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What's in the water? What's the hardness? Is there too much chlorine? And what do it's a diagnosis? It is, it is.


And now to Ogun State, where the government says it remains committed to providing opportunities in the agricultural sector with a view to enhancing the ease of doing business and attract investors to the sector. Governor Daco Abioddo made the submission in Abuja at the Nigerian Agriculture Awards 2021, the event which climaxed the annual Feed Nigeria Summit supported by the Agriculture Ministry and Development Partners. Abioddo who backed the Governor of the Year Award for the second time in a row says, exploiting the huge potentials of the agricultural sector is key to achieving food sufficiency and economic growth. It was represented by his Commissioner for Special Duties, Femi Ogumbawon, Ogun State Commissioner for Agriculture, Dr. Adiola Odedino, who also backed their 2021 Agro Commissioner of the Year Award stated the reserve of the State Government to take the lead in the living on the gains of the renewed focus on agriculture. In the last six months, the federal government has trained our essential workers, cleared land for youth programs, donated and equipped a brand new veterinary hospital, provided input for rice and cassava farmers, and supplied processing equipment to farmer groups. As of today, the response of the good people of Ogumbawon State to this support has been gratuitous and has cemented our ranking as the largest hub for industries, including agro-fentials in Nigeria, the largest egg and broiler producer. We have a target of supporting over 40,000 smother farmer for planting material and we are also targeting them in our special projects. Full security, nutrition security, job creation. The most important one is the industrial sector. We are linking young people to the supply chain in the agricultural industrial agenda of Ogumbawon State. When the SLSC came in, over 70,000 people registered for agricultural opportunities and they are now working on the feed and supplying raw material sustainably to industry in Ogumbawon State. As you are aware, Ogumbawon State is the largest hub for agro-industry. Don't forget to hit the notification button so you get notified about fresh news updates.


Is this turning into maybe a near-death experience? Possibly. Does this add to the adventure? Absolutely!


All right, we did a what is this? Hey everybody and happy Halloween. Welcome to show and tell what's like the day of Halloween Eve Eve It's Halloween somewhere in the world or if you start leaving the planet earth if you could be faster than the light You would be able to see the light beams that bounced off from planet earth and be able to look back and see You know Halloween, but if you're out somewhere else in the universe and looking towards Earth it's still Halloween sometime in the past Good We're just a background radiation here So this is show and tell we check in with people from the it for community and beyond. What are they working on? They 3d printing coding Roboting Hacking and more First off, we actually have Jay from did you key who's good here? Turn this on this is actually the first test. Okay everything seems to be working. I Upgraded my robot from My Italy trip recently is maker for Italy a bebop, and I just finished it today It's using a person sensor and a pico to do facial tracking and basic stuff But I did upgrade this up here, which if I can pull it up really quickly I'm trying to pull my phone really fast. It's a C studio camera. So like now I can like live stream somewhat Nice Yeah Yeah, super con is happening this weekend. So I'm hoping to wear it bring you with me and then also See what my robot sees I guess when I'm walking around effective on things Wait Yeah Have enough room to make a soundboard in here. Yeah problem. I love the I love the little head in the eyeball motion It's a very cute Yeah, I have to fix this issue because it was having I took it once I get to Italy it was doing fine But the legs have broke off so I spent the week like upgrading the legs and Actually, you know making them a bit tougher and adding like little metal rods in them so they can take more hits So hopefully you should be fine for this event and good and ready to go But you know you never know until you have to test it. Yeah, well, but it seems like there's like pets like you're just constantly Taking the vet My main problems I keep taking them apart because they have useful parts and me forgetting that I don't have to do that anymore So, yeah, I'm not used to I'm used to being poor. Okay being poor means everything must be recycled Yeah, every part can go on to something else. Yeah, only now. I'm starting to stop that So hopefully if this one survives the vacay instead, this will be my wearable for events that are happening suddenly and also still have binary that blows bubbles and stuff I just finished repairing that yesterday. So just been a whole bunch of upgrading and repairing for the last week All right. Um, this is super cool. Um, folks will probably see some of the talks and more That are at uh super con Um I started hackaday a million years ago. I've nothing to do with it now But there's an event called super con which is the hackaday conference There's a hackaday prize. There's all sorts of stuff going on. It's neat. I like seeing it. It's still around It's still something that people Love and cherish and enjoy and it's a one of the few places besides maker fair Which you were just at where people can hang out together And do really cool stuff with electronics. So I'm looking forward to I know you'll post something from it Looking forward to uh living through your robot eyes, perhaps Definitely, I'm trying to do my best to post what I can but you know Hackaday's like nerd Thanksgiving. That's what I call it because it's a whole bunch of food and that's chatting about projects So I'm excited for it. If you're coming. I hope to see you. Yeah I will always be there. I'm friendly usually I think What are you going to eat when you've had enough to eat? Yeah, well, you have a robot When the robot's working and you've had some good snacks. All right. Well, good to see you and happy travel safe travels and all that Okay What you got going on? Oh, I told them I told folks in the inter internal meeting I got in the fight with a palm tree Yeah, you should see the palm tree Yeah Two weekends are pretty it's like oh, I went to the mosh pit and then when you're like and your theories are like I was cleaning the house Dan was like, did you get swiped by a cat?  He likes to see my nose now. Um, anyway, so It worked it worked things. Uh, I've been working on switching us to a split heap, which is uh What we used to do in circuit 5th and 8th and below is that like as the vm started up We would take all the remaining available memory and we'd say this is for python That's great until you want to put things Uh Outside of the heap as you're still running python So in micro python 121 they added the ability to start with a small Python heap and then grow it as you go along Um, so I just made a pr for that. Um, and relatedly somebody had filed an issue long ago Um, it's like in the 2000s number wise But uh, Dan went through all the long-term issues over the last weekend and and picked this one out and said this still happens So I investigated it a little bit and on my screen here. I have the Uh, a version of the sample code And I just wanted to show I added this thing in debug builds With this, uh, where if you allocate something that's way too big it'll print out a map of the heap Um, so this is definitely not going to succeed. This is like, uh, 100 k And then, uh, this is code that micro python already had in it, but it explains What is on the heap already? And in this case what you can see is this t is for a tuple or tuple Which is like that parenthesized multiple values in it And you can see that there's lots and lots and lots of small tuples with, uh, free space in between So, uh, it's pretty common for people to say like, look, I ran gcm free It's like 60 k. Why can't I allocate 256 bytes? Um, and this is why Um, this is called heap fragmentation meaning that all of you, you have a lot of free space But none of it is right next to each other. Um, and so this is a pathological case That right now we don't have a good answer for how you fix. Um So unfortunately there's no magic bullet But I thought this is a cool visualization that they have And I I made it trigger when you fail to allocate something because that's when it's the handiest And you can actually see here, um, like these are the different Pools now. So like as you grow the heap you get separate pools So this is one and it starts with smaller ones here So you can you can see all the different pieces of memory that they're using for them And why is there space between the tuples? Is it like you can't you have to have it on a boundary? And so or is it like to grow you need to be able to It's it's it's the difference between uh, so when you're doing Let me show you so the code that it's doing is it's storing 500 values from like the magnetometer And so what you're doing is you're You're doing some temporary allocations To to compute the like final tuple that you're going to hold on to Oh Like this call the clue dot magnetic is doing like four allocations or four blocks of allocations Then making the tuple that you're going to hang on to in this list for a long time And then it goes again. It goes again. It goes again. It only collects when it can't allocate So all of that memory that you use in that computation Um is kind of left there until you absolutely need to take it away And so you end up with those tuples evenly spaced throughout memory And then all these little holes when you do this the garbage collection Oh because it's not Yeah, I was like, oh, why don't you stick the new tuple allocation in between but it doesn't doesn't know that those are free So the right thing to do would be to do a gc collect after every Four whether it's whether it's the right thing or not. I don't know. Yeah, I know right but but it would like Cause it to compact more I think You know, it would be interesting even probably try that I mean this is if you said it is a pathological case, but it would be interesting to have a mode That you could set in circuit python that would say hey After every 100 k every every time the heap grows by 100 by you know, one k Automatically run the g like be more But you'll still get that spacing in whatever unit that you choose to do Um, but I think your point is like if I do from a to fruit clue So I'm in a I just restarted the rebel, right? Yeah, so now if I do um The a equals if I do it again, but I do a collect in that loop Yeah, it's probably gonna be different. So for I'm just curious. I know I'm curious to know Okay, you're doing like free free solo python coding I I don't do a lot of like in the rebel stuff But this issue actually only present itself in the rebel because you have to do the whole compilation stuff Every time you type in a line. Yeah, that takes that takes larger chunks of memory than if you Did it in a file where it does all the compilation and then runs But you don't ever need a big chunk of memory. It runs just fine. Okay, we're actually good to have to do it in the rebel Okay, so here now we're going to do a bc collect so We'll look that run So it's slower Because gc collect is not fast because it's looking and trying to decide everything Um, and it did have to do a malloc. That's a debug print that I've gotten this build. Yeah, so now let's do the fight array 100 times 1024 again the thing that's going to fail and print it out. Ah, see So it did compact it a lot. Yeah So now you can see that it's all these t equals next to each other Yeah, and that's because those temporary objects that we're doing to compute the two will get cleared away in the collection Just carry me look because I recommend people do that But I mean and here's the thing you don't have to do it every line You could say like if it's modulo 10 equals zero, so you can do it every 10 Um, but I see what you mean. Yeah. Yeah, and it's deceptive here because like The way the the code is written is that list of 500 stays the same, right? So you would think that you're doing the big allocation, but that list is really just pointing to all these individuals. I know we need handles Yeah, it's memory management is fascinating and that's a great example Okay, we can link people to this when they have fragmentation issues We'll all work that I'll send this to somebody. They're like, hey, why is this not? Why can't I okay? I'll be like we're back to the defrag. Oh, yeah Moving memory is really hard and that's like explicitly something I'm I'm moving us away from with This split heap stuff is like we used to actually do some memory moving and we have like all sorts of problems Particularly on the rgb matrix with product. Yeah, it's like Computers do not like it when you move memory from a location to a different location. They're like you got to know everywhere to update Yeah, that's why we're going to be managed. They're like, oh, we should add another layer of abstraction Like that's that's how they do it. They're like I had a I had a friend be like Why don't you just use cortex a's and use their memory mapping stuff? It's like, yeah, I was All right. Well, thanks for this mini deep dive scott. Yeah, thanks and uh, thanks in advance for tim to do deep dive this week and next All right. Thanks. Thanks scott. Thanks scott. Okay next up is Hello gigantic clock which is an inset not it's not actually on your wall Yes, we have a adabot lego for scale Uh, but I've been working on a project that's an earth and mars clock and she's using the four inch 720 by 720 display with a qualia board that's off to the side here And so mars has its own kind of timekeeping thing Called mtc and so you can do a calculation Um to convert utc time to mars time. So right now the earth clock is showing Eastern standard time come on the east coast and then when it goes to the mars side, um, it's sewing the mtc I do need to try to get the mtc to be a little bit more accurate in circuit python because I notice it's a little bit off from when I do it in desktop python where I, um Did the calculations originally but um, I think we'll get there And we're going to use cap touch do cap touch around so you can switch between that way right now I just have it doing every 10 seconds for demo purposes. Um But the I think the coolest thing about this is figuring out the rotation with the clock hands and getting it So it's pointing at the right spot depending on the value and I might post up a demo that, um We'll show it Sped up. Um, you can see the minute hand going in the hour hand slowly moving as well. Yeah kind of cool Yeah, that's tough. There's a lot of trig there. Yeah. Yeah That's okay. Cool. See you really use that trigonometry one day. I know Go back to four three. I actually never got to trig in high school. So it was uh, yeah So All right, thanks so much. I thank less All right jp What you got going on this week? Hey, I've got some pokemon stuff going on this week So here's my uh nintendo switch and I've got pokemon shield on here Uh, I'm not hardcore. So I'm a bit of a poser here But there are hardcore people who like to do weird stuff like hunt for these really really low odds Characters that are shiny variants on characters like one in four thousand chance of finding them Same with cross breeding eggs to make really rare pokemon But one interesting thing is that some of the techniques used to to do this involve really tedious stuff like Spinning your character around in circles. So if you spin the analog Thumbstick your character will spin in a circle if you let go after a second she stops So for some of these hacks people just want that going on and on and on for like an hour or more They're odds of there and I'm not going to do that. So Uh, honest suggestion from the more to look into some pokemon automation stuff I've come up with this pokeball right here, which when I plug in it's going to be my left thumb so You can see I'm hands-free, but it is now The left thumbstick for me And I can go and grab myself a drink and it is going to just keep doing that forever and ever Until I unplug and then she'll strike a really cool stance Yeah So this is I'll I'll go over this tomorrow on my show on the workshop show, but this is Super simple. It's a pico h and it's one jumper cable and uh, thanks to lemur who had me simplify this from some other nonsense I had going on. I mean, it was it was good, but I was like, I was like, let's make it like really really easy This can be yeah, so this is the pico h. It comes with the header pins on there. This is a Socket to socket jumper cable you can basically ground any Of the pins on here and almost all of them act like one of the controller buttons on the switch And I'm choosing to use one that I've Allocated to be a macro so I'm going to show how to set up macros using gp20 40 c e It's really cool. You could use this for other like quality of life things in Zelda in animal crossing if you look at hacks that people have come up with There's even some commercial products that are little bluetooth dongles That run some of these hacks we can we can do a bunch of them for what is that like a five dollar micro controller I think it's a great first like if you would you know nothing about electronics and you want to get into tool assisted You know, um speed running or it's just you know, uh coding Like I think this is a great like you don't need anything but like a cable usb cable a single jumper wire and a pico h That's all it is. Yeah, I've even seen I don't know if this is plausible on this or not But I've seen one of the hacks people do is like a perfectly timed Mario odyssey throwing his hat jumping landing on his hat throwing his hatch So you can like cross big spaces If you're really good or if you're a huge cheater with a microcontroller. So I make it that That's it. That's a good one. All right. Well, thanks so much jp and folks can tune in tomorrow and see All this and more we're going to be playing your power washer thing on uh, oh very cool. Yeah Thanks All right, next up. We got three folks who just Downloaded in we're going to go to david the needy Devon two and then delchi david what you got going on the suite? Hello Well, thanks to the daylight saving which is different in europe and in u.s I can go to your show without having to sleep very late Yeah, so this is steady red spin for the halloween with the red acts Oh Nice, uh, I took your coat Because I was not able to use the new one from jebler and I extracted all of the image I've changed the blue into red and then we inserted that into the thing So that that's the first step of of my halloween's trick Then the second trick is um the feather with usb host And what you can do is to um turn on and off a usb device So Like this lamp I can turn it on and off Okay, so the last trick is that the Teddick's ribs being um will turn off if you Connect a usb to it So it works reverse to the lamps If you give it power it will pose because it try to Share the file system and then when you cut the power it goes into the idle mode So the trick was to connect the teddy workspin to um This setup and basically I've got a Time of flight sensor a small screen to display the the current distance And if I put my hand here It will stop The light It will turn on the teddy workspin. That's good spooky That was my um setup for halloween Good projects and thanks for continuing on more um teddy workspin tagging. They're available people can get them They're super cool. You can put different sounds on them now So looking forward to more projects if people are doing that They're cheap in in us. Um, it did cost me a lot to get them in euro Yeah, probably shipping I mean moving anything on planet earth takes takes time and resources and money now So yeah in the u.s. I think we have landfills. Yeah, yeah, we have landfills full of teddy workspins, unfortunately Okay, well, thanks. I think you did it All right, we're gonna go to dj divin and then we're gonna go to dilt she dj divin. What you got going on? I got this uh cool halloween mask. I did not build it. I meant to modify it did not have But this is a really cool mask just a purchased product that ended up halloween candy this year with this on and people were really impressed with it That's cool Well, you can hack and mod it, you know, it's cool Because I wanted to show you like how simple this uh It's stuck in there really well. Yep. I'm not gonna be able to get it out um the Hard to see This is a little bluetooth BLE board in here. That's all that's in here. It's got a tiny little lipo and that powers the This is a a flexible like matrix thing Really cool looking And I was kind of looking for something like that to add but I what I intend to do now is to open up this BLE see if I can hack it and then Run it with circuit python because the the blue fruit app in order to uh to do this is like a Chinese shady kind of thing and not a fan of that would so would rather try and hack it with uh to run circuit python Yeah, all right Pack away. All right. Good work. Happy holidays. Thanks for coming by you. We have something interesting going on that mask is cool I like the um hair. It looks like predator, but they're just like cable Table covers the first thing uh that this reminded me of was jorgen was Oh Yeah, it's cool because it's it looks like it's like robotic dreads The first thing I thought of when I think robots and dreads is yeah, it could be queen board It could be all sorts of stuff. That's a cool hairstyle. Well as you as you call it techno predator because it kind of has that predator You are hacking discover stuff post up in the ate a fruit playground and then you know, you can publish it Maybe other people will have suggestions. I'll be able to say like, oh I know that champ here's how you can mod it or here's, you know, I've also hacked this uh mask I'm hoping there's uh some uart like uh pogos or something that I can if not I'm gonna have to like feather bodge wire it kind of thing But yeah, that's the intent circuit python. Good. Thanks so much and uh, happy halloween post halloween All right. Delta jay play us out Hey, hello everybody. Hello So I have a lot of time in my hands lately and I met some new friends Who play trucking simulators? Which is like a simulator where you're driving an 18 wheeler across the country But they bemoaned one thing they have a real-time chat system that uses a cb radio just like in a real truck But they're using headsets and desktop microphones and they wanted a real cb microphone For their real truck simulator And while they have these things they're like 180 to 300 dollars for the adapters So in the true spirit of hacking I said those famous three words Hold my beer And I went and got some parts from you folks And now what we have is a under $50 adapter That lets you use an actual honest to goodness cb radio microphone on your pc for your simulator qt pi 2040 handles the ptt A miniaturized usb sound card An adapter with some magic wires soldered and a single wire single usb port and breaker breaker any taker is this is the big e had you used on ix on 4o that's so cool and You are a real cb trucker and you have not paid 300 dollars for an adapter So the parts and plans are all going up on my new blog And just about anybody can view it a little bit of coding using mu and circuit python So good That's very cool. All right. Well, thank you so much when you're ready to have folks Poke at that and try to do it. Let us know we'll get the word out and put it in the newsletter Or the blog or whatever and thanks for coming by showing us. That's such a great one I mean, it's it's interesting It's like yeah, you want to have like the real the real microphone when you're doing a trucking simulator. So yeah, that's cool I think I think that's so There are people that have entire rooms dedicated to it where they've taken plywood and plastic and built like literally a truck around it and There's some really great things out there in the simulator world There are people who've done stuff at home and this is just to kind of help that along This goes right with you know jp's guide, which you know, he's going to go live and Hopefully today, maybe tomorrow. I'll get to review it is the power wash simulator. So yeah, we have a video from that We'll show you the video of it. All right. Well, thank you Cheers, all right. Thank you everybody. Thanks for making this the best happen hour of our week every single week Come by Every Wednesday some 30 p.m. Eastern time we can show and share projects richer stuff cool things interesting stuff Yeah, lots of cool things doesn't have to be eight fruit related at all Get a good idea of maybe some of the stuff we're working on behind the scenes as a little Heads up if You're looking for don't put this on social media right now if you're looking for a Raspberry Pi one of the new ones log in to read a fruit account make sure you have two factor authentication We might be putting some in the store during ask an engineer For our community for the folks who watch things live if you're watching this it's already recorded Sorry, they're probably out of stock, but just get ready. We'll be doing ask an engineer just a few minutes and we'll be Put them in pretty soon. Okay. Bye everybody. See you next week. Bye


Oh yes, what happened seemed accidental. The man who opened the elevator door and plunged his tourists to his death. The hotel fire that reduced five people to charred ash. And Edward Turner, who died when his car smashed into a pillar. But why was the same man at the scene of each tragedy? A man in a velvet hat. Oh creeps, this is Peter Laurie opening the doors of the mystery playhouse. Would you like to hear the story of a mad killer who murdered with one hand while holding the Bible in the other? Sound intriguing, huh? Well if it does stay with us for the next 30 minutes as we bring an exciting mystery tale At Jerome and Hal Prince, these talented brothers have evolved a strange and stirring story that should keep you on the edge of your seats throughout. So settle yourselves in them. Now as we raise the curtain on the man in a velvet hat. The beginning, New York City. An office building in the financial district just off Wall Street. Sometime after closing hours, Tuesday night, December 15th. An office Christmas party for out of town salesmen. The party is being held on the 19th floor in room 1906. In their cater, it's open the door. In an elevator shaft, that was at 11 p.m. Tuesday, December 15th. Nine hours later, 8 a.m. Wednesday, December 16th. A letter is delivered to John Reynolds, the ranking New York newspaper columnist. Here's a screwy letter, Mike. My dear Mr. Reynolds, it was my whim two hours ago to take home with me to eternity. My son, known in his life as Fred Smith. What do you know about that? Was it sign? No, but look. Capital M on my and me. Just as though the guy writing the letter thought that he was God. Hey, yeah, I just think I'll put in a routine check. See if any guy named what is it? Fred Smith was knocked off in the last couple of hours. The following day, December 17th, at a downtown hotel. Loudly note hardly a week before Christmas. Poor devil. Five dead, the chief figured. All from St. Dope who has to smoke cigarettes in bed in a flyer trap flea bag of a hotel. Mike, yeah? Mike, look, another letter. Listen, my dear Mr. Reynolds, five have been purified by flames and are at peace within my heart. Hey, Mike, have you any word of any big fires today? Well, yeah, there was a three-alarmor in a hotel downtown just east of Broadway. One day later, December 18th, it is night. Second Avenue is wet and slippery with rain then. What happened, Frank? In a swift chariot, I have taken Edward Tucker home to glory. No signature. The third in three days, and if it's like the others, it's on the beam. This looks like a story. The following day, December 19th, John Reynolds sets out to investigate. I'm Reynolds of the New York Dispatch. Is this the building where Fred Smith was killed four days ago? That's right. Were you on a night elevator? The night Smith fell down the shaft? Yep. Drunk as a coot, he must have been. Listen to me, on the night that Smith was killed, did you take anybody up to that office Christmas party who didn't belong there? A stranger? No, sir. Are you sure? Sure, I'm sure. Now, look. See this $50 bill? $50? Box? Sheesh. Come on, take it. It's yours. Gosh. Now come clean. Who was the stranger? Hmm? Oh, uh, maybe you mean the tall guy who came in at a quarter to 11. That's the one. Well, uh, I tell him the party's on the 19th floor. He doesn't answer, just nods. So I take him to the 19th and I let him out. What do you look like? Oh, I got you, Mr. Reynolds. You must have seen his hat. What kind of a hat could he wear? Hmm? Oh. Yeah. Black. It was old in this. Fuzzy. Fuzzy, like old velvet? If you say so, Mr. Reynolds. No, Mr. Reynolds.  Okay, Mr. Reynolds. Okay. A velvet hat. Yeah. A man in a velvet hat. You were one of the firemen working in that fire in this hotel. Was there anything suspicious? Just a guy smoking a cigarette in bed. That's suspicious. Pure accident. Did you happen to see a man in a black velvet hat hanging around outside the ropes when the fire was blazing? Black velvet hat. That's it. Black velvet hat. It was raining that night. Sure it was. Yeah. It was a guy. And he was wearing a black velvet hat. Do you remember? Do you remember?  That's right. What about it? Was anybody else around last night when that car slammed into the pillar? What if it was? Look, did you happen to know who the man driving that car was? He was Edward Tucker, who was champion midget auto driver. Now it wouldn't be easy for him to lose control of his car. It was wet. It had been raining. Sure, sure. Now tell me, were there any other witnesses around? A man. A man. He must have been wearing a... Well, a raincoat and a hat. A hat. Do you remember what kind of a hat he was wearing? Was it dark? Almost black. Maybe kind of fuzzy? Yeah, that's it. Yeah, fuzzy. Almost like it was, uh, velvet. Yeah. A velvet hat. And in John Reynolds' column in the New York that snatched the next morning, December 20th. Three deaths. Three accidental deaths. But were they accidental? In every case, an eyewitness tells us it's seen a man in a velvet hat. An apparent madman. A man whose paranoia assumes the form of God's substitution. A man who writes letters claiming the deaths were caused by him. Are the police aware of the reign of this madman? And is the madman lying? Or has he done murder? But if murder has been done, and if this man is a murderer, he's a murderer such as the world has never known. Or perhaps such as the world has always known, but never seen. There's no motive for any of his crimes, no evidence of lust or of envy, of passion or of gain. Certainly, if this man is not a God, he has not only successfully adopted the posturing of one, but the psychic attributes as well. Where he walks, death walks. This man may be death himself. And all New York reads John Reynolds' column and wonders. Then in the next three days come three more deaths, three more letters, and three more reports in John Reynolds' column telling of eyewitnesses, seeing the man in the velvet hat at the scene of each crime. And now comes panic. A great city is hushed and frightened waiting to see who is the next to die. Then on December 23rd, the climax. It was late afternoon at the office for the police commissioner. Chief Gruder confers with the sector Sergeant Martin. Well, I haven't much to report, chief. This is the wackiest case I've seen. Never mind that. Get to the facts, man. What facts? We're supposed to find a guy wearing a velvet hat, so we can't find anything. Where he lives, his name, nothing. This doesn't seem to exist. Perhaps he doesn't exist. Yeah, well, tell it to New York City. Tell it to the newspapers. Hello? Now, look, chief, don't you think it would be better if we told the reporters that we've been getting the same letters that this columnist, Reynolds, has? Let them know we're at least happy to what's going on. Yeah, and perhaps you're right. Chief, Chief McGruder. Chief McGruder. Take it easy, Miss Martin. But it's happened again. The man in the velvet hat. What? Where? How? When? Crowded movie theater. A woman screamed and shouted, look out, the man in the velvet hat. And there was a panic. Panic? Has anybody killed? Sixteen. Sixteen dead. Maybe more. Sixteen. Good Lord. Yes, sir, just a minute. Look, chief, I think I'd better go out. Chief McGruder, it's the mayor. The mayor? Martin, you stay here a minute. Yes, Mr. Mayor. How'd you hear about it so fast? Well, I suppose the newspapers will make a big... But I'm doing everything I can. Oh, Reynolds, eh? Oh, why should he? Yes, Mr. Mayor. Yes, Mr. Mayor. Goodbye. What goes, chief? Plenty. Whole town is upside down. Relatives are jamming the moor trying to identify the dead. The citizens committee is planning a mass meeting tomorrow to demand action. Every newspaper in town is roasting the city administration. What do we do, chief? You? You do nothing to hear from me. Miss Meyers, my hat. Where are you going? To the mayor's office. The mayor and I and that columnist, Reynolds, are going to have a little conference. Reynolds? Yeah. The mayor seems to think Reynolds knows more about this thing than the police department. Answer me this, McGruder. Answer me this. Has there been a murder? Are these accidents murders? Maybe there aren't any murders, Mr. Mayor. Not in the ordinary sense. I believe there is, McGruder. Just a minute, Reynolds. Your honor, except for the panic at the movie house, every death was accidental or natural, as sure as we three are in this room. What do you mean? What about the man on the velvet hat? Put the screws on some of the people who say they saw him and he'd disappear like that. Forget it. To the people of this town he's real and this panic. Cold panic. Right in the middle of the holidays. The people are scared blue. May I say something, Mr. Mayor? Certainly. That's why you're here. Look, the way I see it, either it's all a hoax or there is a man in a velvet hat. That's right. So we've approved the hoax to catch the man? All right. All right. I think we can do one or the other. If Reynolds will help. Well, certainly I'll help. How? I'm going to challenge the man on the velvet hat and Reynolds is going to publish that challenge. I'm going to say I don't think he's a God. I'm going to say I don't even think he's a good criminal. Anybody can boast of a murder after it's happened, but only a master criminal can boast of a murder before it's happened and get away with it.  Okay, Magruder. But I predict that he'll accept your challenge and that when he does you will not catch him. And in his newspaper column, December 24th, John Reynolds sells a challenge from the police commissioner of New York City to the man on the velvet hat.   If you're not a fraud, you will announce in advance the time and place of your next killing, murder, mercy, death, whatever you call it. Unquote. Hello, this is Reynolds of the dispatch. Give me the commissioner. Please hurry. Magruder, Reynolds. Yeah, Reynolds. I got an answer from the man on the velvet hat.  He says, quote, after this, I will move again in silence for only those without faith need signs. That's all. That's what he says. What time is it now? It's four minutes till 9 o'clock. Four minutes, huh? It's darn cold out here. Why do they keep playing that same tune all the time? That was popular two years ago. Did they write any new Christmas songs? It's a good song. Zap chatter on each other, both of you guys. Tell your nerves to lie down. Oh, my nerves are all laying down.  Keep your eyes on your watch. Now, let's see. Simon and Thompson in front of the Times Building. Burke and LeMandier in the lobby. Rowan over there across the street on 7th Avenue, and the whole homicide squad scattered all over the theatrical district. All right, I'd like to have double the number of guys standing around, just in case. Now, what's your nerves need to lie down, Chief?  Hey, Chief, where is the front of the Times Building? Well, we are here in Times Square, or, maybe, is it a block back there on 42nd Street? After this, I will move again in silence. Only those without faith need signs. Martin. Yeah? You've got a good reason why he didn't type on his last note on a typewriter like he usually does. Why does he have to write this one in that Bible letter? Search me. Maybe God maybe likes to write like the Bible. Yeah. And maybe I'll break you and send you out to Pounder P on Staten Island. How much time, Martin? Well, that's from 30 seconds that the guy is prompting keeping his appointment. Hey, Chief. Huh? Look at that guy. See? Which guy? Standing over there on a curb on 7th Avenue. The guy has no head. The honey's got no coat on him. Carrying his coat under his arm. On a night like this, he's qualifying for the booby hatch. Here he comes. Watch him. He's coming through those cars. Keep your eye on him. He's coming right at us. He's stopped. Yeah. Hey! Hey, look at him! What's he doing? Swarrowing poison, you fool! Grab him! Quick! Get it to the door now, Chief. Yeah. Isn't he, though? This is Coat, Chief. It's a brown raincoat. Inside out. Look. Look at this. Something in his pocket, huh? Well, I'll be... It's a velvet hat. Hey, Chief. Yeah? Here.  Said he'd drop it on the sidewalk just before he drank a poison. Give me it. The letter. His last. Let those without faith disbelieve now.  Hero, eh? Here's John Reynolds' column. Did you read it? No. Let's see it. The people of New York City owe a vote of thanks to their police commissioner for his effective... As for the man in the velvet hat, he was clearly a religious fanatic. There were never any crimes. There were merely accidents. Then the man in the velvet hat sent his letters to both the police commissioner and your columnist, attempting to say he had caused these accidents. Finally, when challenged by Mgruder to prove his existence, he poisoned himself rather than admit he was not possessed with supernatural powers. Nice open and shut case, eh, Miss Mgruder? Yes, sir. Oh, incidentally, the mayor wants you to call him. He wants to thank you personally. A devil with a mayor? Get that columnist John Reynolds on the phone. Tell him to get over here right away. I want to talk to him. It was a queer case, Mgruder, wasn't it? Not really knowing? Yeah.  You know, it's an interesting study, lunatic. You think so? The funny thing, though, about the lunatic, I mean, you never did find out who he really was, did you? Now, look here, Reynolds. I had you pegged from the start. What do you mean you had me pegged from the start? You heard me. Now, look here, Mgruder, where are you implying the man in the velvet hat and I were working together? No. There never was a man in the velvet hat. You wrote those letters yourself. I wrote. Why should I? What motive could I have? Plenty. They write a newspaper column, don't you? You've got to keep it filled and get it read, don't you? Now, look, I'm an old-fashioned cop, Reynolds. I asked myself, who gains? In this case, you didn't. You created the man in the velvet hat out of whole cloth. You wrote his letters and mailed them to me. And through coercion, bribery, or suggestion, you convinced a lot of witnesses they actually saw this panda with the scene of each accident. This is a gag of rib. You can't be serious. And maybe we found the typewriters. You wrote the letters on her. Maybe we didn't. You can be sure that if we haven't, we will. It's a beautiful theory, Macleod.  There was a man in a velvet hat. And you haven't. Dead. No, Reynolds. There wasn't any man in a velvet hat. What? How do you know? Look, at the man we found dead. The man who took his life in front of the Times Building was released from an insane asylum only one day before you published my challenge. He couldn't have been the man in the velvet hat all those other times, not while he was in the asylum.  You know darn well. Don't tell me what I know darn well.  You took advantage of his insanity to coerce him, control him, persuade him in some way to do what he did. You're out of your mind. Uh, Chief, uh, excuse me. What do you want? Well, Chief, here's the guy we're looking for. Secondhand typewriter store, man, in Brooklyn. That's the man. That's him. That's the man. What are you talking about? You're crazy. I tell you seven or eight times, he comes into my store, types something out, each time on a different typewriter. Always letters, since he's trying them out. The man's lying, you never saw me. That's the man, all right? I remember him. Okay, okay, calm down. All right, Reynolds. What have you got to say now? Now listen, Macleod, listen to me. When I began this whole thing, I never dreamed of calling you. You never dreamed it would cause the death of 16 people in a crowded theater. And the insane man, you persuaded to take poison. That was murder tool, Reynolds. Murder? Well, they'll electrocute you. Macleod, you're the only one who knows. You can hush this up, give me a break for you. But what do you say? Look, I've got money. I'll make a rich man. What do you say, Macleod? What do you say? I say you're going to burn, Reynolds. You're going to burn. There, my friends, we have the ingenious solution to tonight's mystery playhouse performance, the man in a velvet hat. And tomorrow, don't make up a man who wasn't there. You might end up in the electric chair. Pardon me, please. The creep who writes this tough twist in my arm. Well, we've just got time to look in on a green room where our players are rehearsing the next bedtime story. Follow me, please. Come. Come, come. You've got to get hold of yourself, charity. I can't help it, doctor. You see, it starts every night. About this time. What starts? Music. David's last composition. I hear it being played on a piano. And the notes seem to come from the old house, the house where David died in the fire. Well, perhaps someone is playing that piece on the piano. Someone on the island. No. No, there's only one other house out here, and those people are away. It's a dog. The dog keeps howling all night long. What dog? I don't know. There's no dog on the island, but... David and I did have a dog. Remember? He saved us, David, the night the fire. He died with him because David was too well to get out of bed. That's a real dog. Somewhere on this island. Oh, do you think so? Why, of course. Probably some stray got across the bridge, or swam over from the shore. Oh, excuse me, Doctor. Sir. Hello? Yes, speaking. Who is it? Some sort of a... No, no, no. A man spoke to me. He said I... Yeah, let me have that phone. No, it's no use.  Well, we might be able to trace the car. Hello, operator. Operator. I'm trying to kill me. Hello, operator. Operator. What's wrong, Doctor? I'm afraid the wires have been cut. We'd better get into my car and drive into town, right away. Yes. Yes, it isn't safe for me to stay here another minute. The motor won't turn over. Somebody must have meddled with this car while we were in the house. Well, try my car, Doctor. I think perhaps I'd better. Is it in the garage? Yes, yes, I'll... Great. Heavens is gone. The garage is empty. The car's been stolen. Now, let's not lose our heads, Geraldine. But... We're not completely cut off yet. We can't use a car. We can still walk. But it's almost a mile to the bridge and the road is so dark down along the water. It won't be too dark with a flashlight. We can go down through the woods to the edge of the water and walk along the shore. Oh, wait a minute. What's the matter? I just remembered. David's brother's driving out here tonight. Are they? Yes, and his wife, Laura. They said they'd be here by 8.30 and if we wait for them, they can take it back in their car. What are you saying, Doctor? Let's save it and try to make it alone. If we wait right here, perhaps we can watch the bridge and see them coming. Let them save, Geraldine. What are you staring at? The bridge, Doctor! The bridge, look! This element's been washed out! You're peculiar going on here, don't you think? I think that woman has good reason to be worried, too. Sounds to me like the beginning of just the kind of story we like around here. Nice and creepy, huh? Well, you'll have to wait until next time for the whole thing. That old scare master of ceremonies, the gory goon of Deena Sanctum, a raiment will be on hand.  Won't you? When the raiment, the giggling goon, tells you the spine-tingling tale, voice on wire. This is Peter Lauren, closing the doors of the mystery playhouse. Good night, second attack. This is the Armed Forces Radio Service.


The City of Columbia, Richland School District 1, and the Martin Luther King Jr. Memorial Foundation have kicked off the annual Dr. Martin Luther King Jr. Honor the Dream Food Drive, benefiting Harvest Hope Food Bank. The food drive is held each year to honor Dr. Martin Luther King Jr.'s legacy of community service. Some requested items include canned fruit and vegetables, dry goods and canned meats. The food drive ends December 6, so make sure to drop off your donations by then at one of the numerous locations set up around the city. For a full list of locations and more information, visit the Parks and Recreation website at columbiasc.net slash parks-recreation or contact their office via phone at<PHONE_NUMBER>. Thank you. Your support of this food drive will not only fill plates, it will fill people with hope.


In the immortal words of Hall of Fame baseball player and manager Yogi Berra, if you don't know where you're going, you might end up someplace else. Nowhere's that more true than in the development and organization of a speech. In this video, we'll discuss some of the organizational patterns commonly used in public speaking. In the most basic sense, there are three parts of a speech's organization, the introduction, the body, and the conclusion. Dale Carnegie summarized speech organization by saying, tell the audience what you're going to say, say it, and then tell them what you've said. The introduction previews and sets everything up for the audience, the body provides the substance and details, and the conclusion brings it all back around in summary. Each of these three components is important to the ability of the audience to follow along with and comprehend your speech. That's a great place to start, but obviously, there's more work to be done. Effective speech organization requires a speaker to consider how they will organize the main points and information within the body of the speech so that their message will have the greatest possible impact.  We'll focus on the most common methods in this video. One popular organizational pattern is chronological organization. In chronological organization, the information in a speech follows a time sequence. Some speeches use chronological organization to discuss a process that spans over a large period of time, such as in this graphic in which the period covers several years. The topic could also have a more modest time frame, such as a speech designed to assist the millions of people around the world who struggle with making a proper peanut butter and jelly sandwich by breaking down that process step by step. Chronological organization is used commonly in informative speeches like those explaining historical events like the Battle of Gettysburg and for demonstration speeches like how tornadoes form. What other speech topics can you think of that might use chronological organization? Another organizational pattern used frequently for informative speeches is spatial. In spatial organization, the main points of the speech follow a directional pattern like north to south, top to bottom, front to back, or left to right. The graphic you see here uses a spatial pattern to divide the United States into quadrants with each area comprising a different main point. Some speeches break down information using a cause and effect pattern. As you might imagine, speeches using cause and effect organization typically have two main points, one discussing the cause of an event and another discussing the effect. Depending on the topic in question, cause and effect can be used effectively in either informative or persuasive speeches. If the cause and effect are both known and agreed upon, such as the connection between prolonged tobacco use and an increased risk of cancer, this pattern could be used in an informative speech. If either is debatable, however, like the curse of the goat being responsible for the long drought between World Series Championships for the Chicago Cubs, the speech would have to be seen as a persuasive effort. Speeches using problem-solution organization are also typically broken down into two main points, one presenting the problem and another offering a solution. Problem-solution is used almost exclusively in persuasive speeches. Even if the problem is readily evident to everyone in the audience, for example, the need for a change in the social security system, they are likely to be multiple possible solutions to the problem which opens the solution presented by the speaker to debate. Topical organization allows a speaker to arrange the main points of their speech in a logical way that doesn't fit neatly into one of the other patterns of organization. Main points are simply broken down in a way that is effective and makes sense for the speaker's overall goals. This graphic might represent a topical organization of a speech on the federal spending of the United States. It's not arranged chronologically for a historical perspective nor broken down regionally across the country or examined as a problem to be fixed. It simply categorizes the various items in a logical way for further discussion. Topical organization is flexible enough to be used for both informative and persuasive speeches. If your objective is to present both the good and bad aspects of a singular topic, then you might consider using the pro-con organizational pattern. Pro-con uses two broad main points, the pros and the cons, and then provides items in support of each of these as sub-points. An example might be a speech outlining the positives and negatives of homeschooling in educating children. Comparative organization is somewhat similar to pro-con, but it usually stresses the relative advantages of one idea over another. For example, a comparative speech might emphasize the benefits of homeschooling over sending children to public schools or the relative strengths of Samsung phones versus iPhones. Because comparative organization typically favors one item over another, it is most useful for persuasive speeches. Two other commonly used organizational patterns are need plan and mnemonic or acronym organization. In need plan, a speaker first establishes the need for a change in action or policy and then lays out their plan for addressing that need. Mnemonic or acronym organization is sort of a gimmicky method of organization that uses an acrostic to help the audience follow and retain the main points of a speech. One classic example of a mnemonic device is using Roy G. Biv to remember that the colors of the rainbow are red, orange, yellow, green, blue, indigo, and violet. Another illustration would be a speech on stroke symptom awareness that uses the acronym F-A-S-T or FAST to help the audience remember the main points of face, arm, speech, and time. While knowing about the different organizational patterns is helpful, it is important to remember that you have the freedom to organize the information in the way that best helps you accomplish your goals as a speaker. These organizational methods are intended as useful tools. Don't feel like you absolutely have to manipulate your content to fit neatly into one of these packages, however. Purpose and content should drive the organization of a speech, not the other way around. In this video, we discussed some of the organizational patterns commonly used in public speaking. Check out some of our other videos for more insight into the public speaking process.


what's up guys today's lesson is all about user interface design principles it's super exciting it's about six or seven i'm gonna go over and at the end of this lesson you're gonna have a much maybe better understanding of the key things you should be looking out for when you start ui design what things and i do i think the most important i've been doing it for 15 years so over that time i've definitely evolved as a designer and i look at different things now i look at things differently than when i started so hopefully i'll give you a little glimpse into some of that stuff so let's get started the first thing we're going to talk about is maybe it's a new thing maybe five or six years ago the industry completely changed and i'm going to talk about ui design languages and these have other names like design systems but we need to talk about it briefly because if you're looking to go into ui design this is going to completely affect your whole career really so i've worked on a couple of different teams who make ui languages so i made the one for barkleys i have worked in other companies who do these big ui languages and now i use one a ui design language is simply it's a consistent set of elements that as a designer you will use when you go into a big company i mean you know it's not even big companies anymore it's just a company that has like more than one website then you're gonna you're gonna have to use a ui language and it's not a bad thing it's actually a good thing in many ways so a ui language consists of things like buttons they all look at typography it'll have like things like tables and all the elements that you use when you design the website and at first like i remember if i if i would have had this when i came into the industry i would have been a bit frustrated and been like i can't put my own spin on things but the reason why i've changed my mind over my career and i think ui language is a good now because i've seen companies who have like 30 different websites and they all look completely different because you'll get every every designer you know wants to put their own spin on things but when you're in a big company it's actually a hell of a lot of wasted work really because across all these websites you think about a u designer website you you have the development team maybe there's five or six developers and other people they have to then make what you design and they implement it and then it's not reusable and that's the key word here reusable and that means money for companies at the end of the day so if i have a design language now and i've got 20 or 30 sites or maybe even two or three if i do the work up front and design the button design the logo design the icons then they can be reused in perpetuity like no matter like forever and ever no matter who comes in and it's a good thing because then if you make an update it can be applied across all of your designs and you can all keep to the same design ethos but that's why i've kind of changed my mind on it and also when you work in tools like figma sketch adobe xd they've got really good ways of creating a design system and you know if there's 10 designers you all share the same files and the reason why it's not as frustrating as it might first appear is because it actually allows you as a designer it gives you a bit of freedom actually from thinking about elements and it lets you think about the bigger picture and this is always the most important because when you don't spend time producing producing producing like buttons text the same things over and over again you actually think about different things so it's the 20 percent that you think about but that's the important 20 percent and it really makes a difference but we'll talk about a couple of other things but that's just an introduction to what a UI language is and you'll probably come across it in your career you'll either make one for smaller companies or you will use one for bigger companies and that's fine it creates consistency creates usability and it just ensures that everything's a bit more just a bit more even but what I want to talk about now is what is actually more important than the 20 percent is hierarchy so this is by far the most important thing that I've learned over my career as a designer that you should think about and it's the hierarchy of how you place things on a website so this is a bit of mix of UX thinking and UI together and I know a lot of people are hybrids and mixtures and we all like to think about different things because we're not cheap but when I talk about hierarchy it's every page that you design whether it be an app whether it be a watch design or whether it's a website there's something that you want someone to do on that page and that's not manipulation it's just you wouldn't have made the page if there wasn't an action for someone to perform at the end otherwise it's a waste of time for everybody so really think about when you create a page what the action is you want someone to do and put that front and center and then build the whole page around telling someone why they should perform that action so if you wanted the someone to click sign up to do a contact form or something put that button at the top and you know what I'm not scared of big chunky buttons make things big so people can see them I've sat in enough user tests to know that things are too small on the internet and we need to cater you know I think people when you see something simple it makes you feel relaxed because I've seen designs sometimes and you know what there's like a table and like 40 things on it it makes me feel overwhelmed but when there's two or three things and it's neatly laid out I feel more relaxed and I'm certainly more inclined to perform the action that you want me to and it's not a bad thing because I might want to perform that action as well at least I have the relevant information up front to know what I'm getting into before I do that so really think about hierarchy think about your titles your descriptions where things go and think about having a primary call to action so a cta is a button that's what we call it a call to action have that at the top and then favor on down the page it should be supplementary call to actions which will reinforce the main big idea so the person the user might not be ready to commit at first but as they read down more information the same call to action should be repeated you can use different words but maybe contact now contact us do you want more information you know it could all point to the same thing and that's why you really need to think about hierarchy it's super important and because now you have a design language you can actually think about some of the things that actually emotionally have an effect on people it's really important really really important so sorry I've got my little book down here so I'm just taking some notes the next thing I want to talk about yeah so I've already talked about like sizing and then creating emphasis on a page and this can be done in a couple of ways so when you create a website you have different hierarchies of text so you'll have big titles smaller titles and then you'll have body copy and things like this and what I don't want you to be scared of is making things big like I've just talked about big chunky buttons whenever I make a website I literally make the biggest button I can because I know more people are going to click on that than not I mean this is something you can test as well like there's a there's a great website called IFTTT if they stand that and for years and years I've loved their website because it's just simple it's just big text on a white background with some colors to emphasize what I'm actually doing it makes me feel calm it makes complex because a very complex website because you're combining things together and you do you actually perform in a task but because it's simple really don't be scared to think about simplicity as a as a UI designer because it just makes people feel better don't think you need the biggest the flashiest the most dynamic text on a website because none of that stuff matters because people are coming to your website not as a piece of art but as a piece of functionality and that's the reason why books are so popular you know people still read books even though they're films even though it's just text because it's the story that you're trying to get across at the end of the day and as a designer really try and strip that back and try and just show the most like simple information you can and you'll go very far in your designs so the next thing we're going to talk about is um along with sizing you need to think about responsiveness as well and a lot of this will come inside the actual design language so you might not need to think about it so much but if you create one so we work on three different main screen sizes now and you know there's about a million billion different devices but whenever people design websites you can either design mobile first where you start with the smaller screen and work up or you can design desktop first start on the biggest one and work down because the the information will be laid out differently on the different devices so you might have like a horizontal it's called a hero at the top of the page it's like an image with some text on it but that will look dramatically different on a phone than it will on your on your desktop because it will go more vertical on the phone and that's how things tend to do if you have three things next to each other on a desktop website they tend to stack vertically on a phone so phone pages are super long whereas work desktop pages are wide so you need to think about some of these things but what the most important thing is is that you view them on the device because sometimes you'll design something in your screen app and you'll think it looks because there's so many I have a 5k iMac and it's like I can see really small text but then when I get on a phone or something it looks too small so make sure you check it on a device think about responsive design and because you know a lot of people are using mobiles now even more than using their desktop and you know you'll hear a lot of people like so many people have said this to me over my career they go you should design mobile first but I'm just gonna say what I think it's the uncool opinion but I've always started desktop first and you know it's never it's never bothered me to never hindered how I design I designed desktop first and then I stack everything for mobile and then check it and there's like philosophies about these things but just ignore it and just do whatever feels right to you don't let other people change the way you design because at the end of the day it's just opinions there's no right or wrong so you know at desktop first it doesn't really matter whatever you want to do if you want to start with mobile you start with mobile it's it's perfectly fine the next thing we just need to quickly talk touches accessibility so whenever you design something on the web there's a lot there's a lot a lot a lot of people who have disabilities who use the internet and there's things in the user interface that will affect people with disabilities so I've seen this so you know in London when you're on the tube if you've ever seen it there's like a tube map and there's a series of six different lines and they're all just lines and originally I think don't quote me on this but say they're all different colors yeah but someone who's color blind will come up to that and they'll look at it and they might not be able to distinguish between red and brown for example and when those lines are over cross or they get jumbled up the actual map is really really inaccessible to them and it's quite important because they don't know where they're going and and this could be on the screen design as well there's there's websites where you can check accessible colors and you can put the hex code which is the actual mathematical value of your color into it and it will tell you whether it's a website font which means it's accessible but the way the London Underground got around this is they put dashed lines they put like horizontal dashed lines they put solid lines they put double lines so they give each line a different actual stroke as well as a color and then it looks like for people who have normal vision or can say all the colors it looked it looked even better because they could distinguish by two different things so really think about accessibility especially if you design a big website like I've done some websites for like the BBC which has a billion people look at it here so you really got to think about some of these things because it might not be so important if you design like a boutique website but when you design the big one there's so many people that you need to cater for something that you definitely should think about so the next thing we're going to talk about is typography so this is fun like you could do a whole course in typography but when you design a website there's you don't need to know too much about typography because there's basically two types of typography there's sans serif and serif so serif fonts have a little it's like it's like a decorative touch on the letters and it's a bit more old fashion you'll see it in books like Times New Roman so you'll have an s and it'll be like you'll have little things on it and then you've got sans serif which means without thing I don't know what the actual Latin is but it means without and it's a lot more modern it comes from like a like a movement in swiss design and they're two main type of fonts and you can combine them on the website sometimes you look at fashion magazines and they'll have serif fonts everywhere so the title will look old-fashioned and then you'll have more modern type throughout it so just understand the two basic things what do you want to be designing something maybe you're a lawyer or a solicitor then you'll want to go with a serif font it looks just a bit more traditional and professional but then if you're a designer like me I'll just have sans serif fonts all over my website because it's a bit more you know it's modern but like it comes from like a hundred years ago so that's kind of how things work now it's very very slowly over time so there are two types of fonts and you know think about your colors to a certain extent so whenever you have black on white it's actually quite harsh and I did lots and lots of research in this one I was working for Wired magazine we designed for the iPad and we actually we actually tried different colors of black so you can have black you can have dark gray dark gray and we found the best color was 60 60 60 in RGB values and it's slightly dark gray but it looks a lot better than black it's not as harsh and it looks good so maybe just experiment with that you can have different shades of black um or 50 shades of gray so um yeah experiment with them try and and see what you think but this I probably and I don't use too many fonts so um maybe use like one or two fonts on a lot of websites I just use one so you can use like a website a font called Gotham and there's Gotham light there's Gotham italic Gotham bold and as long as it's all in the same like family of fonts it will look great so don't do Times New Roman and Comic Sans together it's just the blending of the two fonts they have different meanings and different feelings and it's not great so try and keep them in one or two font families for some of the things that you're trying to create the next thing yeah let's talk about color this is this is a good one I've actually got a full video on a color theory for designers so you could talk for 25 minutes about this color affects people emotionally it affects how they feel about things and there's some great resources if you're thinking about putting color together for a website so adobe have a website and what you can do is you can go on there and there's lots of different um people have already made them you can go to the explore section and see the different color palettes that people have put together so maybe you'll use five colors on a website you need to think about how they blend together think about the overall emotion you're trying to do so if you're doing a bank maybe you'll use blues and greens because that's a bit more peaceful and it's a bit more professional people think about money when they have those colors if you're doing maybe like a crazy surfing website you might have bright yellows bright reds and a blue for the sea so you'll try and recreate the sunset but think about those check out adobe color because you might have a look at the trending ones that yeah you can have colors out of trending so you might look at the trending ones see what other people have created and you might find one that just works for you so really think about color and think about each color has an emotion so check out color theory it's really interesting if you're interested in this but each color gives someone an emotion and it means different things in different cultures so yellow means happiness in some cultures but in Greece it means sadness so really think about where you're doing the color for and find the nice color scheme that matches so the next thing we're going to talk about are so the last two things are images and illustration so these are things that you can apply to your user interface so you've got a nice simple site you've got nice fonts you've got a simple color scheme then this is where the magic happens I guess because you should see how like amazing a website is transformed by a good choice a good so it's called art direction when you choose a photography you don't need to be a great photographer for an illustrator I work the magazines and you work with a lot of you work with the people who go into photography and the people who go into illustration your job is to choose the best that matches your overall style and put it in so I'm going to give you a couple of resources so the first one is unsplash.com whenever you put photography on your website you need to be a million percent sure they're using royalty free images you can't go to google and copy and paste images because a lot of them are copyright and you just don't want to get into any legal trouble you want things to be done a certain way don't go on don't go on these stock photography websites I've seen people copy them and then like there's a watermark over and go and photoshop and change you just don't do any of that it's it's not respectful to the person who's talking because it's their business and unsplash.com everything is licensed you can use it wherever you want it's all super high quality you can download these massive files so the problem with ripping other people's images is they're all low res anyway so they're not great but check out unsplash.com it's the world's best place or not the world but it's my favorite place for getting them royalty free images and there's so many that you can choose from to make your website amazing so check out unsplash.com and then the next thing we're going to talk about illustration so very similar undraw.com is another place undraw.com is a place very similar to unsplash where you can get amazing royalty free illustrations designed by a great designer there's so like I look at technology ones and there's so many hundreds to choose from and you can get them get the illustrator file you can change them a little bit I've seen websites where they change the color slightly on them but yeah the key is choose like you can even pay for them adobe have a great stock image portfolio if you have some budget a lot of people don't that's why i advise going to unsplash but just be aware that a lot of other people will use the same images if you're using unsplash or undraw and it might look the same as those websites so if you've got some money going over to adobe stock pay just some great photography it'll be a lot less used and more unique to what you're doing but these two things bring your website alive and you can even apply like filters to your photography so there's a design trend at the moment called duoterm where you're only using black and white and one or two colors and a lot of people say you use an orange as your color you'll apply like an orange filter across the whole image so even that the images all look different they blend in with the style of your photography on the website you might like the matrix you saw the green hue over the images you know it had that kind of film graying vibe so think about maybe you could apply this film if you want i don't i just use them raw or but think about like there's certain things when you use images so a lot of people have a hero like we talked about at the top which is image text so you can't just have text on top of the image it doesn't really work sometimes you need to put like a black in between it like a 50 black so it deepens the the country looking for contrast between your text and the image you can do it sometimes say you add like just a sky like a blue sky with a little sun in it you could put white text on it so this is the bit that i get everyone on stock is text over image especially when you're working responsively so you're going down to a mobile the tech like the image crops at different spots and the text will stack so that's why i advise you to put like just i'm not one of these people for fancy things i don't like a blare or anything just put a black and just put like a 50 opacity on it it'll look great play around with the opacity and it'll make things better for you so they're all the principles i've got written down i hope this lesson or this introduction to ui language or ui design has given you like a taste for it so just think about it you know it's all about reusability simplicity accessibility fonts colors images emotion bring all those things together don't make it too complex make sure your hierarchy is right i'd say that's the number one thing make sure it's simple make sure it's readable elegant and you know you can create a lot of great designs by being simple and allow your artistic flares to come out and other things like posted design or things where people aren't really using them but they're again a bit more emotion from them so until next time guys keep designing and keep things simple


Welcome back to the channel. In today's video I'm going to convert this section of our footer into a block kind of template so that when we want to change stuff we can easily edit them in the block editor and then we can use them in our classic theme. Now the reason I'm doing this is because number one I'm changing this into a block theme and it will no longer be the classic theme. Number two this was built in a very funny way in that it makes editing this really really hard in order to change these details you have this theme options page where you go and just click and create and change things all through and then once you do that and hit save then they'll update here. But you have to go into the navigation area to get this correct and that's kind of time consuming and not so intuitive. So we're going to use what we call block template paths. Now how do we do this? Let's jump into the code. I'm going to open up my editor now and inside this space we are doing block stuff here. What we're going to do here in this if condition is we're going to look for the block underscore template paths as a function. Now because we're going to use this I'm going to copy it and paste it here. I'm going to first say let's find out whether this function actually exists and this has to be a string whenever you're looking for function and you get the name of this function and place it in here. So all of this is nicely clean here. So if this block template function actually works I want to look for a template path called footer new blocks. What press will be looking for an HTML or PHP file that's called this and this should be found inside our theme in a folder called paths. So inside paths we need to add this file and then we can say HTML. So because this is HTML I'm going to add a paragraph tag. I'll add take you press in here so that we can preview. I'm going to save this. The next thing that we need to do is inside our functions that PHP file we need to use the after set up theme hook. Now I'm already using this in here and I'm using it to add theme support for post thumbnails title tags and so on. Now what I want to do is because I'm writing stuff for blocks here I'm going to use this same hook here and I'll say add action and the tag or hook that I'm looking for is this and I'm going to add a new function and say this is for block related theme support and that will be the name of my function. Of course I can just add safaris to prefix it and make it look a little bit unique. Of course don't forget the semicolon and I'm going to define the function here and inside here we're going to actually add our code that we want to do. We want to do the add theme support. We want to support block template parts so I'm going to add it here but in this particular case this uses dashes instead of underscores and this is going to be with an s so block template parts. We are now ready to use this new template part inside our footer.php so what I'll do is come to our footer.php. I'm going to erase everything inside here and start off afresh start with our php and say this is footer template and after adding our comments to tell us what's happening we are now going to move this function that we're checking for and we're going to place it here and this function is going to look for this template part which is called footer new blocks and we already have it in our parts area here and it's called footer new blocks. So I'm going to go back to my browser I'm going to reload this and you will see that this is actually now giving us sticky press right here so if we want to have a new footer I'm just going to click pages right now because we're not using this with a block theme the best way to handle our editing is to use something like this page that has the block editor. Let's use the column block because this is going to work very well we'll go for 50 50 the first thing I want to do with this column block is give it a background and the background is going to be black the text will be white so that we can see what's going on and inside here I'm going to add a paragraph and say this is the part where we want to add copyright 2023 and say the name of our site is blog safaris theme and then in this particular section I'm going to add a social icon block and I'm going to say let this be justified to the left they should be opening in the new tab and then we can give them an icon color of this orange or this yellow for now so I'm going to click this plus button and say let's have Facebook and our Facebook should link to HTTPS and we'll have that right there click enter and after doing this we need to add a plus sign and we're going to add our Twitter and we'll say Twitter also should just be the same click enter now we're going to change this from the default and say let's have logos only or you can choose to have bills I prefer the logos and now I need to extract the html of this whole thing that I do have so I'll come to these three dots right here I'll click code editor and then I'll copy all the content that's in here then go to my editor and I'm going to go into our footer new blocks and I'm going to paste all this content here and hit save so once I do this I am able to go back to my browser go and reload this page we'll see we have our edited content right here now the differences you're seeing in the editing is because I am not supporting the different pieces of styling that are available readily like supporting a line wide or a line full width and so on so we have this kind of conflict in the CSS but once I do that my adding the theme dot jason file in here and then I begin adding the different pieces that are required so let me go to this section I'm going to look for the theme dot jason and I'm looking for the wordpress schema and we can actually get all these particular settings in if we need to have them so I'm just going to copy layout in here I'll come back to our editor I'll add it in here and you see this is going to do something different so I'm going to just save this draft so that we don't lose what we've edited I'll reload this and you see that now when we click on our column we actually have this new piece of information that says hey you can align this wide or you can align it full width so you can see that in the editor you have all of this and all you need to do is actually come to the code editor select all of this copy it come to your code editor and then replace whatever you have inside this template part I'll hit save so that when I come to the front end we reload this and then once I inspect this element you'll see that we have aligned full as a new class showing up and we have quite a number of things that are conflicting because this theme had already a number of styles going on I'll be creating a series where I show you how to create a block theme from scratch in this particular case I can actually exit this I'm going to add new columns and I'm going to go for the triple three I'll have this column block just maximum wide inside this I'm going to add an image and I'll use my media library I'll look for a logo click on this and you'll see that it's actually having the image I'm going to use this panel just to change the background select this change until let's have this as the orange background we can actually reduce this so that it's not so huge in here I can add a navigation if I want to like this and then inside here I can go ahead and add pages by clicking the pages list and you'll see this working so all I need to do is just come back to the code editor select all of this go to my editor as well and then I'm going to replace the html that we have here save this come back to the front end test that it is working and you'll see that it actually works I'm not doing so much of coding I've changed the template parts and this is working so you can have as many template parts as you want as you migrate your site from a classic theme into a block theme now we're going to work how to do this from scratch so that we're not having so many conflicts with our css and we're able to do this as perfectly as possible if you enjoy this video please give it a thumbs up don't forget to share it with your friends and subscribe to the channel if you're new there's so much about Gutenberg coming in and I hope this helps you in your daily workings with wordpress otherwise enjoy whatever you're developing


It's a Mark 1, but what is it? RS 1600? Yep, it's currently running full RS 1600 spec with 1600 BDA engine, rocket gearbox, and the Capri Atlas diff. So what do you make? A couple hundred horsepower? Yeah, be about probably 180 horsepower at the engine. A little underpowered? Only in the fast open roads and the tight stuff we should be reasonably competitive. It's a long way, it's a marathon event. You've got 1200 odd k's of specials. What's your approach? What's your tactics? To go a little bit easier on the first day than last year when we actually rolled it, but just go a good safe pace for the whole thing and try not to get too tired on the long stages. And still be smiling in Queenstown? That's what we're here for. The prize money's not quite big enough, so we're just here for the fun of it. Keith, good luck mate. Thank you very much.


Long time sight members have probably heard the phrase, there is no canon about a thousand times at this point. It's possible that even casual SCP fans and readers have heard the same thing, but again and again, even after I created a whole video on the topic, in comments for future videos and comments on articles that I've written on the wiki, I see people missing the point of that phrase. So today we're going to talk about why you're wrong about how the SCP wiki works. Normally when people interact with fiction, they often internalize and build their own ideas of what things are, and that's kind of a canon. Many fictional works have an in canon and out of canon set of works attached to them. For example, there are hundreds of Star Trek novels that are non-canon, but anything they show on screen is considered to be canon, well except for one episode of Voyager, but I digress. As Star Wars took a completely different path for years and made almost all of the books and games and pretty much everything else made around the film content canon to the films as well, that didn't last once Disney took over. When most people read a book series or watch a television show, the idea of what's actually happening on the screen or in the pages being non-canon is completely alien. If Disney said tomorrow that a new hope was non-canon, people would be pretty flummoxed, and if George R.R. Martin said that a storm of swords was non-canon to Game of Thrones, then people would be rightfully confused. Which is probably why it's hard to approach the concept of there is no canon on the SCP Wiki, but what does it really mean? Well, first of all, that phrase is itself kind of misleading, which may be why people have difficulty understanding it. There is a baseline canon of swords, it's just very, very basic. There is an organization called the SCP Foundation, and it keeps anomalies in containment and out of view of the rest of the world, but that's about it. Beyond that, there's very little that's true for all works, and then I wasn't always true, which is also contributing, I think, to people not understanding it. The site up until mid-2010 was really very much an interconnected large canon. You can see it very clearly in the earliest of SCP works, and again, I think that may be why new readers have trouble understanding it, since those early works are what they've mostly read the most of. Major SCPs show up in testing logs for other SCPs, tales where multiple SCPs are featured players, or prevalent, and the doctors obviously work together quite often. But then something changed. In June of 2010, one of the site's biggest earliest contributors kind of had a hissy fit about getting banned, and they demanded that all of their works be taken down. The Wiki complied, but this also meant that suddenly there was a huge hole in the site's strongly connected canon. And from then on, fiction on the site became more and more disconnected until about the time Series 3 came around in 2014, where the idea of cross leaking was kind of taboo. And since then, we've slowly walked back from that, and the idea of more interconnected stories has sort of become the norm all over again. But it should be noted that there are cannons on the Wiki as well, and these are explicitly interconnected stories, usually with a basic premise that changes something about the baseline canon. Broken Masquerade has an SCP foundation that no longer keeps things secret from the public. And Founded features a universe where the foundation never existed. And there are many, many, many more canons, so outside of those, it's probably more accurate to say that there are infinite canons, rather than there is no canon. And there's a good reason for saying it that way, because each individual article or tale takes place in its own universe. And that goes for all five or six thousand articles on the Wiki. You can choose when writing to connect it to something else, but that doesn't change the thing you're connecting to. The best example of this from my own works was a collaboration I did with SCP Illustrated about the termination of SCP-096, and people on that video and on the article, because I posted it on the Wiki, called it Fan Fiction and Non-Canon, which betrays a basic misunderstanding of how the site works. There are plenty of people who could be writing stories in SCPs and GOI documents in a world where SCP-096 doesn't exist at all, much less gets killed that way. Each story is its own island. Which is also why when people ask me, can I use Samaritan in a story where he does X? I always just say, don't bother asking me that. You can use him in anything. If I don't like it, it's just an alternate universe. And if you're new to the Wiki, this is among the very first lessons you need to learn, because it's not a limiting thing. It's very, very freeing. You can always write an interconnected story if you want, but it's not the default setting for SCP writing. I'd like to give a special shout out to my Patreons for this month. If you'd like to join these fine folk, head on over to patreon.com. Link will be in the description below. And finally, special thanks to The Vulgan for making this sweet, sweet outro and the little intro you saw earlier. And for you, thanks for watching.


We all joined with a purpose, a similar purpose to be behind the idea that you're supporting the defense of your country and the innocent. Being in a professional arms, a high level of discipline is required. You have to be 100% on all levels, spiritual, mental, physical. All those platforms come into play when it comes to keeping your discipline in order to perform. I know what I signed up to do. You know, I know I'm supposed to report for duty and I'm supposed to do the job. So I'm there. I like to strive under stress and it's for sure high stress. Overcoming it is more of just a mental fortitude thing. So you just have to you have to power through. Everybody has their own way of finding a solution, but what's important is knowing that it's going to happen and at the end of the day you have to have that resolved and get the job done.