to the channel y'all. We're gonna hit the water today, fish a deep summer, I'm doing something different just like a three hour session and I'm just trying to catch everything but I'm gonna focus on a few key ways that I like to catch them. It's really hot in the summertime and I'm filming today's video a little different. Please let me know in the comments if you like it, if you want me to do more of that style. It's something I used to do a long time ago. I think it helps explain things really well. When you're done checking out today's dangle, do me a favor go over to googinsquad.com, do a little shopping. Maybe get some new apparel. We've got brand new styles, designs you've never seen in fishing wear. I mean it's just completely different designs, a lot of really cool stuff. It's so hot right now, I wear these things just about every day. Those are the new polos, you know, if I'm going out or something and the hats. I don't even wear a Richardson style hat anymore which you know it's that's cool if you want to wear those but this right here it's a little floppy, super comfortable, non-constricting, and a stylish. So use that code L-A-G, same temperature at all. Alright let's get out on the water and let's give it a day. Alright we're gonna switch it up a little bit today. Filming wise. So today we're on the hunt for some schoolers, some schooling fish, hopefully some white bass. Pop it at the surface, that's always fun.  Looking for birds right now, birds diving on shad and just any surface pops keeping the ears open. Okay we have got just a wad of these puppies. Wads waiting to come to the surface, they just need a reason. It's a little white bass. They pushed the shad up, there's one that just popped. They pushed these shad up on this little shelf here. Like out over 40 foot of water then it comes up to about 15 and they're just running these things all over the place. Just want you to bite my toppy. Just want a little toppy pop. This is a good opportunity for like a big spook as well, something that will get these fish like get larger bass too to bring them all the way up to the top. So I never discount that. I mean when I'm out on the lake I'm thinking how can I catch everything. Everything that's happening.  The bass jawed. The big jawed things. Large white bass. Big old spoon. You know the main difference between large mouth and white bass doing this is the bass will typically be on some sort of structure. They'll be over a point on top of a hump.  They really have no relation to the cover at all. They're just pelagic. Later in the summer largemouth will do that sometimes where they get less related to this the structure and start to chase the shad and spotted bass are really prone to doing that. They do that a lot but typically largemouth is going to like some sort of contour. If you just if you notice where schooling is happening and you look at the map you will most likely see there's some a ledge right there or there's you know a long extended point. Something of that effect that's holding that largemouth there. I'm gonna make a move. I don't like their popping frequency. I need mass poppings. All righty it is 8.45 in the morning. We don't have that low light top water action. Unfortunately we're probably gonna get a little bit of a I don't know random schoolings you know that pop up. It's just that time of year they push shad up random times during the day. I really appreciate that. Except for spring I usually have some sort of spoon tied on because I'm always trying to catch whatever is biting. You know I'm always trying to go after the striper the white bass the largemouth the croppy whatever and a spoon just represents a shad and it's one of the easiest lures to fish and this time of year through the fall it just really excels and the reason why in my opinion is because it's so effective at getting to the fish. Right now I've got a flutter spoon tied on. A flutter spoon is different than a jigging spoon. The way that it's shaped it's got like a cupped you know typical of like a spoon you would eat with at the end and it makes it fall so oh wow full-blown carp. Carp mode right there. These flutter spoons they fall very erratically and you'll miss a ton of fish on these. You'll feel a fish trying to eat it and chase it. It's just so erratic that they usually have trouble. Well man them trying to eat it is such a fun bite but it just gets down into that zone of you know 20 25 foot where throwing a crankbait is it's very difficult to get everything perfect and get it in that zone and get that right trajectory where it's going to get down in that depth and meet so a spoon it just goes right down there. A jigging spoon more so than a flutter spoon but the flutter spoon will get down there easier than a crankbait in my opinion and when you have semi stained all way up to clear water a spoon just really excels. When I'm throwing at a bank like I'm looking at some sort of contour or structure like a long point something that nature or a ledge I'll get out the spoon and I'll throw it and I'll work it down and I'll just wait for it to hit the bottom and a spoon is really you know you're ripping it up like three or four feet but instead of doing this with the rod I just use my reel and I reel pretty fast four or five cranks get that bait to come you know three to five foot off the bottom and you really want to pay attention when it's hitting because if it hits and settles you're gonna get snagged so as soon as your line goes slack you want to just reel and I'll just keep my rod at a you know 45 out here and wait for that doink to happen stuck on the bottom per second but you will be surprised at what you catch on spoons you'll catch everything catch everything from catfish crappie white bass largemouth catch them all ah alright well as we'll show you guys how to get these things unstuck oh my gosh I'm watching a gizzard shad get blown up right now holy cow large mouth it looks like large mouth just pushed some shad up on top of this little shelf over here so you definitely don't want to set the hook into these things like I did thinking it was a fish you just want to get over top of it and shake it it acts as its own lure knocker because it's so heavy I'm not sure what I have here I've got a rock or a stick or a rope don't know but I got it back man really need some sort of walking bait to add to this equation right now just got to do it I'm gonna get out of walking bait it's not not ours because I needed to make a ton of noise and be very loud right now through the fall is when I like to have some sort of aggressive walking bait tied on and I really like I like to popper style bait more in the spring but like our our hound is a good bait I like it in real calm conditions but when it's a little choppy like this I like to have something that is really easy to get to smash back and forth and overcome those little little bits of chop and just it's this is overly aggressive for shallow calm water but it's perfect for these big open water conditions especially we were stained your stained water like I just saw a large shad get harassed up here it's going down somewhere it's going down on a random big boy where yeah get that random big boy oh that was beautiful that's one of those bass that was just chasing those gizzards oh yes good fish oh big one big one I can almost guarantee you this was the same fish got it too it was a lazy bite but he wanted it oh belly land that is awesome right there guys that's fun I can almost guarantee you those that was the fish that was harassing the shad so cool stunted you know it's probably about a four pounder he's got a weird weird stunt to him awesome fish guys topwater bite at 9 a.m. exactly a little late little lazy bite but fun that was weird how we fought because that was literally like hunting and that that's one that's one of those reasons you want to have that bigger topwater tied on it's just you see something like that you see a shad just like getting chased and I can tell it most likely was not a white bass because it was a big shad that was being chased flunging out there and just worked it for about two or three minutes you know in that same area and eventually that fish just just rolled on it had a weird tail it didn't fight that hard but I can tell it's big fish had had better weight so typically I'll throw my top waters on this twitch rod with you know anywhere from like 12 to 15 pound mono it's usually what I like but for a little bit bigger top waters and in the summertime when I'm trying to just fling it out there cover a ton of water I like using the the reaction rod just loads up perfectly flings it out there really good and it's still it's it's 7 2 so it's not extremely long I just have to work it a little bit more to the side rather than straight down so that is one of the baits I like to have in the in the summertime arsenal so now we'll go back to the spoons we'll try to fish this ledge and see if we can get anything going there oh yeah oh yeah buddy oh this look like little ones baby come on now oh my oh I see a school of them look look at they're about to jump on my boat it's crazy we'll get some of these guys there's a spot I want to fish over here for large mouth but I'm sorry I cannot this and I hope you don't either don't be that guy that turns their back just way laying on some white bass man oh yeah good keeper that's a good one right there that's fun it's perfect fun size I don't know why it is every time I come out here by myself I get into them when I bring my daughter out it's like they disappear I literally have her her pole right here waiting for her this morning she's got a she's got to go to a play date so she can't come with me unfortunately so these spoons are also very effective at doing this right here just long-casting them get you son maybe mini recon right here would be pretty deadly it just can't get the distance like it can with a spoon it over the course of ten minutes or not even like a couple minutes these fish have moved a long ways oh yeah we're getting into these are all about about keeper systems sub all right that's school of fish is like a hundred yards ahead of me now and I don't want to pass over my bass spot I want to fish oh typically how I like to do it keeping fish is unless it's crappie I'll just you know do me a little haul he's actually just a hair under do me a little haul you know give me a couple couple out of time eat them fresh never frozen just keep the process going all summer long some big waves the camera all right try gave you guys another example of fishing these spoons so we've got some fish that are like directly on a ledge they're sitting on it so I'm gonna throw the vertical jig spoon down here so brown on top of the fish just giving it that vertical dangle I want to eat it I think it's just a little too intimidating for him too big I gotta go throw a crappie jig down there it's just not it's not even a question not even a question give them a little natural juicy jig is falling into the juice he's come they're coming to get it already got him they just just can't handle it that's why you couldn't get that spoon because you're too small everybody got Lee coming out of the woodwork for it little buddy there appears to be a lot of Kropsky's open waters that are just kind of hanging around that I think you're wanting me to catch a couple of them just to end this session oh yeah that one smacked it had it to the list baby I am the open water suspended drum master our session today if you guys never fish spoons they really are a pretty powerful technique on a variety of different lakes and rivers and stuff like that there's so many different kinds as well it's a good thing to add in your arsenal even though this lures around for over a hundred years and never forget about that top top in the summer that is pretty much a player all summer and when we get to fall when that water starts cooling down again that's when it gets really fun if you haven't commented already go ahead and drop one and if you already did drop another let me know with some question fire away fire away on loose questions guys thanks for being here be luck in all your outdoor adventures Godspeed


Hi, this is Bob Hope, and the Golden Days of Radio. Hi, this is Frank Brezee inviting you to join me for the Golden Days of Radio, great moments from radio programs of the past with the world's most famous personalities. On this program, we are continuing with our salute to Bob Hope as we present the radio adaptation of his motion picture, Sarafo Jones. The Hollywood Radio Theater. The Hollywood Radio Theater. Adaptations of famous motion pictures. With Hollywood's greatest star. Here is your host, Frank Brezee. Greetings again, ladies and gentlemen. From Paris to Pego Pego, there's hardly a man, woman, or child now alive who hasn't seen or heard Bob Hope. And for millions of ex-GIs, Bob will always be remembered as the man who brought a touch of comedy to Korea and a touch of excitement to Europe. Bob traveled the world and entertained more than any other comedian. When in Hollywood, he would stop off just long enough to do a radio show and this time a radio version of his Paramount picture, Sarafo Jones. And co-starring with him is the lovely and talented actress who made the picture such a success, Lucille Ball. Bob proved that people all over the world always appreciate top entertainment. And now act one of Sarafo Jones, starring Bob Hope in the title role of Sarafo, Lucille Ball as Gladys and little Mary Jane Saunders as Martha. This is a love story. The story of Sarafo Jones, who fell in love with money at the age of six. They've been going steady ever since. In Midtown, New York, just off Broadway, there's a barber shop. Oh no, our hero is not a barber. He does his clipping in the back of the barber shop. It's called a horse room. And if the police knew about it, they'd close it up. Because betting on horses, except that the race track, is against the law. Aren't you guys getting lined in line? Snap out of it, boss. Dreamy Joe won. We gotta play on pizza. I feel awful, Dreamy Joe. What right does a horse like that got to win a race? He's so old they have to mix his oats with adrenaline. Come on, Sarafo, my doll, my doll. This kind of money will never bring any happiness. Me either. Shell out. Well, let go of it, you're choking Lincoln. I was just waving goodbye and my hand got caught in his beard. Hey, wouldn't you like to bet it all on the next race, huh? Wouldn't you? Give me it, give me it. Oh, that good old Dreamy Joe. Hey, Sarafo, don't bother him, Sammy. He's giving his blood away. I'll bother him. Big Steve wants you should come over to his cafe right away. Big Steve, huh? Hey, doesn't Big Steve own Dreamy Joe? What'd he do, tip everybody in the street except me? He knew Dreamy Joe was gonna win. It was a boat race, a big frame. They ought to bar guys like that from racing. I don't come running just because a guy like Big Steve wants to see me. What'd you say? That a guy like Big Steve can't make me come running. Look, punk. Let's take an old-fashioned walk. Well, the nose that walks like a man. Oh, I'm sorry, honey. I guess I wasn't watching. Gladys. Hello, Sarafo. I recognize the suit as soon as you turn the corner. I got it to train to turn it with me or something. Say, don't knock this suit. Some people seem to forget what some people used to spend on some people. Spend? Where did you ever learn that word? Yeah, well, I'd like to have a nickel for every bottle of champagne I bought you. I was more naive then. I believed that you could make champagne by mixing ginger ale and rubbing alcohol. Anyway, I, oh, look, Sarafo, what beautiful violets and only 25 cents a bun. Come on, Gladys. They've got dangerous thorns. Yeah, same old Sarafo. Well, you got me all wrong. I'm a big man now. Since we folded in the gate, I've been going places in show business. I hear it's win place in show business. So I'm hustling, Beth. It's a living, practically honest. Well, I have to make a living, too, and this is it. You mean here in Big Steve's Cafe? Well... Hey, this is a nice picture of you here on the poster. Thank you. Beautiful job of retouching. Oh. Who are you supposed to be? Ichabod or Mr. Toad? I've been singing here three months, Sarafo. Why haven't you dropped by? Well, I understood you were going with Big Steve. Well, he doesn't like me to have other boyfriends, but I could tell him you were my aunt, couldn't I? Well, so long, Sarafo. Oh, no, I'm going in, too. Hey, Big Steve can get awful nasty. You don't think I'm afraid of him, do you? Not me, kid. I can handle my fists. Yes, I remember.  Well, you've never heard my courage questioned. I've never even heard it mentioned. Well, I got to rehearse. Oh, there is his office, Sarafo. Well, you think I'm kidding, don't you? Just watch me. It's Big Steve in there. Get in there. Well, hi, you fellas. Oh, hi, Sarafo. Well, I didn't expect a crowd. I see every bookmaker in town is here. Hey, what do you think you're doing, Steve? You can't push us around. I'm going to...  Well, you can't push us around. I'll tell you that. Now that we're all here, Steve, what's on your mind? Okay. You guys all know I own a horse named Dreamy Joe. I knew he was going to win today. Guess you bookies lost your shirts there. Just look at me. I have to starch my stomach and tie my hair on my chest and do a wins or not. Well, next time Dreamy Joe is out, he's going to lose. And I want a thousand bucks a piece from you guys just for making him lose. A thousand bucks, huh? And how do we know that as soon as you get to our dough, you won't turn right around and... And what? Yeah. And what, Sarafo? Well, you turn around and around and it felt like you'd get dizzy that way. All right, Doc, explain things. Well, it's like this, gentlemen. Dreamy Joe only wins when I give him one of these pills. It's a speedball. One more speedball. Well, Dreamy Joe will win the race, but an hour later he'll beat that. Yeah, we could give him a speedball now, but I'm waiting until I've got a big bank roll of bet on him. So for now, I'll just take a grand from each of you. And the next time I'll Dreamy Joe loses. Fair enough? Yeah. Okay, Sarafo. Hand over to fear. Oh, I don't handle that kind of money, Sam. I don't even know what it looks like. Whose picture's on the $1,000 bill? Washington, Jefferson, or Josephson? I hear different.  Oh, now I'm just a little careful. I may have some small change with me. Let's see what I've got in my pocket. There's my skate key, my sky king X-ray ring, and uranium finder, and a lock of hair from Jane Russell's Cocker Spaniel. Well, what do you know? No money. I suppose we'll have to get it the hard way, huh? No, no, I only... Hey, hey, what are you doing to me? Just going into the vault. Yeah, but that's my shirt. You'll tear my shirt. There it is, boy. A money belt tied around his tummy. Boy, is he loaded. I might have a little hair, fellas. It's my mad money. Here you are, Steve. Here's a G. Now get out of here. Now don't let it happen again. Next time, I'll lose my temper. Oh, leaving so soon, sorrowful. Oh, I got a big deal cooking, Gladys, but I'll be around. Well, just be sure to come before six o'clock. That's when the prices change. Pick it up, Joe. The stars look down, they seem to say Maybe love in all its way I'm having a wonderful with... Hey, sorrowful. Gosh, boys, I'm glad to see you. Everybody in town's bettin' on Dreamy Joe. If that nag wins again, you're clean now. Oh, boy, look at this money pilen up. I may have to open a branch mattress. All right. Who's next? Come on, boys. Put something in the pot. Twenty dollars on Dreamy Joe to win. Okay, master, but where's the 20 bucks? Well, I was hoping you'd take my marker. Look, brother, we don't take IOUs from three kinds of people, men, women, and children. But I just don't have it at the moment. Pick up your marker, chum. Have it dyed green and come back. Some nerve. Hey, little girl, what are you doing here? Hello? Hey, somebody hikes the kid up in the counter so she can make her bet. Oh, she's my little girl. Yeah, well, I don't want to go home. Hey, you're pretty smart. I'm four years old and I can count to ten. Yeah? That's big talk. Let's see you back it up. All right, I'll count you money. Now, give me that. Give me that. She's over four. Out, out. Take the kid home. Let's go, Daddy. I remember him in that book you read. He is a monster. A monster. There's a little bit of Crosby in you, kid. Now, watch yourself. I run this joint. I've got plenty of friends on my side. I'm sorry. Well, okay, then. Here. Here's a penny. But even Nickers cost two pennies. What are they making out of now? Coffee? Martha Jane. That's all right. The kid's right. Here. Here's two cents. Go stuff yourself. Oh, thank you very much. Mr. Jones, I've got a friend down the street. I know he'll let me have the 20. Yeah, well, hurry down. Well, if you could let me place my bet now, I'd leave Martha Jane here till I get back. Dreamy Joe's my only chance to get even. You want to bet on Dreamy Joe, huh? Take his marker, Regret. Well, be a good girl, Martha Jane. I'll be right back. What happened, boys? I didn't see him pull my gun on you.  Dreamy Joe, he can't possibly win. It's a frame-up, a fix. A boat race? And Dreamy Joe is on the slowest boat, as jockey as Grandma Moses. Not only that, they're going to slip the horse a pill. How's that going to make him lose? It's a four-way co-tablet. You won't know which way to run. Okay, fellas, step right up and place your bets. That Dreamy Joe looks awfully good. Steve, I find this guy right outside the office door. He listened to what you say. Steve, please, I didn't mean to listen. I came here hoping it'd loan me $20. What did you hear? Honest, Steve, I don't... He says, what did you hear? You know what I heard. Talking about the race, weren't you? You fixed it so Dreamy Joe can't win. And what are you going to do about it? I've ruined my life on horses. I'm washed up, broke. But there's one thing I can still do. I'm getting out of here, and I'm going to the police. You're going where? Seems to me he mentions to look. If it's the last thing I do, I'm going to see the guide like yours. You'd better get rid of him, boys, for good. Yeah, I'll get the car and meet you around back. They're passing across the line to finish now, with Green Demon winning it by two lengths, Furthest Champion second, Bingo is third, and Dreamy Joe is fourth. Well, that's it, boys. Too bad, eh? Okay, sir, if you can take your fingers out of your ears. Huh? You was right. Dreamy Joe lost. Oh, how about that? The last thing I heard, he was out in front. What was that crook jockey trying to do? Win? Oh, I got to get out of this racket, regret this is too much of a strain. I wonder if it's too late to get in the television.  Oh, I feel better already. Maybe if we could plant a little of this, we could grow a money tree, huh? Hey, what's this? That's the tab we took for that guy's 20. Well, didn't he come back? No. When he does, get the 20 before he takes back his kid. The kid? Well, where is she? Well, she was sitting right over... How do you like that? Gone. Every time I get big-hearted. When was the other time? Oh, forget it, boys. Let's go with a big Steve and celebrate. We got nothing to celebrate. Besides, I wouldn't pay a cover charge to hear Gladys sing. She sounds like Jessica, where they're net-dragging.  Okay, I'll close up here. Well, you can't go and do my daddy get back. Hey, where are you? How do you like that? I just want to fall in the sleep.  Two on my wife. So what will I do? Sariful will find you, Pop. There ain't nobody Sariful can't find that owes him 20 bucks. But I'm hungry.  I'll take you over there to a big Steve's café and put on the feed bag. Come on. We'll know what to do after we get the nourishment. Sariful? Well, for a guy that wasn't coming here, you're awful present. Well, my boy scout troop is holding a meeting here tonight. It's the Simone Beaver patrol. So you found the doll, I regret. What about my 20 bucks? Have you got it or can I tie my shoelace? Well, what about a you-know-what? Her you-know-what has taken a powder. We hold her till he comes across. I'm awfully hungry. Hungry? What about that two cents worth of licorice? You want to get jowls?  Or a five-year-old Ted Collins? Sit down, honey. Well, I didn't expect to see you back here so soon. Oh, hello, Gladys.  That's right.  Are you babysitting to earn some spending money? Oh, you mean this little doll here? A father left her in the horse room for a $20 market. The horse lost, and the old man ain't showed. I want my daddy. What's your name, dear? Martha Jean Smith. Well, do you know where you live? I live in a big, tall house. Well, that's a mouth of windows and doors. You better call the police, Saurifle. They'll know what to do. Not on your life. Why, they'd fingerprint her. She'd have a record overnight. Besides, Saurifle loves Martha Jean very much. 20 bucks worth. I'm frozen. Haven't you ordered her anything to eat? Eat? You want to ruin this kid's figure? Saurifle doesn't like me.   Big dinner, yes. If he doesn't, I'm going to call the cops myself. And then, Uncle Saurifle will be out 20 big, crisp dollar bills. Okay. Waiter. Yeah? Bring us the lady that works at Bola Corn Flakes. Two spoons. Hey. I got a little kid like that at home. I feed her steak for supper. After the tip, you're going to get you to be back on Corn Flakes. Steak for supper. The kid's been around. Why don't you order filet mignon? Oh, thank you. And a snack, please.  And a nice big glass of milk and some strawberry shortcake. That's what I give my kid for supper. Now, what can I do for you? Adopt me. Hey, look, Martha. Jane, she's falling asleep right here at the table. Which reminds me, where does she spend the night? You better take her to your place and put her to bed. I'm no nursemaid. Besides, my room is too small. I have to sleep with one leg out in the hall. Why couldn't one of you? I'd like to, Saurifle. But I don't finish until one o'clock, and this poor kid's got to get to bed now. I only got one. That's my house. My wife even objects to me sharing it. Well, let's wake the kid up. We'll slip her some strong coffee. Maybe she'll think of something cheap.  Okay, okay. I'm the fall guy. I could see it all coming. In a minute, I'll make a few bucks. Everybody wants to move in. Say, waiter, will you wrap up the rest of that steak for my dog? I'll get a bag. You haven't got a dog. Quiet. Come on, short. Wake up, short. I'm going to travel. Didn't my daddy come yet? No, but if he doesn't come by morning, I'm going to put an ad in the scratch sheet. Saurifle will be very nice to you, honey. He'll take care of you until your daddy comes. I guess you're really not a monster, Mr. Saurifle. You just look like one. Yeah, yeah, I just look like one. Come on, blow. You mean I gotta undress you, too? What kind of buttons are these? You sure you haven't got this thing on backwards, or were you in the Navy?  You'll start a trend. Steady now, steady. Now, where's the bathroom, please? The powder room is over there. Thank you. Just get going, short, and I'll fix your bed. I should go and sleep on the sofa. I'll just put this sheet over it, toss on a blanket, and give her this pillow. Now, this is the soft one. I'll give her the other pillow. The one that's stuffed with luxe wrappers. Okay, short, come on. Hit the sack. Your bed's already. I'm coming. Good night. Good night. Watch the snoring. Hey, that's my bed. I know it is, and it's very nice of you to let me sleep in it. But the sofa, I just made up the... Okay, okay, Princess. You sure you're comfortable? Oh, yes, it's nice and soft. Can I get you anything, a salami sandwich, or a slug of pablum? Mr. Saurifle, I want my daddy. You want your daddy. What makes two of us? My daddy used to sing to me when I couldn't sleep. Oh, that's nice. Please, couldn't sing. Instead, I wouldn't feel for a lonesome and scared. I start singing in here. We'll both be lonesome. Okay, you gotta have singing to go to sleep. How's this? Mutual! That's just good for putting mules to sleep. Let me see. Gotta have singing. Sweet Adeline... Maya... I need two other guys and Phil Harris for that. Look, I just happened to have the racing form here. I'll read you a story, huh? Please sing. Okay. Rock-a-bye, baby, at Pimlico. Here's a smart horse. I'll bet him do show. This one's a sleeper. Hope you're the same. Here's a good jockey. Fan man's his name. Lying in your paddock. Count winning sheets. Put twenty-five fish on. Little boat.  We'll be back with act two of Sorrowful Jones. And now, here again is your host. The curtain rises on the second act of Sorrowful Jones starring Bob Hope and Lucille Ball. It's early the following morning and a visitor has just arrived at Sorrowful Jones' apartment. Well, some place you've got Sorrowful. Just the thing for a kid. What time do the bats fly out? I don't keep track of them as long as they pay their rent. What brings you here? I've got some oatmeal here for a breakfast. What'd you think I was gonna give her? Pickled octopus? I got coffee in the stove right now. Yeah, and donuts. That's what I thought. Okay. I haven't given her a bath of things you gotta do for twenty bucks. Well, I'll finish your bath and then I'll make her some breakfast. Boy, it's a good thing I showed up. She'd have the first case of Berry Berry on Broadway. Berry Berry. Does she have to have two of everything? How you doing, honey? I'm doing fine. Now, where's that washcloth? Just look at the high gloss I got on her shoulders. Well, this is a nice homey picture. Steve. Big Steve. Oh, he's lucky, Sorrowful. That's rule number one. Come here, I want to talk to you. Oh, I can explain everything, Steve. I guess you're thinking the minute you turn your back, Gladys runs into some handsome guy's apartment. That occurs to you again. Just take a good look in the mirror. No cracks about my face. Carrie Grant is so jealous of me. He's having another hole drilled in this chin. I came by here to make you a business proposition. Oh, well, after what I won on Dreamy Joe yesterday, it's like you were singing in my ear. $5,000 now. The song's over. I said I need dough. Now, write out a check. You better run Dreamy Joe again only this time he wins. He's getting that last speedball. Yeah, but $5,000? You heard me. Okay, okay. $5,000. I don't know if there's enough blood in my fountain pen. The check, the check. You forgot to sign it. I don't have to. The bank will recognize the teardrops. By the way, the racing commission just took away my license. Oh, well, that's different. No license, no race. Well, I'll tear up the check. Now, look, you just have to find a new owner, that's all. And my friend, Doc Adams, slips in the speedball and Dreamy Joe wins. You'll have so much money you'll have to crawl over it to get to bed. Yeah, gee, money. Now I'll be able to get what I've always wanted. More money. Go ahead, sorrowful. Give me the check. Check, save it. That's good. You can have the cash. Now turn around while I get it out of my sock. Holy cow, what a bankroll. Stop peeking. Okay, here. 5 Gs. Thanks. Now look, about a new owner. Mr. Apple, I'm all dry now. Well, get wet again. I'm busy. Hey, hey, what about her? Gladys? No, no, the kid in there. She has kind of an honest face. Hey, not bad. Shorts couldn't double crosses, could she? Who is she? Oh, one of the neighbor's kids. I render my tub. What's her name? Martha Jane Smith. All right, tell her she's got her horse running in the feature race on Thursday.  Don't worry, I'll put glue in her bubblegum. Hey, Gladys, have a little breakfast. Well, I'd better stay here, Steve. Just to see that sorrowful doesn't give the kid an after-breakfast cigar. Okay, but don't let this kid to be a habit with you. Can I come in? Now, while you're regret, it's okay. I'm just leaving. Well, what's everybody doing up in that day time? Hello, most. Mystery grass. Oh, hello, honey. Uh, convince the kid, boys. What? Get rid of the kid. Okay. Hey, Shorts, I think Gladys better take you inside and finish dressing you. Come on, honey. Can I have some bacon for breakfast? Bacon? I just bought you a horse. Oh, my very own. What color? Plaid. Who cares what color? Does the mile in 137 with blinkers. Now, get in that room. Hey, what is all this? I don't know nothing about a plaid horse, Gladys. All I know is what's in the morning paper. Well, Martha Jane's old man, they found him in the East River. Oh, no. Hey, here it is. Uncle Smith. And in his pocket, a certain bookmaker's ticket for 20 clams on Dreamy Joe. He got knocked off. Somebody bumped him.  See, we better turn her over to the police. They'll know where to find her mother. Miss Gladys, will you help with these buttons, please? Sure, honey. Well, I guess you'd like to go home now and see your mommy, huh? But I can't do that. Why not? My daddy said she's never coming back. I only kind of remember what she looks like. Miss Gladys, can I go into my new horse? Sure, honey. Sure, you can see your new horse. Hey, it's mine. Dreamy Joe's really my horse. That's right, Martha Jane. It's a present from Mr. Sorrowful. Yeah, it's a pretty honey, a horse, and all of them nice new clothes, Gladys for you. She's a big spender, that Gladys, with my money. Come on, George. Let's take Dreamy Joe for a walk. Hey, how much of this deal does Gladys know? Well, she knows a very good percentage, and I have to tell her that I need the kid now so that we can raise Dreamy Joe next Thursday. And the speedball, the F-I-X?  Anyway, Gladys wouldn't understand. She's one of those high-minded games, things gambling as a sport. Well, long as the kid stays with you, the lap to the race, you're in good shape. Oh, I'm in great shape. I'm holding a hot kid that cops would love to find. A gent was murdered with my marker in his pocket. I'm mixed up in a crooked race. And if I try to resign, Big Steve and once over Sam will beat me to death with their pinkies. Oh, I'm in fine shape. Excuse me, if I disappear, Boris, is the detective named Reardon about you? Reardon? Talk to Reardon, will ya? I'll hide, Martha Jane. Hello, Gladys. Hi. Who's minding City Hall? It's in good hand. Hey, what was sorrowful to big hurry? I wanted to talk to him. I hear he's latched on to a little girl. It's me, and I'm a big girl. I'm talking about the little Smith girl. Oh, you know about her. Registering a horse in the kid's name is a funny way of trying to hide her. Look, Mr. Reardon, if you could just sort of not see her around for a couple of days, just until Dreamy Joe runs, she might win $3,500. I didn't say I was gonna put the cuffs on her. You mean there's a heart under that bed? I hear it taken once in a while. Well, I better try to find sorrowful. Is that you, Gladys? I'm here in the stable. Is he gone? No, not yet. Oh, oh, Reardon! Oh, hiya! Well, what are you doing here? Some horse stealer blanket? A little girl. Little girl?   Smith girl. Smith girl? Never met her, but I bought some cough drops from her brothers. Little girl, huh? How tall? Like so. Not my type. You better ask Mickey Rooney. I'm just around here. Horses and stuff. Now look, I'm talking about the kids you're trying to hide. You know what they do to you for kidnapping? They set you in a big chair, strap your legs in, and they strap your arms in. On your head, they put a steel cap, and then they turn on the electricity. Does it hurt you? Hurt you? It ruins you. Why, it even... Hey, Gladys! You better get some water. Laughing boy, just fainted. Here we are, short. This is it. I had a wonderful time with your party, Miss Gladys. Thank you, dear. Her party? Who bought the paper cups? He's funny, isn't he?  Good night, honey.  What did she say? Oh, it's a new thing, kissing her good night. She's been seeing those pictures in the paper of Albin and his bride.  Yeah, well, you'd better head for the café. It's about time for you to do your number, the one you sing off key. The good one. Oh, I have time yet. Sorrowful, what happens to Martha when the race is over? If I can stay clear of her ridden that long, she'll get the air. What else? Uh-huh. Okay, if I have a drink?  Well, I can see the bottle, but where are your two straws?  So after the race, you just disappear, huh? Well, maybe she'll latch on to somebody, some nice couple with a front lawn. Have you been taking sentimental pills? I haven't heard you talk about front lawn since that night in Omaha. Yeah, I'll never forget that night. We had dinner in that wonderful chop suey joint. Boy, was that expensive. And then after we tossed for the check and I lost, you got kind of romantic. Well, I didn't want you to embarrass me by leaving too small a tip.  I'm crazy about her, too. If she had you and her father, she'd have a complete set. Sure she would. Well, what about you and... Yes? You and Big Steve. It's later than I thought, so long. But your drink! Pour it back in the bottle and dive in after it. Well, what are you sore about? Who's sore? I just think I better get to work. Big Steve might not like it. So long, Tyrone. Dames, go figure them.  Hey, you! Short! How you doing? This book. The one Aunt Gladys gave me. Aunt Gladys? Now it's Aunt Gladys. It's good you've got rich relatives. Mr. Saddle, why you such a tight one? Ah, wait a minute. Talking like that ain't nice. There's no telling who might be listening. You mean God? Yeah, maybe. Mr. Saddle, have you ever seen God? Well, no. He doesn't hang around horse rooms very much. But if you ever want anything, why, you just ask God, and often as not, he comes through. You mean write letters like Santa Claus? Well, that's where praying comes in. You save three cents. Mr. Saddle, teach me how to pray. I want to ask for something. I never knew a dame who didn't. Okay. Only don't go telling people about this. I don't want it to get around, you see? Now kneel. But why should I kneel? How do I know? I don't make the rules. Don't do that! Well, like a racing commission makes the rules of the track, I guess there must be a praying commission someplace. Now what do I do? Well, just say like this. Now I lay me down to sleep. Now I lay me down to sleep. I pray the Lord my soul to keep. I pray the Lord my soul to keep.   I pray the Lord my soul to take. I pray the Lord my soul to take. And God bless sorrowful, gladness, regret, and everybody. God bless sorrowful, gladness, regret, and everybody. And dreamy Joe too? Oh yeah, him most of all. He's the closest to going. And dreamy Joe most of all. He's the closest of going. Is that all? That's it. That's the works. Well, when do I ask for what I want? Well, you better slip it in right now quick while your prayer is still hot. You've got to buy Mr. Sorrowful a new shoe of clothes. With two pair of pants, please. Two pair of pants. Good night, Sorrowful. Good night, Shorts.  Nothing around so close may give ridden ideas. Care what you do, just get rid of her.  Drink it in. I gotta be back in the window by 12. The material is reversible. The jacket opens up into a record player. Stool pigeon. Can a citizen get dressed up if he wants to? I come for the kid. She's going on a trip. A trip? Is he going to take me to my daddy? Get in your room, Shorts. I'll give you the rundown later. All right, Sam, who's going on what trip? According to Steve, the kid's got to get lured, such as out of town or in an orphan home. But she's not in anybody's way? Mr. Jones, it is not possible to eat corn under cob without front teeth. Or would you like to find that out for yourself? Sorrowful, don't let that big ape push you around. Well, I'll try to control my temper. Look, I'll go in there and put it to the little doll in person. Maybe she'd like to go. If you take that little girl out of here, it'll be over my dead body. That too can be all right. How can you take me to my daddy? Where is he taking me? Well, I'm sorry, Shorts. You're going to a special place just for juniors, an orphanage. What's an orphanage? Oh, it's like a big pool room, but for kids. It's a... No. No, you're not going anywhere. Now, look, Shorts. We're going to play a game called hide-and-go-seek.  Just stay there, see? On the fire escape? What kind of game is this? I learned it during my vaudeville days. It's called Actor in the Land, Lady. Now, don't make a sound till I yell ready. Are you going to surprise me again? This time, it's me I'm surprising. And no matter what happens, just keep quiet. I will, Mr. Sopple. Okay, honey. I'm not going to let you take her, Sam. Make one move and I'll throw a punch. Why, you punk, I'll break your neck. You break my neck and I'll... You what? I'll nod all over you. I'll get up off the floor swinging. So you're swinging, so I bust your nose. So what? Nobody will ever notice the difference. You take it easy, Sam. You're outnumbered.  Now, give me the key before I ram your head through that door. There. Well, I warned him. I'll get Shorts out of that room. Huh? Oh, yeah, yeah. Well, maybe it's a good thing I checked up in person. All right, Sam, get off the floor. Get rid of the kid. No. No, she's still in there, Steve. Now, wait a minute, Steve. She's not in there. Oh, no. There. You see? Empty room. But I see her go in there. Hey, kid. Where is she? Ask a civil question. You get a civil answer. I don't know where she is. Hey, boss, boss, look. Down there. Down on the sidewalk, in action. Shorts. Shorts.   Call the ambulance. I'm going down there. Call them yourself. But be careful what you say, pal. The next ambulance will be for you. For Defense Department employees working abroad, the laws and customs of a foreign land can be frustrating. Even though you're subject to foreign laws, you're also entitled to most of the safeguards outlined in the status of forces agreements. And the local military commander will work to ensure that the rights of civilian personnel are properly maintained. It can be overwhelming, but the military is there to help you every step of the way. And now, your host, Frank Brzee, returns to the microphone. The curtain rises on the third act of Sorrowful Jones, starring Bob Hope and Lucille Ball. It's several hours later, and Martha Jane lies in a hospital bed critically injured. In the visitor's room, Sorrowful bladders and regret hear the latest word from the doctor. There's nothing you I can tell you, Mr. Jones, no change, I'm afraid. She's still delirious. For how bad is it, Doc? Her state of shock can be very serious. Tell me, is her father here? No. Oh, then you must be the one she calls Dreamy Joe. Me? Dreamy Joe is a horse. He's her horse. A horse? Well, that's too bad. She keeps calling for Dreamy Joe. It would have helped if she could have seen him. I wonder if that praying commission is open in the daytime. Dreamy Joe? I never realized a nag could mean so much to a kitten. She just looking at it might make the difference. The big race wasn't just a few hours up. We might arrange something.  What are you looking at me for? What do you want me to do? Steal them off the track? If necessary, yes. Oh, fine. I'm sure no one will notice the lump under my coat. You, uh... You know what they do to horse thieves? Well, they don't hang any more Sorrowful. They just rub you up a bit. This is the craziest thing I ever heard of. I've crossed Big Steve once already. If I do it again, they'd have to roll me into surgery on four different tables. Sorrowful, what if we borrowed Dreamy Joe after the race? There won't be any Dreamy Joe after the race. Speedballitis. Speedballitis? You mean you dragged the kid into a crooked race? You gave her a horse and let it go crazy about it when you knew it was going to die? Well, the kid just happened to get mixed up in it. I never wanted to hurt her. You get out of here and just remember this. If we should ever run into each other again along Broadway, just keep walking. Come on, Regret. Let's get walking, blabbermouth. Sorrowful, I just cased the stable. They're getting Dreamy Joe ready for the race. Once over, Sam, he's taking the night for a walk. Sam, huh? Well, we'll just have to take the horse away from Sam. I might have known that it'd be we again. If you were half a man, you'd think of shorts. If this plan of yours doesn't work, I'll be half a man. Well, get going. I'll be right in back here. No slip-ups, or we'll both be wearing cement wedges. Good afternoon, Sam. What do you want? I don't want nothing. Then why are you telling me good afternoon for? Taking Dreamy Joe for a little stroll, huh? Yeah, why don't I should walk him a little?   What is daddy like? Well, I don't mean no offense. That's why everybody likes once over, Sam. They do? Sure.  What? They say, uh, there goes Sam. No. Yeah. And you know what else they say? They say you're smart. You gotta be smart. If you don't like a guy, you gotta have brains enough to belt him on the chin. Yeah, well, so long, friend. He's nice to kick it around with, yeah. Thank you kindly, and take my advice regress. Give the rush to that crumb sorrowful. You got clear. Well, I'm back, boys. I take Dreamy Joe for a walk, like you say. Where is he? Where's Dreamy Joe? Boys, uh, he's right on the end of this rope. Oh, what did you do? Hey, hey, that ain't Dreamy Joe. What happened? I bring back the wrong beast. What did you do with him? Where is he? I don't know. I am working along, clutching the rope, talking to my friend Regret. Regret? Why you done that? That means sorrowful Jones has Dreamy Joe. He switched horses on you while you were talking to your friend. No. Come on, I think I know just where to find him. Well, I got you away from the track, Dreamy Joe. Now all we gotta do is hitch a ride back to town. Why didn't you think of that before we left the stable? I can't understand these drivers. Nobody wants to give us a ride. Hey, Dreamy, lift your blanket and show a little more leg. Never mind. I guess we'll have to do it the hard way. I'll just leap on your back like this. Steady, boy. We'll try it again. Whoa, boy. Whoa, now. Can you kneel down a little? Look, how about this? I'll spread my legs and you crawl under me, huh? Hey, hey, take it easy. I'm going side-settled. Just follow the traffic, Dreamy Joe. We're heading straight into town. Well, this is the hospital, Dreamy Joe. Now all we gotta do is sneak in that door and go down the corridor to the elevator. Just act nonchalant. If anybody stops us, just tell them you're visiting someone. What's the meaning of this? Oh, it's okay, nurse. He's my brother. Your brother? Yeah, I'm taking him to the cycle ward. He thinks he's a horse. Quiet Vaughn. Oh, get away from that elevator. Is that Dreamy Joe? Fifth floor. I'll see if the coach is clear. And if you see anyone, look sick. Oh, my gosh. Big Steve and Sam down there in front of Martha Jane's room. Steady, Dreamy Joe, stay here in the elevator and I'll just sneak out and I'll... Hey, Dreamy Joe. Hey, come back here. Yeah, the elevator is gone. Well, it's automatic. Someone must have buzzed for it. A horse? Yeah, I told him I'd be right back. You told the horse you'd be right back? Yeah, now he's disappeared. The horse disappeared? I lost my horse, you see. All right, all right. Now let's not get excited. I'm not excited. Take it easy. Maybe he just went down for a sandwich or something. He'll come right back. Yeah, yeah. Oh, we see them around here all the time. What do you do? Pink horses, green horses, blue horses. Wait a minute. Are you a patient here? I happen to be a doctor. Now why don't you step into my office and we'll see if we... Stop looking at me as if I'm Olivia de Havilland. There you see, that's my horse. Where'd you go, Dreamy? You have to go riding up and down. One more move like that and you wind up in a tube in a stationary store. We got work to do now. Come on. Nurse, intern, help! Fast, Dreamy Joe. Quit shoving, quit. Now wait a minute. I don't know how we're going to get past those two gorillas. Why'd you have to get mixed up with big Steve anyway? Don't you know he... Well, it ain't terrible Joe. And the horse. He's got the horse. Dreamy Joe, yeah. We're just bringing him in for a check-up after all he... Oh! What a sucker, leading with your right. Get up off the floor. Give me that horse. I got to have that horse. And that's for swiping the kids. That's enough, Sam. We got to get out of here. Oh, no, you don't. Wait till I give Sam my rabbit punch. Oh! Can't understand. It always works on rabbits. Better put, put that elevator for us. You're not taking that horse. So you want more lunch, huh? I want Dreamy Joe.  Sam? Rinn. Rappin', boy. Oh, it's a good thing you came, Reardon. Or I'd have killed him. Let's go, Steve. You too, Sam. I want to have a little chat with you boys down at headquarters. Yeah, and I got a date with Dreamy Joe. Come on, Joe.  I'll have you back punning a beat for this. Maybe so. But there's a certain scrub lady who works in your café. She recognized a photograph of Orville Smith. Said he was in your place just before he was murdered. All right, boys. Take him away. Here he is, doctor. Dreamy Joe. Well, you told me if Martha Jane saw Dreamy Joe, maybe she... I don't know, Mr. Jones. We've done everything we can. She's no better? Boys, you don't think I let you bring a horse in here, do you? All right, beat him in. You brought him? Yeah. Shorts. Shorts. Can you open your eyes? Look who's here. Martha Jane. Shorts. Look on him. Look. It's Dreamy Joe. He came to see you. I couldn't keep him away, Shorts. He kept asking for you. Me too. Well, I've been practicing a good many years, but I've never seen anything like this before. You mean she'll get better now? I wouldn't be at all surprised. Yes, I think you can leave the rest to me now. Hey, sorrowful, come out in the hall a minute. Well, I don't have to ask. I can read her chart on your faces. Oh, she's got to be all right, Mr. Reardon. Sorrowful brought her the best medicine in the world. Well, as soon as she's up and around, I'll take over her. Wait, you mean that orphanage routine? I guarantee the best. And I'll scout around for some nice people to adopt her. Yeah? Hey, would you mind holding Dreamy Joe for a minute? Hey, Gladys. This way. What's the matter, Sorrowful? You can't let shorts fall in the hands of some strange couple. They might be undesirable characters. It would still be an improvement for her. Look, you want to get married, don't you? You've hinted at it often enough. Yes, one of these days, but to a solid citizen, and I don't see any around. Who cares about solid citizens? I'm thinking about shorts. If we don't act fast, she's going to be farmed out from under us. Well, what do you want me to do about it? Well, I'm willing to make a sacrifice. Why can't you? Some couple has to adopt her. How about us? I think that's a very good idea. The first one of us who gets married should definitely adopt her. I mean to each other. Come here. Mrs. Sorrowful Jones. Yeah. Mrs. Sorrowful Jones. Don't you have a real first name? Don't you have a real first name? What is it? Humphrey. Humphrey. There's nothing romantic about that.  I've got a middle name too. What is it? Rossellini. And so, a few weeks later, Sorrowful Jones and Gladys and Martha Jane. Well, I'm sure glad we're going home. My feet are killing me. But the play circus, aren't we going to the play circus? Short, you can't do it all in one day. We've been to the zoo. We climbed to the top of the Statue of Liberty. We were on the lake in Central Park. Just look at these blisters from Rowan. Show them, Gladys. Hold out your hands. But you promised, Daddy. Well, Daddy. Okay.  Not true. Using the air conditioner when it really isn't needed is a waste of energy. So is using more heat than you need. And when you stop to consider that the government pays for that energy with your tax dollars, it's a waste of your money. So use air conditioning and heating wisely. Enjoy it when you really need it and turn it off or turn it down when you don't. This is Frank Brzee inviting you to join me next week for more shows and personalities from Radio's Golden Days.


There are so many stories as to how people always thought Shiva was so uncouth, uncivilized, uncultured, without any lineage, does not belong to any caste or creed. People thought he is no good because he doesn't have a lineage. If you ask him, who is your father, he doesn't know. And he's uncouth, but they couldn't help worshiping him because he's intense. But nothing civilized about him, nothing at all. His friends were worse. He kept such friendship with all kinds of demons and goblins and distorted beings that people saw him as a very uncivilized, uncouth, uncultured man. So Parvati fell in love with Shiva and she wants to marry him. She's a princess. Her parents have not seen him on the day of the wedding. He arrives. All the guests came, all the kings and queens and gods and goddesses, everybody arrived in procession. One more beautiful than the other, all dressed up. But then Shiva came, naked, asmired, inebriated. Nobody knew what he is drunk upon. But he was inebriated and all his friends were inebriated. They came. Parvati's mother, Meena, she saw and said, What? You are going to marry this man? And she fainted. She could not imagine handing over her daughter to this man. And later on the wedding ceremony, they sat down. At the time of a, you know, like in India when the wedding happens, people talk about the lineage of the family. The girl has come from a great lineage. Her father is a king. So many wonderful things were said. Then they asked, what about the groom's lineage? What is his gotram? What is his nakshatram? And under what star was he born? He simply sat silent. They asked him, please tell us, because your parents are not here. You must at least tell your parents, your lineage, what family you come from, what caste, what creed, at least what star you're born in. They repeatedly asked him. He said, nothing. Simply said. Almost uninterested in the wedding. Then none of the came in to save the situation. Why I'm telling you this is, when we talk about Shiva, we are not talking about a nice civilized man. He is as beautiful as life can be. But as life is, today it is little cloudy, tomorrow it could be pouring, day after tomorrow it could be burning. It's just like that. Just like life. Not just like life. He's just life. He's not a pretension. He's not repetitive in any way. He's simply life. What are you? What are you? What somebody taught you?  Only if you're here as life, we can make you grow, we can make you blossom. If you're here as a bundle of memory that you picked up from somebody, all half-baked people, if you're just a bundle of memory, then what's there to do?


Welcome everyone to our first talk for tonight. It's called, Won't Somebody Think of the Children? Excelling Copper Compliance at Scale. The speakers have asked to introduce themselves. Welcome. Hi everybody, how are you doing this morning? We are really excited to kick off this amazing village. As you can see, this research is an interdisciplinary research with people from a variety of universities. We are from XC at UC Berkeley. And let me start with a direct question, because I am Israeli as you hear from my accent. Who here brought a burner to DEF CON? Not their personal phone. Great. Who here is not using Android because of security issues? Okay, we have a number of people. Well, the issue is our phones are of course, they have very sensitive information. Apps are collecting that information. Through those permissions, we often see the Play Store and the Android system. We only know what they may request and may collect. We don't actually know what is happening in reality. What information is being collected? And more importantly, who is getting that information?  I'm a doctoral law candidate at Berkeley Law and a CLTC grantee. Thanks, Amit. I guess everyone can hear me. So I'm Primal. I'm a postdoc researcher in UC Berkeley and UC. So as Amit kind of said the stage why we need this. Well, the simple question is that once you give permission to an Android application, that's it, you don't have any idea how the application is going to exercise that permission. Or who else is getting that information? So to answer that question, we developed a dynamic analysis platform where we can see how exactly these applications are used in those resources and who else is getting these resources as well. Well, it's no longer secret that whenever an application access your data, it's going to share the data with the third party users. So we won't understand that ecosystem. And then the core use case of this platform is to actually see how these mobile applications are compliant with the regulations. Kopa, GDPR, the California Consumer Process, et cetera. So how the applications are actually compliant with these regulations. So the instrumentation framework has two major components. The first one is we actually have a custom built Android 6 where we can monitor whenever an application access any sensitive resource. And also all the surrounding contextual information with that permission request. We also have a tool called Luma, which is pretty much like a VPN monitoring Android where we can track all the network traffic originate from a given application and its content as well. So we can see whenever an application access resource, a given resource, we can also see who else is getting that resource as well. So using that platform, we built an automated pipeline. We scraped Android Play Store to download all the most popular apps under each different category. And then we also have an Android exercise of monkey who runs this application for 10 minutes. And then the platform will try to get all the data on the resource access and then the network sharing. So, and then right now we can actually execute 1,000 applications per day. And we have already analyzed close to 80,000 so far. So technically speaking, we can analyze, we can see every single sensitive resource in Android. But for the purpose of this talk, we are just going to focus on a subset of it. And then we are going to categorize into two categories. The one is just personal information, like your contact details, your location details, or even your Wi-Fi crowd information, which could also be, you know, trace back to you. And then all the different persistent identifiers that Android proids for third party applications, like Imi, Mac address, Android ID, or even the Google service framework IDs. So that's like a very high level overview of the instrumentation. Let's hear the legal side of it. So what are we doing with all of this information? We started looking at compliance. Our infrastructure is applicable also to GDPR and the coming privacy regulation in California. If you heard about it, it's coming in 2020. But we basically started with COPPA, with the Children Online Privacy Protection Act. And the reason we chose COPPA is because COPPA has very strange definitions on what you are allowed to collect from children under 13. What kind of disclosures you need to give to the parents? What kind of privacy protections? And COPPA defines personal information very broadly. So this, of course, includes contact information like email and fine geolocation. But it also includes persistent identifiers that are defined broadly. Basically everything that could be used to create a profile on children. So because our infrastructure is basically looking at how SDKs and third parties are getting various kinds of persistent identifiers, we chose COPPA as our first case study, but we are actually expanding this process. So what about COPPA? COPPA is designed to basically regulate the way online service providers, including mobile apps, are collecting, using, and disclosing personal information of children under 13. Now COPPA specifically prohibits be able advertising and collection of persistent identifiers without a very, very strange type of verifiable parental consent. And when I speak about a strange regime, I'm talking about you actually need to verify that the parent consented to the collection of the various type of information. So you need to get the credit card details from the parent or their address or call and talk with them on the phone. We will see in one minute why this issue of consent matters. Now COPPA also requires that you will actually have in place reasonable security measures. As we will show, that's not exactly big, big, the reality in practice. A lot of apps don't have even the basic of basic reasonable protection security measures. Okay, now COPPA also has teeth, although it's still not clear if we have a private right of action, so whether individual can go to court and sue a company for violating COPPA, that is still kind of emerging right now with a bunch of new class actions, the FTC can go after companies for violating COPPA and state eternal journals. And each violation, and you will see the potential violations the amount that we are talking about them here today, is up to $40,000, yes, per violation. And maybe you remember that from that episode in Silicon Valley where Dinesh freaked out. So we actually see how the FTC is bringing settlements under COPPA, but remember the FTC has limited resources, unfortunately. So it's interesting to kind of compare the different settlements that were actually brought by the FTC under COPPA and what is actually happening in reality. So one very important issue, especially for our paper and our talk, is who is actually being enforced under COPPA? So we have three main categories. First, we have the actual commercial website or online services including mobile apps that are directed to children. So if you have an app and you are teaching one to free or ABC and according to the total circumstances, this is directed to children under 13 because you have cartoons or simple language, et cetera, COPPA applies on you whether you're thinking you're directed to children or not. This is a flexible test that the FTC applies. Then we actually have our operators of general audience services. So think about something like Yelp. Yelp is not directed only to children, but if that online service provider has the actual knowledge that there is a child interacting with the service, maybe because theoretically and unrelated to any settlement that was reached with Yelp, they collected date births and they knew the child was under 13, then COPPA would apply only also with respect to general audience services. And most importantly for our talk, COPPA also applies for third parties. So our ad neck networks and the SDK and basically everybody that wants to get money and basically monetize our information, it also applies to those services if they have actual knowledge that their service is being used in a child directed other service. So think about an SDK or an ad network implemented in a child directed app. That is important because the FTC actually brought action against Inmobi, which is this kind of ad network or a fourth party. So what are we focusing on? We are first focusing on almost 6,000 of the most popular apps on Android Design for Families, Google Play Store. And the key issue here is as you see here, there are apps, every apps that is listed to Design for Family, in Design for Families at Google Play Store actually represented to Google that their service, their app is child directed. In fact, if you're not child directed, you have no place on Design for Families. They also represented to Google that they're compliant with COPPA. Okay, remember that when we get to the results. So as I told you, almost 6,000 of the most popular apps on Design for Families, what did we see? Not sure that you're gonna be surprised, 57% in potential violation, more than the majority. Out of this, 4.8 are actually collecting personal information. So find your location, emails, and the phone number, yes. Then we have 39% collecting non-resettable persistent identifiers. 19 potentially non-compliant SDK. What I mean by that is 90% of those apps are actually implementing in their app a service that in their terms of use that there shouldn't be a part of a child directed service. So the app network said in their terms of use, you cannot use our service in child directed services. And yet in 90% of our cluster, the app developers implemented those SDKs.  So I'm just gonna run through it because we talked about it. The main idea here is how do we know that no consent was obtained from the parent? Because we have our monkey. Our monkey just clicks. It's not a real human being. If the monkey can bypass the consent, also a child could do that. So that's how we know that no available parental consent was obtained. And we talked about the different violation that we found. This is just a showcase in which type of app developers that happened. Time Lab here. They're a real big compliant. 1.9 collect actual content information. Another interesting issue is that Google have this idea that they created a resettable Android ID so you can reset it. But what we see is that developers are actually undermining that by collecting that information. The Android ID that is supposed to be resettable with a persistent identifier that is not resettable. They're by undermining the whole idea of the Android ID. 39% of that, of our cluster, that billions of downloads are doing that. And let me skip right in and get to a bit of the crypto. So, Primal. Yeah, before getting into the crypto, I'm just going to skip over. Since we mentioned that not only application, the third party service are also, you know, they are subject to the corporate law as well. So different third party services have taken different measures to make sure that they are not in the cluster. So here is an example, if you are a subscriber of Unity, then there's this tick box that when you new register, you say that, you know, I'm actually giving you data that's likely collected from a keeps target application. So, and then in the actual network flow, there is also a flag that you can say that I am sending data from a keeps application. But what we found out is that 84% of the time applications are not setting it correctly. So, the reason why they have this flag is like they want to treat the data that they are getting from keeps application differently, because they are certain restrictions, but if you not set the flag correctly, then they are likely to not treat the data proper way, so in violation of COPPA. And then there are other services that they don't have any flags, they just outright say do not use this service. So for an example, Crashlytics is a very popular third party service among mobile applications, say that if you are a developer of a keeps target application, do not use this service. But unfortunately, and not so surprisingly, 19% of the applications, they share very sensitive data with non-COPPA compliant services. And then if you actually calculate the number of affected users against each SDK, it's hundreds of millions of users. So it's not a significant, it's not a negligible portion. And then we mentioned that an important clause in COPPA is that, you know, you have to take proper security measures. But what we found out is that 40% of all the network flows that we see, they didn't even bother using as a TLS, that's most of the time just is a standard library number, you don't have to do much, they didn't bother using. So after actually doing the full analysis, we found that there are a few cases where we see the application accessing certain resources, like location, email numbers, but we don't see them sharing all the network. Well, you know, the first intuition might be, you know, for once they're actually trying to be privacy conscious. Well, and then, you know, after years of trying to analyze application, we knew that it's not going to be the case. There's something fishy going on. So we actually filled out all those applications and then we started manually analyzing it. So we actually came up with quite a few in very interesting use cases. I just picked three for under no particular order. So there is this application when we started and manually going through the network flows, there is actually a variable for locations, but then there is a value. So the value is not like co-fine location data. Well, then we tried with Bayer 64 decoding, nothing came out. And then we decompiled the code and then we saw that they get the original location data and then they XO twice with two strings. So we thought maybe, you know, they have like a one-time pad or they have like, they are probably creating this value of the five. But we found out is that, so they have two hard-ported strings and then encryption key, encryption key and encryption key. And then it's not enough startup, startup, startup. Well, startup is at the actual SDK that's doing this. If you search it, it's actually a quite popular third-party at service. And then you get the raw location. And some people were actually encrypting it. You know, they were using AES. But unfortunately, they have the key and then the IV both hard-ported in the code itself. So it was one extra step, but we just had to make sure that we are scanning it. So the last use case is that, so here's a network flow that we detected on our application. So if you can see, this is the EMI number and this is the Android ID that Amit was talking about like the reasonable.  And then as you can see, these are repeating. So there's actually three unique values and then just repeating itself. What we found out is that, so they are sending the raw EMI number. And this is in one network flow. And then they're also sending the MD5 of the EMI number and then SHA1 of the EMI number, SHA2536. And then these are all same values, it's repeating. And they are doing the same thing for Android ID as well. But the only difference is that in the Android ID, the values are not repeating. You have the MD5 and then a different value, SHA1 and a different value. So what they are doing is that, so they take the MD5 of the original value and then convert it to uppercase and then take the MD5 again. So if you take the uppercase of a number, it's still same. So that's why you are seeing the repeating value. But for the Android ID, well, if you take the uppercase, it's a different value, so you get a different value. Well, for the more, you've been looking at this for months, we still don't know why they're doing it. So if you have a better idea, we can talk about it after the talk. So, and then if you, there are many more interesting use cases in our official blog post, well, I mean, we'll talk about it. Well, the bottom line is 57% of the time, they are potentially violating at least one of those posts. Great, so by the way, Copa has a safe harbor regime that allows private company, private organization to certify a service as Copa compliant. This is supposed to make enforcement easier. What we saw is that the practices in apps that are certified as Copa compliant under the safe harbor regimes are actually no different than others. So this is a bigger picture kind of finding with respect to the applicability and the effectiveness of those safe harbor regimes. And by the way, we got to the news. It was fun. And we are happy to chat about it more. We do have some more findings with respect to something we are calling mixed audience. So one of the problem is that apps like this are categorized under Google Play Store as mixed audience, not primarily directed to children. So some developers, after we warned the news, they claimed like, oh, we are not really directed to children. We see teens and adults using our services. And as you can see, this is clearly not child directed at all. And what about other examples? So overall we found that more than the majority of our cluster, 51% of the apps in our, the most popular apps in our research are actually family friendly, not primarily directed to children. And this includes this adult oriented app and this. And what about this? Clearly not directed to children app. So there is also an abuse of the design for families mixed audience regime.  Just some findings from our research. We have a full paper, it was published in pets. It's online, it's accessible to everybody. We have a blog post. And actually all of the information is on our blog app sensors. You can look whichever app that you want and get exactly what they're collecting and we're encouraging you to do that. So what we're recommending is in this scenario, be sure don't be the Nash. Developers use compliant SDKs, right? Copa is a big deal. You don't want to have the FTC knocking at your door. So read the terms of the SDK, use the flags, okay? SDK providers, come on and force your terms of use. That is not as hard. Platforms, Google, Amazon, Apple, you have a lot to do here. You have a role to play here and force your own terms of use. And I'm happy to say that we are actually talking with Google and trying to help as much as possible. And users, of course, privacy awareness. Parents, go on app sensors, look at what is being done. And finally, for you, everybody here, we need more privacy auditors, we need your help. Join the privacy auditing efforts. This is one just cool research. We would love to see more and more efforts into at scale dynamic analysis tools. Please help us, help everybody else. Here are some links, you can follow up with us. Let's open up the question. But just a heads up, if you do end up doing this, you might get letters like we got from ad networks. Don't get too excited, that's part of the deal. When you get a legal front letter, you know you met it as an academic. Okay, let's open up for questions. Thank you.


In this presentation, we're going to enter another advanced customer payment or a deposit or a prepayment from the customer. In other words, we're going to be selling a guitar, they're going to give us a prepayment on the guitar so that we can then order that guitar for them and then give the invoice at a later point in time once we deliver the guitar. So we're going to get the money in other words before we complete the sale. Time to engage with Sage, 50 Cloud Accounting. Here we are in our Get Great Guitars file. We're currently in the Customer and Sales section. We're going to be going on down to our Flowcharts. And recall that we saw an advanced payment before, so I won't go into as much of a description. But just remember that typically the typical flow will be one of two things. Either we do the work, invoice the client, then get paid in the future or we get paid at the same point in time. That's going to be the typical kind of workflow. In this case, we're getting paid before we do the work. So that's going to be backwards. We're going like the backwards way to the arrows are going here. So we're going to be receiving the payment because we've got a deposit on the guitar. And then we're going to have an invoice that we're going to have to record to that received payment at a later point. So we're going to go to the received payment here, even though we don't have an invoice to apply it to. And we're not making a sale at this point in time. We're getting the money before the sale. So then I'm going to go and say this is going to be for string music string. I'm going to put a ticket in here. It's for the ticket. And then I'm going to say string music is who we're going to get the deposit from. String music. All right, there we go. Now I'm going to just put in a reference numbers here for our practice problem purposes. I'm going to bring this back to, let's say, the 23rd. Let's bring this on the 23rd and say that we got $300. So we're going to say 300. And it's going to be the key point here being a prepayment. So watch what happens when I hit the prepayment. Now, before I do it, know what didn't happen. It didn't jump over to the invoice. We're not getting a payment for an invoice. We have applied to revenue, which is what we would do if we were to create like a sales receipts type of transaction if we were to make the sale at this point. But the prepayment is what's happening here. So I'm going to use the same kind of data input, but instead hit the prepayment. Watch what happens. It's going to be graying out then at this point in time. So there it goes. I grade it out here. But it deleted my amounts. So I'm going to put the amounts back in for 300. So it's going to be the 300 is going to be the amount. So I can't enter any item or quantity or anything at this point. I only have the 300 because it is a prepayment. Then we might want to put in the description or something like that, the prepayment, prepayment on guitar or something like that. So what's going to happen when we do this? It's going to be increasing the cash again because we got the cash into our clearing accounts. But the other side is going to be going to not like a revenue account, but to a negative receivable account, which is unusual because you would think from financial accounts and it would go into a liability account for prepayment or deposits or unearned revenue. But it's easier to track that. Remember, as we discussed last time, we did this one, this type of transaction in the receivable. So we're going to logistically do that and then do an adjusting entry at the end of the time period, which we'll see what that adjusting entry is. But this will work logistically to make the negative receivable, tying out all the information for a particular customer in supporting the receivable account. And then when we need to make an adjusting entry at the end of the time period, we will do so. So let's record that. We'll discuss that a bit further. I'm going to say save. We're going to record this and then let's take a look at our financial statements. So I'm going to go to the reports dropdown up top. We're going to go down to the financial statements. We're going to go into the balance sheet. Opening up the balance sheet is going to be for the February. That's what we want. So I'll say OK. Now, as I look at this, Sage has done something a little bit unexpected, a little bit different than the last time we entered a similar transaction. Let me kind of explain why this is happening. Basically, this is kind of like the default settings that are set up for Sage. So if we go then into the cash on hand, if I double click on the cash on hand, we see that we have the 300. So there's the 300 increasing. That's as expected. The other side notes you would think would go into the accounts receivable. That's what happened last time. It's not going to be there this time. The accounts receivable is here. If I double click on it, you'll note the 300 is not here. So it's not in the receivable. Where did Sage put it? Because last time when we did this, we did a prepayment. If I double click on this, it did put it into the receivables. It made it basically kind of like a negative receivable that wasn't applied out to the invoice. That was the 250. This is the last time we made a prepayment. Why didn't it do it this time? Well, to consider that, let's first think about, well, where did it go? It went to the income statement. They actually put it in as incomes. Let's check that out. If I go back over here and I open up the income statement, and I'm going to go to the reports, financial statements, income statement, and we're going to say that I don't want to see the zero balances. I don't need these two check marks. I'm going to say okay. And then within the sales income, if I double click on that, there's the 300. So they put the prepayment into the income. Now, we would expect if it was a prepayment, it would either make a negative receivable or it goes into a liability account. I'm not sure why the default settings, when you would say a prepayment would go into here, but what the default settings are basically doing are saying, hey, I can't have a negative balance in the receivable on the subledger. They won't allow a subledger report to have a negative balance. So they actually put it to somewhere else you would think would be to a liability, but they put it into the income statement. So in other words, let's take a look at another report. We go back on over to the reports and if we go up to the accounts receivable and if we look at the customer ledger, this is the customer detail report and we double click on that and we go down to the string music, we see that we have this negative amount, this negative amount for string music. It's a negative receivable. So the reporting it here as a negative receivable, which basically means that we owe string music money, which is what you would expect. That's proper, but that brings down the balance to 184805. And when I go back over to the accounts receivable account, this is what's a little bit unusual. Again, this is kind of the default setting. If I go to the receivables, it's at 2148. So in other words, in the accounts receivable up top, it's not including that $300. It's not including, and I think the system is basically saying, hey, I'm not gonna include it because it's a negative receivable. It doesn't make sense. It's saying that that customer owes us money, which isn't a receivable. So you'll note that this amount, which should tie out to the ledger, the 214805 is different than the receivable ledger, the receivable ledger over here, which adds up to the 1848, those two amounts are gonna be different by this negative receivable for the customer of string music, which is being posted on the income statement, on the income statement as revenue. So note, when we did this up top, we had the same kind of issue with this 250, but because there was an invoice outstanding, even though we didn't apply them out, it didn't result in Anderson showing a negative receivable. Therefore, the system still put it in here as a receivable, recorded it on the receivable here and on the balance sheet here. It's saying, hey, there's a negative receivable. I'm gonna show you that negative receivable on this report, but I'm not gonna include it in the accounts receivable balance, resulting in the fact that this sub ledger report doesn't match the accounts receivable balance, the difference being this $300. So that's gonna be, that's the difference in this. So we're gonna have a same kind of adjusting entry process, but it'll be different than what would be expected. What's gonna happen in the adjusting entry? Well, at the end, this will still wash out if we were to have an invoice came in at a later point in time that we can match out the invoice and we would match it out in the same process. We would enter the invoice and match this amount to it, resulting in this balance for string music flipping to a positive again, them owing us money. And that would result in everything being fine at that point in time. However, if we go to the cutoff date and that hasn't happened yet, we haven't yet issued the invoice because we haven't received the guitar yet and shipped the guitar, then we're gonna have to do an adjusting entry at the end of the time period. The adjusting entry at the end of the time period is gonna result in the fact that the system put this into the income account and we'll see this in our adjusting entries. It put it into income, which is overstated by 300 because we haven't yet earned that income. So I'm gonna reverse, we're gonna reduce the income and we're gonna record the other side not to accounts receivable, but to a liability account. So we put it into a liability account. So the default settings here are a little bit unusual to me. It would make sense that it would say, this item would make sense that we have a negative receivable here because that's what we told it, but you would think it would match that out to the accounts receivable in the balance sheet. Or you would think the balance sheet amount would be correct if the balance sheet's saying, hey, we're not gonna record a negative receivable so it's not including this 300 in it, but you would think you would have to put it somewhere else and where would it should be somewhere else that shouldn't be going to income. It should be in a liability account called prepaid. So there may be a way to kind of adjust the default settings to make that the standard process when you hit the prepayment to make a liability account, but I'm just using the default settings here and so that's what's happening on the default settings. So in other words, if the default settings look to me like if the accounts receivable flips negative due to the prepayment, then you're not gonna have it tying out in terms of the balance sheet account versus the customer ledger account and it'll be different by the negative account balances, the 300 in this case, that then is being pushed over to income on the income statement instead of going to like a liability account. It will still reverse out once we have the invoice, if it doesn't reverse out then again we just do the adjusting entry at the end of the time period to make it correct on an accrual basis at period end, which we will do in our practice problem. So that's gonna be it for now. Let's get out of here.