make two marks to indicate the length of the drawing and this is one of the things that I suck at Planning the length of the drawing Block in with straight lines the outlines of the head Turn it carefully on the neck Marking its center by drawing a line from the Adam's apple to the pit Between the collar bones and this will continue In the next section. So so we'll we'll just start Doing this okay I will first will This will be our paper Maybe we could Now it will not go full paper here. Okay So first we will mark out Where we won't want our figure. So we want our figure a little bit To the right hand side And not too far to top Okay So block in with straight lines the angles of the head that Sort of like this You know, and these are really tough Sketches to follow But we're doing it quick From the pit of the neck make One line giving the direction of the shoulders keeping in mind the marking of its center That is the center This is the shoulder line and this is The reason why I am going through this Bit for bit now Is because otherwise I would be just Just Skipping parts of it Indicate the general direction of the body by outlining the hip And the thigh And this is kind of interesting because I would Naturally go Making a spine But this is based on watching a model And It is a lot easier to know when you're building and constructing anatomy It's easier to go from the spine and out, but when you're actually looking at a model Going with the outlines Is preferable so Something like this Doing some animal crossing before My walk I haven't played animal crossing since I guess since the pandemic okay, so Follow this by outlining the opposite in active side of the body comparing the width With the head so comparing the width with the head And we have to go look at this drawing again And here, you know, this is drawn from life. I would guess or from a maybe from a sculpture and Then crossing again to the action side and this is one of the important elements of how Bridgeman does it it always has one side With the action where it's crooked and the other that's bending Turnip turnip day excellent Watching this while eating then painting. I have a handmade holiday present I still need to finish. I probably need to finish some of those. Yeah, okay, so and now Doing the opposite hip Just a little slight bit And the opposite leg What does it say? Then crossing again to the action side of the figure drop a line to the foot You have determined the balance or equilibrium of the figure carry the line Of the inert side to over the knee Over and upward to the middle of the figure. So he does it from this side probably not the most essential part of It on the Other side drop a line to the other foot and that is Like this And this is still a bit wonky But we'll we'll we'll be getting there, but you see in all of his stuff it is the one side is Smooth and bent and the other is jagged This isn't Necessarily Something you find in nature, but you do find examples of it um For instance when a person is running seen in profile view you will find a smooth side and a jagged side but This is in order to create a dynamic sketch a dynamic um Pose a movement in the character a character in movement rather Okay, so Let's go to the text again Your good teachers your voice is easy to follow. Thank you. And just interrupt if you have any questions And i'll try to answer them It's been a long time since i've done art teaching And i've never done anatomy teaching Uh, and you know i'm still trying to figure things out These few simple lines plays the figure they give its general proportions Indicating its active and inactive sides its balance unity and rhythm rhythm Beep up just finished his their first large scale charcoal drawing congratulations And i think just because um I want to get this Live to flow I will be ignoring questions and comments That doesn't have to do with art as well as I can And I'll try to be focusing on the On the assignments and the text, okay Bear in mind that the head chest and pelvis are the three large masses of the body They are in themselves Moveable think of them as blocks having four sides And as such they may be symmetrically placed and balanced one directly above the Other in this case the figure would have no movement But when these masses bend backwards forwards turn our twist the shifting of them gives action to the figure Whatever positions these three masses may assume No matter how violently they may be drawn together on one side There is a corresponding gentleness of line on the opposing inert side and a subtle elusive Living harmony flowing through the hole, which is the rhythm of the figure and There are a few questions here The first is um, do you have any tips on keeping faces proportions? Yes And it's actually What this part of the book is About or what the whole book is about The Way to draw proportions on the head is not just to draw the head because then it looks like this But to imagine it in simpler forms So This head is a box first and By knowing that it's a box. We know that the eye is In the middle of the box nose is in the center of the box And Then we can start chipping away at the box and we will get a Face in proportion in that box. So When we're drawing this simple box here That is the first step towards drawing a face in proportion And in the text one of the Difficult things to understand is what when he said that The boxes of the head and the torso and the hips are immovable And don't indicate motion By themselves And this is simply if I draw a head like this It's one box and then I draw The torso like this another box And then the hips like this another box And then I do Legs and arms There is no motion, right? It is perfectly still But if I twist the head to one side The torso to the other side and the hips to The last side that even if I draw the legs Straight down there is motion Okay, so that's what it is talking about. These are the immovable Masses of the body And the rest is just, you know, the string in between Andrew says I was drawing for two years and I still can't draw people. I really want to quit But I'm not sure so the most important question I Ask people who who say similar things is What do you mean by drawing? For two years How many times a day did you draw? How many hours a day did you draw? Now if you were going to be a doctor And you Studied medicine for I mean half an hour to two hours Three times a week Would you expect To become a doctor in two years? You wouldn't but people expect that drawing a little bit A few times after school after work Is going to get them the improvement they need and want Like one or two pages every day for about an hour an hour a day is good. That is very good But it is still far from The like the a Let's say a doctor Does eight hours a day of studies for five years And then goes out in practice. So there's still a lot of room to improve You can get really good at drawing by drawing one hour a day and doing it consistently But it will take more time and saying that oh, I've drawn for two years And I still can't draw people Well, maybe you need to Maybe you need to study more about how to draw people like for instance With this book or other similar books. Maybe you need to do life drawing classes Maybe you need to do a course or maybe You need to do all those things And also draw for Let's say draw for four hours a day and study drawing for another four hours a day So drawing is one part of it studying is another part of it So if you draw for if you draw for eight hours a day, you will be very Exhausted in your head But if you draw for like four hours and study for four hours, then you're close to a level Where you should be improving pretty quickly it will still take years, but you should take You should see improvements pretty quickly May I offer something controversial try tracing tracing is a skill that needs to be practiced, but it is not Um It's not a great skill for Improving your overall art Let us Go back to the text here. Okay Starting again with the head And thinking of it as a cube with front sides on top and back Draw it on a level with The eye for shortened or in perspective. Okay Outline the neck and from the pit of the neck you draw a line Down to the center of the chest So we'll do those Who steps and one of the interesting thing here? Is if you see these drawings Each of them is a unique drawing It's not the first step of a drawing the second step of the drawing He's drawn it again and again and again for each of these illustrations Which is probably a by effect of how This book was put together okay, so we'll Try to figure out what it was talking about there because you can't really see it here Like this i'm thinking Is what he was saying and i see that he's also Done a bit more on the line here and then a line Down the chest You see my type of line work is very different from his Thank you for saying that lesson um At the right angle To this line where the stomach and chest joints draw another line Then draw lines to indicate the rib cage As a block Okay, so what i see The i've been doing that i would probably not correct if it weren't for you guys Watching is that i've been doing this Completely the wrong opposite way from bridgements drawing Because i've been drawing it like this side is towards the camera and this side is away from the camera But in the actuality it is this side away from the camera and Or from the viewer and this side To it And therefore the line In the middle of the chest goes here Then you have Small lines here Now draw the thigh and the leg which support the greatest part of the weight of the body Making The thigh round the knee square The cuff of the leg triangular and the ankle square Then draw arms So this is another example of how How how ramshackle the writing of this book is So it is round Thigh and square Here knee and a triangular but Triangular but Still Soft Leg and then Square in here Thank you. I will try to be streaming more even though i'm on the social media break Streaming is something i want to do more of and this type of streaming Particularly Will fit into my plan for Both for this period now And for the next year Okay So here we're drawing And now i will actually go back to Yeah, because the next part Goes over to I don't know why my i didn't turn off my Sound on my phone now i Instead of looking at these small thumbnail sketches i will be Looking at the Final drawing because that one is easier to Actually see the details, but i'll still be thinking about the types of the the types of Dynamic The dynamics that uh bridgeman is talking about here that is This side is The action side here the thing in this is Look at that. Look at how much He breaks that arm And it still looks Perfectly natural I'm a beginner artist and i haven't drawn anything for two months because of my studies How much time per week should i dedicate to art practice? And what should i focus on more? I can't tell you what you should Be focusing on more Um Because i don't know where you are in your art journey But I i already answered another one about this, but you know if you Want to get good at art you need to Treat it Like a vocational study Like it is a study of medicine of or of engineering or of Architecture or of any other thing you'd go to school for So if you want to get really good that then You know eight hours five days a week Of studying and drawing For five years Should do it For most people if they also, you know do a lot of homework But if you're if you just have the time to do one hour a day after school Then then you will become good. It just will take a lot more time Okay, so let's I don't want to spend all my time on this fella And I just want to this is the first Time in a week almost I've picked up a Anything to draw with I think and that is very curious for me It is I usually Draw Like all the time so so But i'm trying to to Have a break and to reevaluate a lot of my Art and my goals and everything like that and going back and stopping to Study the fundamental fundamentals again is something artists should Do and that that both means Like this drawing through a book that I've drawn through many times in my life But I still have a lot to learn from And it means Gaining new information new books new courses new Everything and I think you know This is a good enough warm-up for this part So we will be going to the next chapter Um Hello, love your art. I've been studying art for a little while now. I really want to get into a prestigious Art school in my area. How do you have fun with art? When it becomes hard and humiliating that's a very good question and and The sad thing Is that the the the answer is probably That if you want to have art As a career if you want to do it professionally If you want to go through art school Which I haven't done but but I've done tiny bit but All of those things it will become boring and humiliating at times But you have to get through The boring and humiliating stuff And do it as well as you can do And even you might even have some glimmers of fun in there and then The end result is that you will be able to find new levels of fun after that So you you are drawing in order You you're having A Awful and embarrassing time in order to have fun in the future Have new types of deeper fun I think that's something you have to accept you you shouldn't accept that it should be just boring and just awful and just humiliating But it will be Boring and humiliating in parts. I think That's it building the figure From a piece of a piece of lath and a few inches of copper or other flexible wire A working model of solid Portions of the body can maybe construct it. So it's talking about just constructing a very simple Piece of some I guess clay or something and we will not be doing that We will just be imagining it because I don't have the Actually, maybe maybe I will save this chapter For the next time and I will just Do I will just end this stream now. So it was a short stream and then the next time Will be a little bit longer stream. I will have read through the next chapter and I will prepare a little bit more So that it will be better for me and better for you watching because I didn't quite know what to expect When I got the idea of just drawing from bridgeman while talking and chatting with you guys And I thought it might just fail. It might just Not work at all And there are some things that don't quite work. I mean I need the To figure out how to place the book and the camera and probably need to use this large drawing book for another project and then keep Small piece of paper so that I you can see both the book and And what I'm drawing without me having to move camera around. So this is sort of a test of Can I do these types of art practice streams? And I think that the at least on my end, I hope that you I agree is This has been a resounding success. I felt very good Drawing it. I felt very good having to explain Bridgeman's words in a way that I wouldn't And explain his exercises in a way that I wouldn't if I just was doing it to myself and through that Explanation also, you know, getting a better understanding of it myself. So thank you so much Let's see if there are some final questions We'll go back to This one here By everyone, yeah By the way your advice Uh On depression really helped me and I'm exercising more and eating healthier making slow incremental changes Congratulation days. It will go up. It will go down Sometimes at least for me it feels hopeless and like nothing is working, but you know understanding the basics Makes it better kind of like with art And gesture drawing Are a good way to extend your visual gallery quickly without having to get worried about every single detail All you need is a timer and a bunch of different references another way of doing gesture drawing is To go to a train station or a cafe or any other public square where people are waiting And then find a secluded spot and whenever You see someone standing still You quickly Try to get their pulse In The few lines that you can That is a very good way and drawing in Both As a professional and in a learning period You get ugly drawings all the time ugly is a part of the process It will not be even the best painting Or drawing will not be Pretty from beginning to end and you need to train yourself To see beyond the ugly How did you get motivated yourself to draw a lot every day? Uh, I don't know if you're getting this question a lot, but I wonder how you did that So I've always been motivated to draw a lot every day Since I was one year old, I've always drawn a lot But at a certain period of my life In my teens and early 20s. I Was so convinced of my talent and my genius so to speak that I Focused on a lot of other things than drawing On parting on depressions On goofing around on playing video games and doing all that stuff, which You do you But then I Around the age of 27 I started noticing That people Who in my arrogance I had deemed as inferior or hopeless artist who would never learn And who didn't have the talent like me Were quickly getting better than me because they were Practicing a lot And I was not And that pissed me off And and That's when I Started Taking art from something which I thought I could just be naturally good at Although I had practiced a lot. I had taken practice very seriously in periods But then I took it to a new level and you know I think since This is like 16 years ago and and in those 16 years I think the most days I've gone without drawing Are my summer vacation and this Little social media break That I've had this year. Otherwise, I've been drawing As good as every day since then and some days days a lot some days not so much so but you know My motivation was pettiness and jealousy and bitterness and rage, but that's not necessarily a good Motivation isn't it's not necessarily a healthy thing And it is something that I've had to start dealing with now But but that was my motivation. So yeah And One of the reasons why I'm doing This now Is I don't really have all that much motivation these days. I'm Really exhausted, but I don't need motivation to Practice I just need to do the exercises Okay, uh with that I think we are done Thank you all for watching I will be back One of these days With another live like this probably drawing more from bridgeman Because this was really great. Thank you. I hope you enjoyed it and I hope that Uh, we can do more of these art practice streams Bye. Bye


Hi everyone, Joe for jazzy's case breaks.com with a hobby box a bowman chrome baseball 2020 edition random team break number four It's just a quick little one-box break at the end We'll re-randomize your names and we're gonna give away the final five double header spots that break coming up in a separate video After this as always we're gonna do the break itself first. So big. Thanks all of these folks for getting into the action Thank you. Thank you. Thank you All teams are in so names and teams will be randomized three and a one four times It's different dice roll for the giveaway two three and four after four times Shea down to emory three and one four times for the teams He looks like a country singer type Rex Fourth and final time. I don't know keep in mind me. He is a Southern California kid Morgens County even If he grew up near where I grew up That might be different East of Los Angeles All right, here's the First group of teams right here. There's the second half right here and No trade window. Well trade window close. I guess it could be a very very short trade window But the whole point of this is to give away those double header spots. Let's print that out Let's put back over here touch of modern.com Feel like Cliff Kingsbury's house was just all from a touch of modern.com One autograph in each mini box Good luck. Here's a question. They're asking has there ever been a triple header in a baseball game? No, I don't think so. I mean Maybe in the 1800s In 1895 maybe that triple header But in modern times Can you imagine a nine inning triple header? When would you start you have to start like at 10 a.m? 10 11 12 1 Then a couple hours off 5 6 7 8 and Then start a 10 p.m. Game maybe No, I don't think it would happen in modern base in the last 50 years, I can't imagine that happening in 60 years. All right, we got Ozil Rodriguez for the Yankees. That's gonna be for Matt Gomes and some color right here some Willington Traris Orange shimmer 19 out of 25 for the Braves Aaron Haynes with that one Haha, there was 1800s, right rebel is saying there have been three triple headers 18 and it once in 1890 once in 1896. Oh, there's one modern one in 1920. It's a long day Paul Goldschmidt to 150. Yeah players easy. They get paid way too much for triple headers Can you imagine someone getting injured in a triple header? You wouldn't really have a bullpen either Paul Goldschmidt blue going to Matt and We got Dylan a file you can file this away to Zach Paul and the brew crew Let's get the file on file What you go filet he's from like he's from Lake Havasu, Arizona Okay, all right, all right fair enough and there's a Louise Robert rookie car and a Jason Dominguez. What a box Jason Dominguez purple to 250 that'll be for the Bronx bombers Matthew and there's Louise Robert rookie card for the White Sox that'll also be from Matt Gomes and we got a Brendon Malone to 499 or Maloney as Sean would say Pirates that goes to Emory Eaton or Eatone as As Sean would say and there you go. All right now. Let's give away some Some spots Let's go back here. Let's grab everyone's names from Matthew down to Zach and everybody in between. Let's roll it. Let's randomize it six and a four ten times Top five after ten will be in the next break the double header. Good luck one two three nine and 10th and final time once more so top five after ten so stem from six down to 30 I appreciate everybody giving that a shot. We'll get them next time It sucks, but we do feel we do fillers here and there so you'll be able to try again. Thank you Congrats to Matt Gomes Christopher P Zach P Christopher P and Sean M Sean Mercer with last bottom mojo. There you go top five you're in that double header break coming up in a separate video right after this I'm Joe for jazzy's case breaks calm. I'll see you next time for the next one. Bye. Bye