Bonjour et bienvenue, this is La Modélise and welcome back again to my channel. In today's tutorial, we'll be recreating patterns for the brown column dress designed by the amazing Daniel Roseberry, the creative director of the House of Schiapparelli. I was captivated by this piece for its simplicity, seductive touch and overall creativity. In this tutorial, we will primarily use a pattern making technique called cuttings and I'll guide you through the process. Before we start, let's take a closer look at the details of this garment. Draped Halter. The upper area of the dress features a halter neckline that drapes around a gold necklace. The draped halter neckline is also connected to the under bust part of the dress which I refer to as cuttings. I'll demonstrate this later. Empire cut. The front part of the dress has an empire cut that accentuates and lifts the bust area. Cut out.  Panels. The dress is also composed of panels or princess seam lines. The center front is cut along the seam and not on the fold. Pencil skirt. The length of the skirt is approximately 30 to 35 inches from the waist. It is a pencil cut that creates a narrow shape at the hem, accentuating the hip line. Slit. Given that the skirt is a pencil cut, incorporating a slit at the center back is practical for improved mobility. Pivoted Seam Lines. As mentioned earlier, we will be working with cuttings, a pattern making technique that involves pivoting a seam line to create a new position or direction. And for the back, the cut is until the bust line. For the draped halter top, we'll deviate from the traditional draped effect of the design. Instead of draping it around a necklace or a tie, I'll demonstrate a different technique. We'll use a collar foundation to provide support and structure for the halter top. To start off, I will trace my basic torso block on my pattern taper. And make sure there's sufficient space at the bottom of the hip line for the skirt drafting. From the waistline, mark down the skirt length. From the skirt length marks, square a line like so. Next, from center front and center back at the hip line, square a line towards the hemline. And also at the side seams at hip line. The width of the hip lines should be parallel, same hip width as basic torso. From the end of the first front dart, square down a line until the hemline. And from the end of the first back dart, square down a line until the hemline. And do the same procedure for the secondary darts. From hemline at side seams, mark in 1.5 inches or 3.8 centimeters each side. And from this mark, square a slant line towards the hip line at side seam. And do the same procedure at the other side. From center back at hip line, mark down at least 3 inches to 8 centimeters. From this mark and at center back, mark out 3 inches or 7.6 centimeter. And square a line connecting the marks and the hemline. And mark down 2 inches or 5 centimeters from the rectangle shape. And square a slant line towards the angle. This is the back slit for the dress. Because it will be impossible to draft the top areas with this long dress, I will temporarily cut off at the hip lines of my front and back dress foundation so I can draft the top areas easily. I will later tape at the hip lines once I'm done drafting. From the bust point, draw your bust radius minus 2.8 of an inch or 0.6 centimeter. And from the bust line, mark down the same bust radius measurement for the under bust line. And square a line. From under arm at side seam, mark in 3.8 of an inch or 1 centimeter for the first contour guideline. From this mark, draw a slant line blending towards the waistline at side seam. Next, from the first front dart at bust line, mark in 3.8 of an inch or 1 centimeter each side. And from these marks, draw slant lines toward the bust point and this is the second contour. And draw in slant lines toward the waistline on each side. Next, redraw the shoulder bust dart pointing towards the bust point and cut through the first princess line until the bust point but do not cut beyond. And transfer the shoulder bust dart by closing it permanently. Next, draw in the neckline from neck point until the under bust at princess line using a curved ruler. Next, from neck point measure out 2.8 inches or 5.7 centimeters and mark. Next, from side seam at bust line, mark out 3.8 of an inch or 1 centimeter and connect these two points together with the curved ruler for the new armhole. From bust line near center front, mark up and down 4.8 of an inch or 1.27 centimeters. And from these marks, draw slant lines toward the bust point. Next, from shoulder point, draw in a line towards the bust point. And from this line, either mark in or out 4.7 inches or 1.27 centimeters. And from this mark, draw in a slant line until the bust point. And close these contour guidelines and mend and blend the neckline and the armhole. By the way, for those who are new to my channel, I have a separate tutorial for bodice contouring principles and it is available on my channel so better check it out. Next, cut through the second princess line until the bust line but do not cut beyond. And from the second dart, slash one of the dart legs at waistline like so. Next, fold the excess from the dart leg and close the dart and tape only until the under bust line as shown. And next, from the waistline at side seam, mark up 3 inches or 7.6 centimeters. From this mark, draw in a curved line connecting at the under bust. And continue taping the second dart until the curved line. Going back to the first dart, slash through one of the dart legs this time at the under bust line. And next, fold one of the dart legs. Close the dart and tape the dart only until the under bust line. And as you can see, the neckline and the curved line at the second dart are now connected. And cut off the pattern from the side seam going towards the neckline. And continue to cut the pattern off from the peeper. And here is the top halter piece. Next, cut off the triangular cut out from the under bust line. We won't use this anymore. And continue on cutting off the excess at princess seam lines of each panels. And label each panel and indicate the center front and the side seam. So here's how the top halter piece and the panels appear on my dress form. Next, let's cut open the darts again. And on another piece of paper, let's trace the pattern for the lining. For the self or shell pattern, I'm going to divide the neck by three, creating two marks for the slash lines. Next, from these marks, I'm going to draw in lines until the bust point and the second dart. A straight slash line until the bust point and a curved slash line until the second dart. Next, I'm going to slash these lines open and close the darts and tape them in place permanently. Next, get another piece of paper, tape the self or shell pattern in place, and square in lines in between connecting the slash lines. First one should be gathered and the second one will be folded. Next, I'm going to put my desired sewing allowance. And please do not forget to notch the pleating or gathering references. And also notch at the center front chestline and notch at the previous dart at under bust. And label the pattern. To make it clear, for the armhole and neck, I've used two eights of an inch of sewing allowance. For the neckline and at the curved seam, I've used three eights of an inch of sewing allowance, four eights of an inch of sewing allowance at the side seam, and two eights of an inch of sewing allowance here at the first dart of the lining. For the second dart, I'm only going to fold it like so. I will also notch here at the chestline. For the collar, get the back and front neckline measurements from your bodice or torso block and record the measurements.  On your paper, draw a left angle line and the horizontal line must be longer. Label the vertical line center back. And the horizontal line is where the collar sits. For short, label this line neck. From center back, mark out the back neckline. And square a line. This is the shoulder point line. From shoulder point, mark out the front neckline measurement. And square in a line. Label this line as center front. From neck, mark up 2.5 inches to 3 inches. And square a line. And label the center front as unfold. And for the center back, the closure will be buttons and loops. So here's how the collar pattern piece and the top halter piece look like on my dress form. We deviated from the original design of the halter top, but this version also adds that extra flair to the dress. For the back, we will mostly draft from the bust line downwards. And I will cut through the back princess lines, both darts like so. And I will cut through one of the dart legs at each dart at the waistline. And fold the darts. And close the dart until the waistline. From the bust line at center back, mark down 3 of an inch or 1 centimeter. From this mark, draw a slight curve until the underarm at side seam. Next, from side seam at underarm, mark in 3 of an inch or 1 centimeter. And square in a slant line towards the waistline. From center back at new bust line, mark in 2 of an inch or 0.6 centimeter. From this mark, square in a line towards the waistline. From the waistline at side seam, mark up 3 inches or 7.6 centimeter. From center back at waistline, mark down 2 inches or 5 centimeters. Next, using your ruler, draw a curved line from the 3 inches mark until the waistline and the direction is going to be at the first back part as shown. From side seam at new bust line, mark in 4 of an inch or 1.27 centimeters. And from this mark, draw a free hand curve line until the 2 inches mark at center back. So these 2 patterns will appear as if it's a continuous panel. Next, I'm going to cut out the patterns from the paper and label each pieces and indicate the center back and side seam. So these are my back patterns and this is how they appear on my dress form. So after drafting the torso, I will tape the patterns back at the hip line. 4 back panels 3 and 4, I will fix the princess seam line. At the hem, I'm going to mark in the halfway between panels 3 and 4. And from this mark, I will pivot the princess line making a new line. Anyway guys, I hope this pattern making tutorial give you enough tips on how to recreate the column dress from the house of Schiaparelli. And if you have any questions, please do not hesitate to comment down below and I will reply as soon as possible. And if you like this video, give it a huge thumbs up. And if you super like this video, give me a super thanks. And if you're not subscribed yet to my channel La Modelis, make it sure to hit that subscribe button and I will see you guys again on the next tutorial. A biento!


Okay, so what we have here, we have one of the PZT valves hooked up to a system So we have an inlet of high pressure gas on one side and then we have a tube out to atmosphere Into a little beaker so we can see what's happening with the bubbles So what we actually do is it by just turning the voltage up on the actuator here You should see the gas flowing through the valve and bubbles appearing in the water and again if you turn the voltage down the bubbles stop So that's the principle of operation You can actually control very very high pressure gases by simply varying the voltage across the device And and then you get the output of gas at the other side


how I cut tenons on a large, heavy, cumbersome workpiece. Oh la, Woodworkers, Paul Carlson here, a small workshop guy. I've got a bench top in progress for my samurai carpenter workbench. So here's like a half of the bench top, and then this is going to be an apron for that bench top. This is upside down.  And so it's going to be one and a quarter inch tenon first all the way through. And then I'm going to cut fingers out of it to fit through these separate mortises.  So that's my project here, this big, heavy workpiece. Normally my preference when doing tenons is to use my dado stack on my table saw. But when I've got something this long and this heavy, it extends beyond my table saw and even with my large cross cut sled, I have trouble supporting it. So doing it on my table saw, my preferred method went out the window. And so I go to my equally preferred method which is using my large boss router. This is model MR23 EVS with a half inch collet so I can fit in very large router bits. I have mounted on here what's called the Samurai Carpenter router jig, which is this plastic base. And what that does is it gives me a lot of stability around my cut. Whereas if I just used the regular base, I would end up tipping off of my cut and this provides extra stability. Got a one inch router bit with a half inch collet and a powerful enough router to handle that. Normally when you're going to do a large workpiece like this, you're not just working on one, you usually have another one that's exactly the same width. That is very useful as a brace for your router base. Without that I might come out over the end here and then tip down and cause a problem. I like to keep this router level so I like to have a second workpiece to secure it with on the outside. I want to have a limit on how far my router goes here to the right into the workpiece because I only want the router to come up to this line. Now I want the distance between this line and a line at the other end to be very precise. So I don't like to go over it. Obviously that would be a little hard to put the wood back. But also if you leave it too short then you get involved with a lot of chiseling. So I like to go ahead and try to creep up to that line with all of my setup so that I can use the router to cut it precisely because I find it cuts much nicer than my hand chiseling. Now make sure you're unplugged. Last thing you want to be doing is grabbing over this router bit while you accidentally press an on button or something. So I'm going to get that over where my line is. I've got my good prescription glasses on. I rotate that bit so that I can see at the outside of its cycle that it's not going to go over the line. Sometimes you go to line it up and you don't have the outer edge of the bit down there. I even have a little bit of trouble with my eyesight so I keep a nice handy flashlight always available right on my tool wall. Check to see that this is square across here. It is worth the extra minute or whatever it takes to make sure you're getting this right because if you don't and you don't have any other adjustment abilities then it could be problematic. So my one last thing, I'm all supported. I've got the stop block. I'm ready to go. I just need to set my or my stop bar so that I don't go beyond this line.  I've got the dust collection accessory on my router and so I can get that shop back on there. I want to get it so it doesn't restrict my movement. So nice and loose. The thing I like about this router is there is no on-off switch. There's only a pressure switch so I can't accidentally have it on and engaged when I plug it in. So I like that. You're always going to be concerned when you're coming across here and you reach the edge of getting some blowout. To protect against that, what you want to do is break the fibers along the edge.  I remember I want to be a little bit inside of that line so I'm setting up inside of that line. A little light pole to get it started. See how I'm inside of my line? That whole exercise there was to avoid a tear-out. You need to do something to deal with tear-out. Although with Maple, it certainly doesn't seem to be as much of a problem as when you're using like red oak. But Maple, I love working with Maple for that purpose. So I got that taken care of. I got my line set. I got my stop block. I got all this stuff. Let's get my safety gear on. It's router bits and working over and over and over again. One inch. And that works much faster and seems to have more control. So I got a nice square and a quarter inch tenon here. In this particular case, I've drilled using my benchtop mortiser to the relief hole so that I can now work on cutting out the fingers. I could have done this in other ways. There's always multiple ways to skin the cat. If you have a large resaw blade on your bandsaw, there's nothing that would keep you from pushing this across the blade on the bandsaw and cutting this nice straight line as long as your blade's not traveling. And then also you could go with the bandsaw this way.  And then turn that again with enough time and effort. I could cut this and cut out this waist area just with a hand saw. So there are other ways to do it. I'm working on another video for tricks, tips, and techniques of getting these triple split tenons or wedge tenons to fit very, very tightly in my mortises. And so look for that. So the bottom line here is that one of my preferred methods of cutting a large cannon in a heavy cumbersome workpiece is to use my plunge router with all of the stabilization and all of the stop blocks as demonstrated. I hope you find that helpful. I would appreciate it if you could give me a like, maybe even a comment and a share. That would be very much appreciated. If you haven't subscribed, be sure you do that as well. Small Workshop Guy, signing off.


I am Dr. Archer. Today we are performing a high-peck surgery for an ovarian cancer case. There are a lot of myths around high-peck surgery that people think that it is a surgery. Actually, high-peck therapy is part of a surgery, of a bigger surgery, wherein a heated chemotherapy is put inside the patient's abdomen. So I'll just quickly take you what all components are there for high-peck surgery. Come, let's just see that. So that's Dr. Vinid. And he's made a beautiful colosseum. So that's a colosseum, you know, a theater sort of a thing, wherein all the fluid just circulates in this and stays inside this only. So that is the colosseum which is made. That is the high-peck equipment which creates a temperature of around 41 to 43 degrees centigrade. And that is the work of this high-peck equipment. The fluid goes in, fluid comes out and it maintains a temperature of 41 to 43 degrees centigrade. And that is not enough. It requires a full coordination of the whole team. The onconeurses, you know, you can see them. Then there's a technical staff which is trained for high-peck. And then we have the NSS also who will be monitoring the urine output, the electrolytes and the coal sort of armamentarium that they have to maintain about. So that is in short about high-peck surgery. And we'll see you at the end of the procedure. Thank you.


Welcome to this lecture on Transition Metal Organometallics in Catalysis and Biology. In the course of the last few lectures, we have been discussing a very important reaction, which is olefin metathesis and has been also a seminal discovery by its own right and merit with regard to the polymerization reactions. And in fact, this is the second Nobel Prize award winning discovery after olefin polymerization and then subsequently the one that you are discussing, which is olefin metathesis. Now, we have noted in the previous lecture that this olefin metathesis reaction has its origin from olefin polymerization reaction in terms of its discovery, because research on the area of olefin polymerization led to observations of some unexpected results, which at that point of time could not be explained and later on this unexpected discovery resulted in the field of olefin metathesis. So, this olefin metathesis has its birth in olefin polymerization reaction. Now with regard to olefin metathesis, the thing which was perplexing is this cutting and stitching of olefins. Olefins that was observed when olefins were studied for polymerization reaction. It seemed that this cutting and stitching of olefin was very clean and conveniently accomplished under the presence of the catalyst and that was what intriguing at that point of time. Olefin metathesis as we have also noted has its origin in industry when people were studying olefin polymerization and we had also seen that the name olefin metathesis was coined by researcher at Goodyear Tyres and was first traced back to the tetrahedron later publication in 1967. Subsequently, we have observed that the race was on explaining or developing an understanding on the mechanism of this cutting and stitching reactions of olefin were happening, this cutting and stitching of olefins which were deemed as olefin metathesis reaction. Now these were studied intensely particularly with respect to obtaining mechanistic insight using mass spectrometry studies as well as NMR studies using isotope labeling experiments with deteriorated olefins as well as C14 labeled olefins. Now these were important developments which were simultaneously studied in the US as well as in Europe and there were parallel publication using the results of these labeling studies on deteriorated olefin as well as C13 labeled olefin both appearing in 1968. Now once this cutting and stitching mechanism of these olefin metathesis has been established, the focus shifted on obtaining the mechanistic insight of this reaction. Today what we are going to take up is on various mechanistic hypotheses which was at that time thought to be the main pathway for performing this olefin metathesis reaction and which we would be discussing in more detail in today's discussion. Now the first of the mechanistic insight was a hypothesis was proposed by the researcher of Goodyear tires in their 1968 JSES publication. What they had proposed is the reaction of olefin resulting in cyclobutane type of intermediate. I am illustrating this with the help of an example the olefin being bound to metal then forms a kind of a transition state which can exist kind of intermediate so basically giving rise to do different kind of olefin swapping. So, this is akin to similarly to what is shown over here. So, in short, it can be written something like this for two kinds of olefin in presence of a metal it goes through cyclic intermediate and then this cyclobutane intermediate which then loses metal to give the olefins with A and C and B and D counterparts. Now, the main drawback to this theory is the fact that there were no observations of any kind of cyclobutane intermediate. So, formation of cyclobutane in the process of metathesis was never observed, which sort of led to discarding the theory, but nonetheless this was very clever attempt in explaining this unusual phenomenon of cutting and stitching of olefins and the obvious proposed pathway was suggested that it went by the formation of cyclobutane intermediate and was first published by researchers from Goodyear in 1968 J.S.C. as paper. The next attempt was in explaining the mechanism was by Pettit in 1971 Professor Ronald Pettit and this was also reported in the Journal of American Chemical Society in 1971, where the proposed catalytic species was proposed to be a tetramethylene metal complex as is shown over here. So, this resulting in a very fancy and that being in equilibrium with the other metal di olefins complex. So, this is illustrated as follows for the two olefins in presence of metal giving this compound T, which would then lose the metal to give the desired cross-couple olefins, and this is called tetramethylene complex. Even though this looks like a very nice way of explaining the formation of two different kinds of olefins, however the main drawback to this is the proposed intermediate, which is the tetramethylene complex, and then that is what did not go through finally, and at some point was predicted as a plausible mechanism for the reaction. The next proposal was also a very nice effort towards explaining this formation of cross-coupled olefins using this curtain stage mechanism, and this time too it was proposed none other than by this future Nobel winning researcher, Professor Robert Grubbs. However, the mechanism that he had proposed for metathesis actually turned out to be wrong. Nonetheless, it is interesting to see another new approach as hypothesis as proposed by Professor Grubbs in explaining the mechanism of this olefin metathesis. So, Professor Grubbs mechanism was proposed in another J.S.C. paper in 1972 in the J.S.C. paper, and the mechanism what he proposed is instead of going through the earlier four-membered tetramethylene complex or via cyclobutadiene complex, actually the one that he proposed was that of metallocyclopentene complex, which sort of rearranges to give the product. Let me illustrate this over here. So, to olefin first binding to the metal, and then this formation of the metallocyclopropene resulting in this metallocyclopropene complex, and that undergoing some sort of rearrangement to finally giving the olefin adduct of the cross-coupled metathesis olefins to the metal. This I will explain in a cartoon as A and B type of olefin reacting with C and D type in presence of the metal to give C D A B that undergoing rearrangement to give B D C A, and then finally resulting in A C B D type of the metathesis product. So, the main thing was rearranging, hypothesis was rearranging metallocyclopentene intermediate. So, what is interesting over here is that even this attempt of explaining metathesis of using this rearranging metallocyclopentene intermediate turned out to be a wrong, and that the final or the other attempt by Professor Chauvin was one which finally won over all these different proposed insight. But what is by and large overwhelmingly clear is the fact that how intricate this mechanism establishing this mechanism of metathesis had been that so many brilliant minds had worked tirelessly to come up with the mechanism unfortunately many of them could not get it right. So, finally the one which really won over the ole is a mechanism by Professor Chauvin and which was published much later in 1971 in a relatively obscured journal of macromolecule chemie written in French. So, 1971 by Professor Chauvin from French Petroleum Institute and this was published in macromolecule chemie 1971 141 volume 161 page number and this is best shown by the mechanism and what it says that it goes through the formation of a metal carbene bond. So, this is suggested to be the main active species for the reaction so that turns out to be the correct one so that reacting with the olefin ended up giving R2. So, what is to be noted here is the fact that the now the metal carbene pieces has swapped from becoming CHR1 metal to becoming CHR2 metal. So, this was an interesting proposal whereby it is suggested that this metal carbene species is the active species responsible for performing this olefin metathesis and indeed this turn out to be extremely a true later on and this is what it got the field going. Now, what is all the more interesting is the fact that the complexity in the problem is highlighted very much in these failed as well as successful attempt the number of failed and successful attempt made by imminent minds at the time in trying to get an insight on to how the metathesis reactions are progressing and what is to be appreciated over here is the depth and the power of organometallic chemistry to accommodate so many different kind of hypothesis and proposals that may lead to the formation of these metathesis products and however another interesting thing that emerges out of the study is the fact that these the results of which were finally turned out to be incorrect were published in the premium journals whereas the correct one was published in not so very popular journal as the earlier ones and also in a different language than that of English. So, the science by enlarge this highlights the importance of science and a good quality of work nonetheless that if the work is good no matter where it gets published it will see the light of the day. Now, as per Professor Chauvin he said that three papers which are kind of work by fissure in terms of the fissure carbene complex CO5 tungsten CH3 and that was published in Angucan in 1964 by Professor Fissure and also the polymerization olefin polymerization ring opening polymerization of cyclopentene by Professor Nata again in Angucan international edition 1964 3723 and the industry work by Philippe Petrolium's bank and ballet work on on propylene so inspired him to come up with this proposal. So, what Professor Nata did is the we looked at the metal carbene complex first synthesized by fissure then the ring opening polymerization of cyclopentene by Julia Nata both appeared in Angucan 1964 journal and then Philippe Petrolium bailes research on propylene getting converted to ethylene and butene so he kind of looked at all of these discovery and came up of this idea of metal carbene species being the active species for this metathesis reaction and then had proposed these kind of coupling of olefin via a metal carbene species. So, this is an interesting proposal which one can appreciate now the way the perfect solution was arrived at by looking at various other complexes and various other chemistry being reported around at that time and then explaining this mechanism for olefin metathesis which had been a remarkable breakthrough. So, with these I would like to conclude today's lecture where we have discussed about various mechanistic approaches that have been taken in trying to explain the mechanism of olefin metathesis and this started with the formations are proposed intermediates of cyclobutane bound to metal by calderon and that did not find support as there were no evidence of formation of cyclobutane during this olefin metathesis reaction. The second reaction mechanistic hypothesis that we had looked at is by Petit in another JSES 1971 paper in which Arthitra methylene metal complex was proposed to be the main intermediate in olefin metathesis and that also did not find ground in the because of the fact that there were no evidence for such Arthitra methylene complex could be seen during metathesis reaction and the third another important paper by professor Bob Grubbs in JSES 1972 paper where he had suggested or to spoken about rearranging metallapenta cyclo pentane as the main active intermediate for olefin metathesis polymerization. However, even this turned out to be wrong and the beauty is even though professor Grubbs had lost out in proposing the correct mechanism for metathesis. However, his subsequent studies were significant enough to fetch him a noble price later for the same discovery and all of these efforts were going on in US where the race was on to explain the mechanism for metathesis and around at the same time by following in Europe in France particular by following the work of professor Fisher in synthesizing carbene or that of professor Natta for carrying out ring opening polymerization of cyclo pentane and as well as that of banks and bailes observation of propylene giving disproportionate to ethylene and butane. Professor Chauvin in French petroleum institute came up with a mechanism which involved the formation of metal carbene as the active species responsible for carrying out this olefin metathesis and this fortunately was published in a little bit obscure journal macro molecule chemistry in 1971 and also written in french but however it stood the test of time and went on to become the most acceptable mechanism for this olefin metathesis reaction. So, today with this we come to an end on the discussion of various approaches that were taken in trying to explain the olefin metathesis more on olefin metathesis particularly in trying to appreciate how the reaction propagates and what are its application so on and so for a lot more detail when we meet next for this NPTEL course. So, with that I conclude today's lecture thank you once again for being with me in this lecture and I look forward to discussing with you a bit more detail on olefin metathesis when we meet next on the next lecture. Since then goodbye and thank you.


Now, 401, I am going to call the meeting to order we can have this meeting because the governor says so we can have this meeting just on zoom because the governor says so everyone should know that. People outside can see your screens and anything that broadcasting so be careful what you're showing. And if people have questions about the materials. They're available and novice. So we start with public comment. I see someone who's named ways Sharon. If you're here for public comment, can you raise your hand? Your virtual hand. Okay. I'm not seeing a virtual hand raised and I don't see any other attendees. So I'm assuming there is no public comment. So now we go on. Dr. Holman, do you want to talk about the position that we're here to approve? Sure. So, typically it is not a practice that I would like to have happen very often that we're bringing a job description to you at this point in the year. And as we're thinking about launching a new school year and a new budget cycle. However, I've been in conversations with the Thompson team since last year and all of you about the class sizes there and the fact that they are spatially constrained. And Ms. Nato has been thinking a lot about whether or not she wanted to take over another space in the school. The multipurpose room is used for PE classes that are often doubled up so there would be more children than can fit in the gym if we were to take the multipurpose room to use as a classroom. The groom would be another option, but then you're moving music through the school throughout the day, which can be really disruptive to classrooms nearby. And the more she sort of weighed out her options, the more she really thought it would be best if she had four sections per grade level so that's what they have moved forward with in planning for this year. I don't know if I'm presenting any buffer zone students who come into that grade two away, but Thompson's buffer zones make it a little harder to do that just because there's not much of a buffer zone on the hearty side because of the pond so So this role is coming from me asking them what additional support, do you feel would be the most useful in addressing what are some larger class sizes particularly in grade two, but also a grade one. And they talked about that at length they talked about whether they would like an additional social worker they talked about an additional sped liaison but they have actually added a couple sped liaisons over the past couple of years, and didn't feel like that was the immediate need. This is the position they came up with and it's instead of, for example what we've done in the past which is adding teaching assistants to the two grade levels where there are larger class sizes. And I like this better than adding to we are adding a teaching assistant at Thompson but I like this as well. Better than that because I would always rather have licensed professionals particularly dual licensed professionals which is what this requires, working with our students and teachers. So essentially what this role is this inclusion specialist role that's in your materials would be a dual licensed individual would focus their attention on some of our lower grades where there are larger class sizes at Thompson. And is there to work directly with teachers and provide additional support in the classroom from a licensed professional where and when it is needed. They might do longer cycles if there are particular student needs that require that with one teacher in one section they may drift between sections. I would work with Karen on a design for how this would be utilized and we would track some data over the course of the year to see if it's a useful role to have in the system. It's a role that we've considered in the past and that actually Allison has some funds in special education to consider doing for a district level as well. It's one that's been on the, the proposal block for budget but that hasn't made it to the final proposal that has come to all of you. So it is something we've thought about in the past it's just not something that has come directly to you. I can't answer any other questions for it Karen would have been here but she has been spending some time with family this past week so she'd be better equipped to answer questions but I can of course bring any back to her and answer them. One reason also that we're bringing this to you in a meeting now, virtually, is because she has some folks she thinks could be potentially interested in it wouldn't want them to start in a classroom with their students and then switch to another role, and have to back fill the teaching role so we'd love to post this swiftly if we can also this has been shared with Julie keys. And we've made some revisions based on some feedback from the AA. I'll stop talking and take any questions. I don't have any questions. Raise your virtual hands or real hands I can see everybody pretty much I think. Okay, I see no hands raised. I'll ask a couple questions. What is the Dr. What is the class sizes that we're talking about for grades one and two at Thompson. Yeah, so I don't have the draft rosters that they have in front of me I have the enrollment report that I sent to all of you. I think last week, right now class average size in kindergarten is 20 class average size and grade one is 22.5 and average size and grade two is 24.5. And could you just very quickly walk us through like a day in the life of this teacher and how they would be interacting with the students and especially with grade two where the class sizes are large. Mm hmm. So I would imagine this person would be attending all of grade two say ace meetings and doing planning with the teachers which is where a lot of the planning happens. During that planning would probably be making a plan with the teachers to either take small groups they could take small groups from multiple classrooms. For example, if there was some need to have additional reading groups at that grade level. They could if there was a space available take a group of students to do an add on to a lesson from a curriculum. For example, if there was I mean they we have reading intervention this and math interventions but when you have bigger classes or class sizes. Sometimes you stretch that resource a little bit so this person could step in to provide that kind of support, or they could be in a classroom with a teacher for a whole day if there is a particular set of student needs that requires some more intensive support in that particular classroom. It's similar in concept to coaching but it's not meant that way because it's supposed to be directly student facing. But it is sort of a support for teachers where they need it on instructional things that are happening at the moment so there's some flexibility for assignment and that's part of what I need to work out with Karen is to make sure that she has a clear sense of what this role is and is not doing so that it's not useless and it's not just a substitute. It is if they work closely with grade to also which they should be. If one of those teachers were to be out it provides a far more seamless ability to backfill an absence in that grade where they're working closely with them but I wouldn't want this person to be somebody who subs for whichever person who is out that is not the intent of this role. It is the intent of this role that they are working closely with those first and second grade levels. Also they'd be doing some we have SST teams at Thompson and they would be working tightly with the SST team which is a team that when there are concerns about a student gets together to talk about the concerns look at the data surrounding and come up with a plan for addressing whatever it is the learning challenge is so they might be involved in implementation of whatever the plan is that comes out of SST. Okay, and you had mentioned that they might do small group pullouts. If space was available and I'm just wondering where would the space be and is there actually space available. If you had more push in small groups it does constrain the space of the room sometimes that doesn't quite work but you could also if you said had say five different reading groups that you wanted to provide some level of intervention or expansion to during a reading block. You could have one classroom have two groups in it, and then the other classrooms have other groups in it and you can, and we've been working on getting the elementary schedules a little more blocks so that say everybody's doing reading at the same time. And that gives flexibility for additional service providers to put groups together from two classrooms into a different space, but the more of that push in we can do I mean it says in the job description that the goal of this is to keep students in the classroom more. So I would imagine small groups in the classroom more often than pull out, but if we did need to do a pull out. Sometimes the multi purpose room is free it's relatively rare during the day at Thompson but there are times the library sometimes is open so you can pull small group into the library. They have a couple other small spaces they've made by cutting some classrooms into small intervention spaces that could also potentially be used as needed. Okay, thank you. Anyone else have any other questions. comments. concerns. I don't see any hands or anything. Okay. So, can I have a motion to approve this as presented. So moved. Second. I didn't hear who it was second it is it was. Okay, so the motion was made by Mr. Thielman seconded by Ms. Exton any further discussion. Okay, all in favor. This is a roll call vote. Ms. Morgan. Yes. Mr. Thielman. Yes. Ms. Exton. Yes. And I will also vote yes. So that passes 500. And I think that's everything that we have on this agenda. So, barring that we are done and we will return on August 30, I think. So, right. Yeah. Okay. Ms. Fernandez, I forgot to first introduce you and also see, did you have anything you wanted to say about this? No. Sounds good from our end. Okay. Okay. So that's it. Can I have a motion to adjourn? Second. Okay. Motion to adjourn by Mr. Thielman. Seconded by Ms. Exton. Voice. Roll call vote. Ms. Morgan. Yes. Mr. Thielman. Can't hear you, Mr. Thielman. Yes. Sorry. Yes. Can you hear me now? Yep. Carrying now. Okay. Ms. Exton. Yes. Okay. Ms. Kettleson. Yes. And I also vote yes. And I declare the meeting adjourned. Thank you. Okay. Thank you. Thank you. Bye. Thank you. Thank you. Bye. Bye.


Everybody forced and shown here. We got 2023 NT collegiate football hobby four bucks case number seven random divisions Sure the results again on screen those are available anytime a late sports cards calm There's a Lincoln chat currently too if you want to See him again for whatever reason right now. All right. Good luck y'all Again collegiate rules current team current team is where the cards will go if they're free agent or retired It goes the longest tenured team their career Seasons played is the first thing and games play be tiebreaker if seasons are the same All right going to the Eagles got AJ Brown. So NFC East AJ Brown the 99 triple jersey you've got Hedden Hooker Jalen Hyatt and Byron young See hi, it is a giant Byron Byron young Raiders, right? He is a ram. So we've got NFC North NFC East and NFC West Random at the end Parker Washington Nike swoosh RPA One of two for the AFC South the Jags Stick Washington for the Jags Penn State action there AFC South Whoa, that's it. That's that's a name right there David Pollock auto 69 of 75 David Pollock What's the TV guy pretty he played the NFL Bengals Bengals on the Pollock AFC North Dual Jersey Ricky Ronnie Bell the 25. I believe that's NFC West. Where'd you send this one? AFC North He's Niners like fourth receiver right NFC West on the bell dual jersey here is number 299 Got Bryce young and Jamiro Gibbs. So NFC South NFC North random at the ends. I see South NFC North That is Jaren Hall call it silhouette signatures of 25 for the NFC North Hey Smurf Happy to hear from you College material signatures purple redemption Anthony Richardson for the Colts the AFC South You go AFC South Sorry to hear that though, but glad to hear from you All right, Jordan Love out of 99 NFC North Who is balling right now? Triple Jersey number to 99 you've got Jalen Hyatt, Cedric Toman and Hendon Hooker now So NFC East AFC North and NFC North random at the ends. We got a ton of randoms in this Sean Tucker Jersey auto to 99. I believe Sean Tucker is bucks on a trade Tucker's Raiders Sean Tucker bucks NFC South College silhouette signatures BGO Jalari to 39. I believe he's a cardinal Yep cardinals NFC West Jersey card. You've got Don Tavion Wicks NFC North He had a pretty good game on Sunday. I think Yes, I should say Don Tavion Wicks NFC North Packers Number of the 99 tank of Bigsby on the rookie Jersey on a book AFC South the Jags Thank Bigsby What are Jags out of 99 AFC South? Redemption is Don Tavion Wicks Silhouettes signatures Emerald for the NFC North Another big card Jersey auto arch manning the 75 Another random at the end but to everybody on this one arch manning Jersey auto to 75 Pretty good case of our gonna arch Anthony Richardson Lamar Jackson for the AFC North of 49 Quadgers in a 99 another Tennessee multi this time Hyatt, Tillman Hooker and Byron Young So Hyatt NFC East that's Tillman AFC North Hendon Hooker NFC North and Byron Young NFC West Oldie cow ran Hopefully have time for personal that's all these random Tana Rakita 90 I for the NFC West I don't know man. It's gonna be close Really close man. Zach Evans rookie auto out of 75. He's Rams, right? Rams NFC West Will McDonald the fourth rookie Jersey to 99 for the Jets AFC East B-Sean Robinson rookie patch auto to 99 for the NFC South Gorgeous B-Sean We go NFC South with the awesome hit here Gonna go in here redemption.  He would have to be Washington, right? I know he was missing other teams are it's got to be watching it by a good bit No, same year as his Baltimore, but he played way more games with Washington, so NFC East NFC East on the RG3 notable nicknames redemption It's a sick one there. It'll be awesome Jersey auto will Anderson's in 99 AFC South AFC South Jersey auto will Anderson. All right last box No, I don't know just to throw it into the ether just making sure yep a George Kittle to 49 for the NFC West Rookie dual patch card 25 max Duggan for the AFC West Sean Tucker rookie logo signatures to 49 for the NFC South Cedric Tillman RPA to 49 for the AFC North go AFC North jumbo Jersey here out of 75 tank Bixby for the AFC South The Jags there Quentin Johnson to 99 TCU Jersey auto book Quentin Johnson Chargers first rounder AFC West Next going to the NFC West. We've got a Zach Sharpen a to 99 RPA Sharpen a to 99 NFC West And we're gonna close it out with the one-of-one for the AFC West RPA Marvin Mims Congrats going to the AFC West again Broncos here that's chat see chat One-of-one Mims RPA Heck yeah, Chad Ems look at that one mags. Oh, we got only five feel like more than five for some reason. I don't know why we can double-check I could have easily Okay, so in this order we've got the hooker Hyatt and young NFC North NFC East NFC West random Then we've got the young and Gibbs NFC South NFC North And we've got Hyatt Tillman and hooker this one would be NFC East AFC North and NFC North Then Hyatt Tillman hooker and beyond they're just combining these four players as much as they possibly can apparently NFC East AFC North NFC North and NFC West and then random to everybody is an Archman in Jersey auto to 75 Okay Good luck to everybody Everybody's got a chance at some of these at least 11 had to roll an 11 Again top team after 11 on every single one of these hooker Hyatt young first one two three four five six seven eight nine ten and eleven NFC East young and Gibbs one two three four five six seven eight nine ten and 11 NFC South Hyatt Tillman hooker one two three four five six seven eight nine ten and eleven NFC North Tennessee quad one two three four five six seven eight nine ten and 11 that is NFC West And for the arch best of luck to everybody on this one one two three four five six seven eight nine ten and 11 the NFC West gets it congrats NFC West Awesome arch for you. All right Relics. There was the quad one of the triples One of the dual and then the other triple Quentin Johnston the Chargers on the book here AFC West and we had tank Bagsby bless Max Dugan a Will McDonald fourth tank Bagsby RPA book on TV on wicks Ronnie Bell our autos of Zach Charbonnet Cedric Tillman Sean Tucker will Anderson jr. Zach Evans Tanner McKee Bjo Jalari Sean Tucker Jaren Hall David Pollack one of two swoosh Parker Washington on the RPA Anthony Richardson AFC South Cosmaterial Senators Purple Redemption You had on TV and Wicks NFC North silhouette signatures Emerald redemption NFC East RG three little mini nicknames redemption. It's just RG three. Yeah Jersey Auto Arch Manning great arch there NFC West one-of-one RPA mims for the AFC West the Broncos and a D Johnson 99 RPA for the NFC South Thank you very much everybody pretty solid case there moving on now to purcells in just a bit


The winter battleground of the subarctic, occasional forests of evergreen, plenty of snow, and temperatures that hover below zero. For poorly trained men, such terrain could be a dead end to disaster. But the obstacles of bivouacking are no more formidable here than they are anywhere else when a man has first rate U.S. Army equipment and knows how to use it. When preparing to bivouack, before a man takes off from his base camp, he checks his personal equipment. A warm sleeping bag. After a hard day in the open, it's something a man really appreciates. A feather-stuffed quilt with its water-repellent case fits into a carrying bag which can be packed at the bottom of a man's rucksack. A sleeping pad. When blown up, it forms an air mattress, and of course there's the score of small items that a man carries in his pockets and on his belt. A rucksack is the normal arctic pack. Medium weight loads can be carried a lot easier in a rucksack than in an ordinary pack. Most of the weight is distributed on the hips, giving the low center of gravity necessary for skiing. By keeping the pack from wrapping snuggly against a man's back, the frame allows a circulation of air that reduces the perspiration that collects. Chapstick to keep a man's lips from chapping in the dry cold wind. Sunburn preventive cream. Goggles. On a clear bright day, one hour on snow or ice may be enough to cause snow blindness. A waterproof matchbox. An emergency reserve to be saved for the time when perhaps ordinary matches or lighters may fail. Fire starter. A candle for heat and light to be put in a pocket later. An emergency thong for lashing packs and repairing ski straps and snowshoes. The hook on the belt strap is useful for carrying miscellaneous items that a man may not care to carry in his pocket. Like the stiff mountain brush that he uses for brushing the snow off clothing and equipment, and possibly his spoon. A knife and fork, of course, and a couple of sticks of ski wax. A soldier in the subarctic travels light. Heavier and bulky items are hauled in the squad's 200 pound capacity sled. The boat-like sled is made of plastic. It has a canvas cover and lashing rings and ropes for protecting and securing the load. It's important to properly distribute the weight. The 10-man arctic tent goes on the bottom. Another heavy item, the five-gallon gasoline can, fits conveniently to the rear of the tent. Rations in the Yukon stove go up front, along with a pair of one-burner cooking stoves. A pair of mountain cook sets and a pressure cooker. A loaded sled like this can be dragged by soldiers on skis and sometimes it has to be. But ordinarily, if there's any substantial distance involved, sleds are either hauled by tracked vehicle or delivered by air. Carefully covered with the canvas that is folded and tucked to keep out snow and moisture, the cargo is latched down from front to rear with stout nylon cord. Everyday group work tools, such as a saw, a machete and an axe. Along with 50 feet of light malleable wire, are tied in on the top of the canvas where they will be handy whenever they're needed. When operations complete, the platoon moves out. Bivwaks are planned in advance. Before leaving the base, the platoon leader usually has decided the distance that his unit should attempt to cover in a day. And by checking maps, he has selected likely terrain that should be suitable for defense. A bivwak must be located tactically in accordance with principles of security and defense. And the site that is chosen must be large enough to contain the entire unit. Evergreen forests are decidedly superior to open country, and it's worth making a special effort to be able to take advantage of all that they have to offer. Advantages like firewood, unlimited boughs for insulation, protection against weather with an umbrella against snowfall, a windbreak from the snowblown cold, and of course effective natural camouflage against enemy air and ground observation. Choose your site in the thickest part and enter from a point where your trail can be camouflaged or easily hidden by shadows. If there were a stream nearby, that would be good too, but you can't always arrange it to have everything. This location fills the bill. Security. Ski patrols and an all-around perimeter defense are quickly established. If you're in an advanced party and traveling fast and light, setting up camp may mean building yourself a lean-to shelter. In a clear spot of ground between a couple of trees, tamp down the snow. Lash up a cross log five or six feet above the ground and lean a row of stringers up against it. Making a good solid job of the corner lashings is rather important. A unit of well-trained soldiers can put one of these up in shorter time than you'd think. In a site like this where you're lucky enough to have plenty of evergreens, every scrap of every cut tree serves a useful purpose. The boughs that are used for the roof are laced into the supporting stringers and woven in with each other so that they will hold in place. The short branches are spread out on the ground to make an insulating mattress-like floor. Pointed stump ends are tucked in underneath the softer tip portions. When the tactical situation permits, build a long log fire, preferably backed up with a reflector wall. An air mattress isn't a must, but it's a convenience. When boughs have been spread on the floor, something has to be laid down under the inflated mattress to protect it from punctures. The outer parka is spread out over the top like a mattress cover. The warmth that it can provide is not going to be wasted. Now the sleeping bag itself is spread out on top of the outer parka and the bag is opened partway up. The mountain brush is unhooked and plays where it will be handy. Such things are left inside the bag so they won't get lost and keep your pants pockets buttoned. Your rucksack folds up under the head end of the air mattress. When the tactical situation makes it reasonable to take your clothes off, there's a system for getting into your bag with minimum confusion. First, you loosen your belt. Boots come off one at a time, left foot first. As soon as one is off, the foot goes down into the bag. Now the right foot. Wriggling out of your trousers is the next trick to go to work on. The trousers are folded up. Then they're put back inside where they'll go underneath the knees.  They're placed next to the body, near the hip, where they'll be warm and perhaps dry out a bit. Your intermediate jacket is placed under the shoulders. Now comes the shirt. You take it off and fold it up so that you can use it for a pillow.  Get well down in. And while one hand holds the zipper track together at the top, the other closes the zipper. And here you have what a subarctic camp looks like when men haven't got a tent. But a setup like this is the exception. Ordinarily, units travel with their squad tents. When planning the arrangement of the tent site, care is taken so that tents will be a full 60 yards apart to lessen their vulnerability to shell and mortar fire. The motorized vehicles with the cargo sleds follow close in the heels of the advanced party. The end of the trail does not mean any loitering halt or slackening in activity. Men are sweating. And it's the exercise of the forward force that has been helping keep them warm. Until there is shelter in a fire, the exertion of pitching camp will help protect you from getting chilled. Construction teams are organized by squads. And the squad leader points out the sub area that has been allotted to his unit and decides where the shelter will be erected. The leader explains the restrictions that will be enforced concerning bow cutting, the use of water supply, and the handling of camp sanitation. Work details are assigned and one or two men are selected to clear the area. The floor of any shelter, of course, will want to be clear of broken branches and twigs and free of any jagged obstructions like protruding stumps. The deeper the snow, the better. And the snow is not cleared away from a campsite. It is packed down firmly so that it may act as a carpet of heat insulation. Bare ground gets considerably colder than snow. A man is sent to help construct the platoon latrine. Another goes after water for cooking and drinking. Whenever the tactical situation permits, a fire is started up immediately upon arrival so that a pot of tea or coffee can be set to brew. The rest of the men in the squad take over the assignment of setting up camp and erecting the tent. The 10 man tent, weighing 91 pounds, accommodates the personnel of one rifle squad or artillery section. With the site having been cleaned up and made ready, the hexagonal shaped tent can be unrolled immediately. Two men grab the upper corners of the front wall and stretch the wall out tight in the position that it will be in when the tent has been permanently erected. While the corner pegs are being forced into place, the setter pole is assembled and its sections are locked into place. Pounding's not necessary. After pegs have set a few minutes in tamped snow, they'll hold firm. The tent has been positioned so that its double zippered front door faces obliquely to the prevailing wind. The setter pole is made of lightweight magnesium and when it has been fully extended, it is nine feet long. To keep it from sinking down into the packed snow, take any flat surface, such as a box top and slip it under the base. While the man on the inside continues to hold the center pole in an upright position, the back end of the tent is stretched out taut and the remaining two corner pegs are positioned. If this was being set up for an aid station, a command post or other operational headquarters, by using the zippered rear door, it would be possible to join on to a second tent so as to form one long shelter. The two front corners and the two rear corners have now been taken care of. And since this is a hexagonal or six-sided tent, there are additional side corners that have to be pulled taut and anchored. Now back again to the front end of the tent. The yellow ropes extending out from the upper corners must be stretched out and pegged down. The other front corner. Notice how the ropes are extended in the same direction as the seams to which they are anchored. The door rope may be tied to a tree, or if there isn't a convenient tree, you can fasten a clove hitch around a ski or a cut pole and secure the running end to a peg in the ground. While both ski and tree can be used, the ski will not be utilized when trees are available in the area.  When completed, the tent should be tied in firm and should not flap loosely about in the wind. With the sled unloaded, the shelter is ready to move into, except that it's going to need to be heated. It's the Yukon stove here that takes care of the heating problem. Yukon stoves are designed so they can burn both wood and gasoline. Either way, they work fine and all necessary fixtures and tools come packed inside. Everything in good order? Gasoline burner assembly, fuel can adapter, fuel hose with drip deflector, spark arrestor and chimney guideline rope, and the sections of nesting stove pipe. With the base section of pipe fitted in place, it serves as a leg to support the rear of the fire box. The spark arrestor that fits on top of the chimney is a mighty important fixture. By deflecting the draft and screening the smoke, it reduces the hazard of sparks that can burn holes in the roof of your tent and under sun circumstances, might pinpoint your location to enemy observation. The guidelines that help hold the stack up can be mighty useful when it's windy. This time, the stoves being assembled for burning gasoline. That's the burner, of course, that's being fitted into place. The fuel can adapter hose is connected to the fuel valve. Connections must be tight, but there's a definite limit to the strain that they can stand.  The fuel valve should be closed for the time being. This is another thread that must be treated with some care and consideration. The inverted fuel can has a petcock and is tilted corner wise so that as it empties, the last of its contents will drain into the feed line. After opening the petcock on the fuel can outside, examine the assembly for any signs of leaks. Open the stove door wide and check for any signs of leaks on the inside. Keeping your face out of line of the flash that may occur, hold a match or a lighted paper under the burner and open the valve by turning it counterclockwise about half a turn. Then slowly close the door and slide the draft inlet so that it will be closed. Like the thermostat in a family living room, the proper adjustment for this fuel valve may be highly controversial. The final unpopular decision will probably be made by the man with the highest rank. To stop the burner, the valve is firmly but not forcefully closed. When gasoline is scarce and there are times when it gets in short supply, a Yukon stove is also a first rate wood burner. There's a grate that is part of the stove assembly and the fire is laid on this grate. The spark arrester outside on the chimney has already been checked and adjusted for use with wood. And when the fire is catching in good shape, the door is closed and its draft slots are open. As for a latrine, a slit trench is built to accommodate the occupants of several tents. The tree discipline will be strict. Where frozen soil makes it impossible to dig into the ground, wind-blown pollution is common and snow may have to be thawed for drinking water. A typical latrine arrangement is set up between a couple of trees. A trench has been dug down through the snow as deeply as possible. And above, there's a stout horizontal pole for a seat and a second pole to serve as a back rest. For deluxe accommodations, a windbreak of boughs can be constructed at the rear. And the wash faucet? Well, it may have to be a clean handful of snow. When a bivouac is planned for any duration, a tent latrine may be set up utilizing old ration boxes as catch basins. If gasoline is plentiful, burning is the best means of disposing of the tree waste and garbage. When burning is out of the question, such treasure can be buried in snow pits and the site marks for the protection of other troops who may follow. A useful arrangement that's easy to construct in country where timber is everywhere for the taking is a rack for the sled, skis, equipment and weapons to keep them out of the snow and in good working condition. And when snow is piled up around the base of the tent, it stays warmer and is more secure from the wind. Because boughs are everywhere available, a thick carpet of them is spread out for floor insulation. Equipment is arranged for convenience and utility of space. Rucksacks are placed against the wall where each man sleeps and the sleeping bags that are sometimes spread out like this from the center pole like the spokes of a wheel are opened in air. A cup of hot coffee begins with a number of cups of snow and it's a slow process. You have to melt down a fair amount of the stuff to get enough to make a pot of boiling water. Tent group cooking is generally SOP and to turn out the hardy hot meals that men in the subarctic need and want, everyone pitches in and helps with the job he can do best, whether it's cheap can opener or cheap cook. The Yukon stove is the old standby and there's always the cook stove if more burner space is needed. About done, is it, Chef? Using squares of clean cardboard for plates cuts down on the dish washing chore in country where hot water is hard to come by. After supper, you sort of catch up with yourself. Big game country, prepare for the big game. Gin, rummy. Washing with snow, you get used to it. No, this isn't snow and up here where whiskers grow icicles. Shaving's important. Using drying lines. Clothes get damp by the end of the day and getting into wet clothes every morning you'd make yourself sick. The higher up you hang them, the faster they dry. Whenever the tactical situation permits, you make yourself as comfortable as you can because a night may come when everything may be far different.  And a North country soldier, confident in his equipment and secure in his training will meet such a test in his stride.


all right we are recording okay let's go ahead so key lime you've applied for sandbox does anybody have any uh thoughts about this project um i they've been talking i know they've been talking to parsec because there's some overlaps with parsec um not directly but they're certainly in contact um they're in the middle of oh that's right yes they're in the middle of re-implementing and everything in rust so it's an exactly weird state because it was written in python however you're writing in rust seems like a good thing yeah but it does make it a little bit difficult to contribute potentially i mean or use because it's like it's that kind of weird transitional stage um i mean i guess we i mean we've had this with we had this with linkety um but there was an existing i guess there was an existing thing you could use until it was linkety one and then they switched to linkety two and it was kind of that kind of work but it's kind of weird as a sandbox slightly we're doing a sandbox state because basically us some existing in the sandbox are also switching switching languages um so i don't i don't yeah i guess it's not it's a dual breaker it can happen at any stage with any project yeah yeah i think if that i mean it looks like it's a red hat project um do they have contributors i mean you know this isn't a blocker but i'm just wondering if there's contributors or interest from outside of red hat oh there's somebody actually from canonical but it looks a bit so that's you know if they're if they're applying in order to get that kind of neutral ground i'm not sure that the rewrite is a problem no that seems like a good thing so yeah they're definitely talking to the parsec people about things they can use in common when they've moved to rust right key lime orchestrates trust and parsec abstract security from the for the platform i guess i find myself just curious about what they want to get from being in the cncf so we really need to start asking that question going forward but um it seems like a cloud native project should we does anybody want to say anything else or should we have a plate do we want to accept key lime to the sandbox i think that's everyone who's here so good to go yeah we can have a every now and then why do you want to be in the cncf next time


I'm Lisa DeLaGarza, Public Information Officer at Cal OES. This week, the State Operations Center at Cal OES activated in response to another winter storm that brought strong winds, heavy rain and mountain snow to many parts of the state. Through Cal OES-led coordination, local, state and federal partners worked to ensure communities had the resources needed to keep people safe. Also this week, Governor Gavin Newsom secured a Presidential Major Disaster Declaration to support storm recovery efforts in San Diego following a damaging storm in late January. This action makes federal aid available to affected individuals in San Diego County. To learn more and apply for assistance, visit disasterassistance.gov. Ahead of the 2024 Olympic Games, Cal OES met virtually with France's civil security and disaster management representatives to discuss event security along with risks related to artificial intelligence and forest fires. This open communication helps bolster security and disaster response in countries worldwide. And finally, after an increase in national gun violence at public events, it's an important reminder that there are tools available in California to help reduce the risk of gun violence in your community. Visit gunsafety.ca.gov for more information on life-saving tools like a temporary gun violence restraining order. To see more from us, visit our website news.caloes.ca.gov and follow us on all our social media platforms.


RCA Victor, world leader in radio, first in recorded music, and first in television, presents transcribe the Phil Harris Alice Faye Show. For your enjoyment, here is the Phil Harris Alice Faye Show, written by Ray Singer and Dick Chevalet, with Elliot Lewis, Walter Tetley, Robert North, Janine Ruse, and Whitfield, Walter Sharpen is music, and yours truly, Bill Foreman. Marriage is a wonderful thing when the persons involved are suited for each other. When they're not, it can be a big mistake. Tonight, Phil tries to stop such a mistake, but more about that later. First a word from RCA Victor. Baseball's back, and all over the country, you fans will be going out to the ballpark to support your favorite team. And when you can't get to the games, watch them on RCA Victor television. Every 1953 RCA Victor brings you big, bright pictures that are true to life, because every RCA Victor receiver has the improved deep image picture tube, and the better-than-ever magic monitor circuit system that brings in and holds the finest pictures automatically. And here's more good news you may not realize. You can own 1953 RCA Victor television for as little as $199.95. Think of it. For the price of an ordinary set, you can own the RCA Victor Wain, a big 17-inch table model set with its advanced features. And remember this. When you buy one of the new RCA Victor television sets, you can enjoy the world's best installation and maintenance through the purchase of an RCA Victor factory service contract. This exclusive coast-to-coast factory service is another reason why every year, more people buy RCA Victor than any other television. And now the stars of the RCA Victor program, Alice Faye and Phil Harris. Last night, Alice's brother William became engaged to be married. Alice and Phil don't know about it yet, and William has just arrived at the Harris home to tell them the good news. Well, Wallace, Philip, I rushed over here as fast as I could to tell you the news. What news? Oh, you'll never believe it. Never. Oh, wait till I tell you. Just wait. We're waiting. We're waiting. Tell us what happened. Last night, I plighted my troth. It serves your right.  You got a week back and them troth muscles are easily plighted. Philip, you don't understand. Last night, I plighted my troth, and tomorrow I'm entering connubial bliss. Well, why don't you go to a good hospital like Cedars 11? I give up. Nessus, what do you think of the news? Well, I think it's wonderful. What's wonderful? He's going to get married. In his condition? This kid's a physical wreck. Willie, what kind of a girl would marry you? She's a very lovely girl. Oh, just wait till you see Chloe. Well, I'll be very happy to... Chloe? That explains why she wants to marry you.  Willie, Willie, what does your fiancé look like? Oh, oh, Alice, she is a lovely thing. And I'm very lucky to get her, of course. She too was lucky to have caught me.  Hey, Willie, how long have you known this alligator wrestler? Yes, when did you meet this girl, Willie? Well, I only met her a week ago. We were introduced at a party and she fell for me. I remember the hostess said, Chloe, I want you to meet William Fay. And she fell for you right away? No, no, no, no, no, not that fast. It was my personality that got her. It's, it's, it's amazing. All I said was one little word and she fell madly in love with me. Yeah? What'd you say? Well, after we were introduced, she said, are you William Fay, the brother of the wealthy Alice Fay? I said, yes, and the next thing I knew she was in my arms. Oh, the passion I must have in my voice. Or oh, the money your sister has in the bank. Willie, I hate to say this, but I think this girl is a fortune hunter. Oh, sis, how can you say a thing like that? Chloe is not interested in money. She said she loves me because of my brain. She thinks I have a good head on my shoulders. Oh, I see. She ain't a fortune hunter. She's a head hunter. You do have a very unusual shape, Noggin. Yes, sir, that ought to shrink down pretty good. Unscrew it. Let me have a look at it. My, this is a collector's item.  I'll give him back his head. I mean, leave it. You two find out how wrong you are about Chloe when you meet her. She's coming over here at four o'clock and I thought we'd all have tea together. Oh, goodie. We're all going to orange pico it up. Hey, Willie, it's almost four o'clock now. Why didn't you tell me? Oh, I was so excited. Just let my mind.  Oh, and Alice, will you please let her in? I want to straighten my hair and comb my tie. Very well. I'll let her in. Hey, Alice. Hey, wait a minute, honey. I got to go with you. I can't wait to get a look at this game. I wonder what she's like. You know, from what Willie said, she must be a gold digger. She just wants to marry into the family to get her hands on the fey money. It ain't going to do her no good. I know. I've been digging around for years. Go ahead. We'd better let her in. How do you do? I'm Chloe Johnson and you must be William's sister, Alice Faye. I, my, my, what a beautiful home you have here. It must have cost you at least $75,000 and I'll bet you have it free and clear. And just look at that Persian rug. Why, that must have cost you at least 2000.  If you're through with the appraisal, we'd like to say hello. I'm sorry. Hello. Oh, Miss Faye, that necklace you're wearing. Real pearls, aren't they? I'll bet that cost you at least a thousand dollars. Well, I really don't remember. Wouldn't you like to step in? Yes. Come on in. Let me have your $8 coat and I'll hang it on our $49.95 coat tree. I'd like to introduce myself. I am... Oh, I know who you are. You're William's father.  Miss Faye, your father is certainly a well-preserved old man. My, he's so neat and dapper. Yeah, we try to keep him clean. At his age it's rather hot. Is that you, Chloe? Yes, it's me, William. Oh, pardon me, folks.  Well, be careful. Don't get any lipstick on his $22.50 suit with them two-pair knickers. Phil, flat girl's a fortune hunter and we've got to find some way to discourage her from marrying Willie. If there are only some way we could scare her and... Phil, you sing. What kind of a crack would that be? Look, I didn't mean it that way. I have the start of an idea and I can think much better when you sing. Well, I still don't like it, but I'm gonna do it. Don't let the stars get into your eyes. Don't let the moon break your heart. Love blooms at night and daylight at night. Don't let the stars get into your eyes. Oh, keep your heart for me for someday. I'll return and you know you're the only one I'll ever love. Too many nights, too many stars, too many moons could change your mind. If I'm gone too long, don't forget where you belong. When the stars come out, remember you are mine.  Don't let the moon break your heart. Love blooms at night and daylight at night. Don't let the stars get into your eyes. Keep your heart for me for someday. I'll return and you know you're the only one I'll ever love. Too many miles, too many days, too many nights to be alone. Oh, please keep that heart when we're apart. Don't linger in the moonlight when I'm gone.  Don't let the moon break your heart. Love blooms at night and daylight at night.  Oh, keep your heart for me for someday. I'll return and you know you're the only one I'll ever love. Well, I've got it. I've thought of a way to discourage Chloe. Yeah, how? Well, she thinks you're Willie's father, so let's keep up the pretense. Oh, I get it. All I have to do is to make believe that I'm Willie's old man, and that he's my little boy. That's right. And that all... Go away from me. I ain't gonna be no father to that mongoose. I only have to pretend for a little while. We'll get her alone. You tell her that Willie hasn't got a penny, and I guarantee you she'll be out of here in no time. Okay, okay, okay. I'll do it. I'll try anything. But look, I want you to know one thing, that I'm only doing it to save the woman of the money I love. I mean to save the money of the woman I love. Oh, and another thing, Phil. Tell her that I haven't got any money either. Tell her I lost every penny I have, and I'm dead broke. Oh, tell... You're kidding, ain't you? Arnie, please tell me that you're kidding. Now tell me. Tell me. You're not shaking me. I'm kidding. Oh, for goodness sake. What do you want me to do? Go into shock? Come on, let's go in. I'll get rid of Willie, and you go into your act. And remember, remember, keep your mind on your work. Don't be swayed by her pretty face. Oh, William, you're so masterful.  Let's go, Willie, please. You're wilting my celluloid collar. Oh, that ain't no son of mine. Let's get out. Willie, Willie, I'd like to have a girl-to-girl talk with Chloe. So would you mind leaving us alone for a while? You'd better get lost, Willie. Look, take a ride around the park. Here's your bicycle clips. Thank you. I'll see you soon, Chloe. I hope you girls have a nice chat. Bye. Goodbye. There goes my youngest boy, Will. Off to cycle around the park on his little three-wheeler. Mr. Fay, you should be proud of your son, William. Yes, little lady. I should, but I ain't. That boy's been nothing but trouble to me since the day he was hatched. I remember you said you wanted to talk to Chloe about other things. Oh, yes. Chloe Child, I want to talk to you. So why don't you just sachet over here and sit on your old daddy-in-law's lap? Now, that's a good girl. You just cozy right in there. Just sit right down. Father?  You're going to have to pardon my little daughter here. She's a point killer. What would you like to talk to me about, daddy? Well, I'd like to talk to you about William. There goes my point-killing daughter. Play a daughter, honey. Why don't you join your brother in the ride around the park? Here's a pair of clips for you, Toad. Now, pedal backwards. Don't hurry back. Just cut that out. I'm not going any place. Father, Chloe wants to marry William, and I think you ought to tell her about him. Oh, yes, of course, about William. Well, now I realize that he isn't much to look at on the surface, little girl. But I want you to know that underneath, he's a seething mass of nothing. How can you say that about your own son? It ain't hard. Now, shall we discuss the financial arrangements? You see, Chloe, any girl who marries William will receive a financial settlement from me. Oh, you mean if I marry William, I'll get a dowry? Well, it ain't exactly a dowry. We call it a reward. But you will receive the sum of eight dollars. Eight dollars? A dollar ninety-five and cash and a slow note for the balance. I never heard of an eight-dollar dowry. I know, but you see, Willie doesn't have any money of his own. Did you say William doesn't have any money? Nary a stipend. But I heard that the Fay family is very wealthy and... Oh, I see. All this belongs to you, Miss Fay. You have all the money. No, no, no. This doesn't belong to me. I'm broke. I lost all my money. But this sumptuous house and these expensive furnishings must belong to... to... Oh, I see. It all belongs to you, Mr. Fay. Well, I don't want to... I might have known. Under that handsome curly hair is a shrewd money-making brain. Well, you must be extremely wealthy, Daddy. Low dead. Tell me something, Daddy. Are you married? Oh, no, no. I just live here with my daughter Alice. She takes care of me, don't you, daughter? Yes. Yes, you see, Father's so old he can't do anything for himself. I have to put his toupee on him in the morning and then I have to find his teeth for him. Then there's his gout. And every morning I have to pound on his chest to soften his arteries and let him... That'll be fine. All right, all right. Oh, now I don't think he's that old at all. As a matter of fact, I think he's just the right age. For what? For some lucky girl to marry. Do you know something, Daddy? I've been thinking that perhaps William is too young and callow for me. I need someone more mature. I'd be much happier married to a man like you. How true. But aren't you reaching for the moon? Of course, if it means you're happy, Miss Nidere, I'm willing to... Break it up. Break it up. Chloe, excuse us for a minute. Father, Father, come into the other room. I want to talk to you alone. What are you trying to do, you old Rue? Well, I was only doing it for you. For me? Certainly, I'm trying to make her forget Willie. I thought I'd marry her for a week or two and then... Never, Mom. Oh, there must be some other way of getting rid of this girl. All right, how? We'll have to find some man who has a lot of money and throw him at her. Now, who do we know who has a lot of money and... I've got it? Elliot. She ain't got a biscuit. I know that, but Chloe doesn't. And all we have to do is tell her that Elliot is a wealthy playboy and she'll drop Willie like a hot potato. You call Elliot, explain what you want him to do and tell him to come right over. Okay, okay, I'll call him. And in the meantime, I'll go in and entertain Chloe. Now, how are you going to entertain her? I'll sing her an expensive song. That'll keep her happy. This can't be love because I feel so well. No sobs, no sorrows, no sigh. This can't be love, I get no dizzy spell. My head is not in the sky. My heart does not stand still, just hear it beat. This is too sweet to be. Love. This can't be love because I feel so well.  A bug is so infectious, it gets under your skin. And if you fight it, it's got a win. This can't be love because I feel so well. No sobs, no sobs, no sorrows, no sigh. This can't be love, I get no dizzy spell. My head is not in the sky. Does not stand still, just hear it beat. This is too sweet to be. Love. This can't be love because I feel so well.  Now look Elliot, now you've been paying attention. You know exactly what we want you to do. Oh yeah, you couldn't have picked a better man.  I know that's where you usually play, but tonight I want you out. Now look, are you sure you can play the part naturally? You notice I'm dressed for the role? Yeah, I notice the clothes. Those are clothes, aren't they? Please. This is my playboy outfit. Purple beret, pale fudge scarf, lingerie and bolero and checkered plus fours. You think I need something else to set this off? No, leave it alone, it'll explode by itself. Where's this girl I'm supposed to romance? Look, she's inside with Alice. Now come on, let's go in. Elliot, now remember I want you to lay it on heavy. You're supposed to be one of the richest men in the world. Now in order to impress this dame, all you have to do is to keep talking about money. Money. Talk about nothing, just money, money, money. Okay. Oh, Alice, dear. What is it, Father? Look who just dropped in. This is our wealthy friend, Elliot Van Finkelfinger, the third. But of course, how are you, Fankie? Johnson, I'd like you to meet our millionaire friend, Elliot Van Finkelfinger, the third. Well, I've never met a millionaire before. How are you, Mr. Van Finkelfinger? Oh, I'm money, money, money, money, money. Thank you. And how money, money, money, money are you, my dear? Hey, Fank, come here. What? I wouldn't go that heavy. I think you're going with me. Too much? I'd say with just a wee bit, yeah. It ain't that much money. Leave him alone. I like what he has to say. If you're a millionaire, you must have money. That's a shrewd observation. How much would you say you have, Mr. Van Finkelfinger? Oh, I have scads, gobs and oodles. Of course, I have a few more scads than I have oodles, but my gobs keep piling up. I just love to talk to you successful men. Tell me, did you make your money yourself? Heavens, no, I had it made by Hattie Carnegie. Nothing like custom-made money, I always say. Would you care to see my new off-the-shoulder $20 bill? Or I have a five with a plunging neckline that's real sexy. So cute. It would be stimulating to be married to a man like you, but unfortunately, I can't marry you. Why not, my darling? Because I've promised my hand to another man. Well, give him your hand. I'll take what's left. I've always been one for pot luck. Chloe, why don't you forget William and Dad and marry Elliot? Anybody home? Do you think I should, Miss Faye? Certainly.  Well, I'd certainly like a man like him. In fact, I'd like nothing better than to marry a man as handsome, as intelligent, and as wealthy as you, Elliot. What lady? Because I think he's smooth, sophisticated, slob. What'd you say, my dear?  Hey, groceries, over here, please. Excuse us a minute, Chloe. Mr. Harris, what's going on here? Look, I'll explain. This girl wants to marry Willie because of Alice's money, so I'm pretending that I'm Alice's father to talk her into marrying Elliot, the wealthy playboy. Huh? We'll go once more. This girl wants to marry Willie because of Alice's money, so I'm pretending that I'm Alice's father to talk her into marrying Elliot, the wealthy playboy. And we got to do it before Willie gets back on his bicycle. How'd the bicycle get in the act? Ah, Chloe, you and I will be so happy together. With all my money, we'll have a wonderful life. Just think, we'll spend the winter at my chalet in San Moritz. In the spring, we'll go to my chateau in Paris. And in the fall, we'll spend on my yacht in the Mediterranean. And where will we spend the summer?  Two, two lovebirds just run along. And when Willie comes back, I'll break the bad news to him. I know he'll be heartbroken, but... Well, I'm back, everybody. Willie, get off the bicycle. You're in the house. Oh, well, I'm so excited. I forgot to get off. Oh, while I was gone, I kept thinking of you, Chloe. Did you miss me, dear? What did you do while I was gone?  First she jilded you, then me, and now she's working on Stinky. I don't believe it. Chloe wouldn't look at any other man but me. Are you kidding? I just remembered seeing this girl downtown yesterday. Some guy played. That's not true. I don't allow strange men to pick me up. You don't, huh? No, I don't. Now, Elliot, let's... Honk, honk, go my way, babe. Thank you, sir. I'd be glad to take a ride. And all I said was honk, honk. It's true, Chloe. You don't love me. No, I found a new love. Come along, Elliot. Where are we going? Well, first we'll get married, and then we'll take a honeymoon trip to some exotic place like Algiers. Well, if we're going to Algiers, I'd better stop off and get some money. Come along, my dear. Where are we going? To the county relief office. Pick up my check. Alison Phil will be back in just a moment. If you can't get to the baseball games in person, take them right along with you on RCA Victor's remarkable new super personal portable. It's the handiest portable radio ever made. No bigger than an average size book. No heavier than a lady's handbag. Yet tiny as it is, the new super personal portable brings you room size, volume, and big radio tone. And it has exclusive RCA Victor features never before obtainable in a radio so small and compact. Features like the RCA Victor battery lifesaver switch that can increase the life of your batteries up to 30%. And thanks to the remarkable new RCA radio batteries, the RCA Victor super personal radio can play up to 10 times longer without battery change than previous RCA Victor portables its size. Think of it. For every hour of baseball you enjoyed with old type batteries, you can now enjoy up to 10. For every hour of news, of music, of drama, you can now hear up to 10. So see the tiny new super personal portable radio with the new longer lasting RCA batteries. At your RCA Victor dealers tomorrow. We're a little late. You were a wonderful audience. Thanks everybody and good night. Good night everybody. In two hours hear a special prison release report on NBC.