He is still on the defensive, now it's about his leadership. You're free to talk to any parliamentarians on the Labour side and get their own opinion. They'll tell you for themselves. So we did, privately, and they told us. I wouldn't say I'm on Phil's side, but there's no one else. A few of the guys are rattled, but not enough for a spill. There is no question of support for my leadership. There never has been, despite speculation, from political opponents. The senior Labour MP told Three News Today the latest polls are depressing and it's dead man's territory. I've never tripped up. I've never stopped up. I've done it.


Good morning, Hank, it's Tuesday. You know what? Let's go outside. Sometimes it really does feel like the world is gonna roll me. I feel like a very small boat on very high seas being tossed this way and that by forces so much larger than myself that I can't even comprehend them, but alone control them. Anyway, when that feeling crashes over me, I find it helpful to go outside. It's technically only the first day of autumn here, but the air is already crisp and smells of fallen leaves. In past years, it always felt like autumn would arrive all at once. I'd be flying home from some trip and look out the airplane window and see that the leaves had changed, or I'd leave my house one morning and notice I needed a jacket. But now, of course, time is unfolding differently, and so autumn has arrived slowly, but also with so much more uncertainty and even menace. I find a lot of consolation in being outside right now, but I'm not quite sure why. Maybe it's because nature is still preceding a pace, even as so much else isn't. Like, this morning I was thinking of a Mary Oliver poem. I go down to the shore in the morning, and depending on the hour, the waves are rolling in or moving out, and I say, oh, I am miserable. What shall, what should I do? And the sea says, in its lovely voice, excuse me, I have work to do. This is a stark contrast from the way nature's indifference was imagined earlier, like in, say, Herman Melville's Moby Dick, where we read of the demonic indifference with which the white whale tore his hunters and that the white whale shadows forth the heartless voids and demensities of the universe. And so the idea that terrified Melville, that the heartless universe doesn't particularly care about us, comforts the speaker in Mary Oliver's poem. And I have to say, I'm team Oliver on this one. I'm glad the world goes on orbiting the sun regardless of what I do. I'm glad the Earth is not made for me, but instead that I am made for the Earth, and also of it. I've read a lot of old novels where the character's moods change with the weather, you know, like how a dark and stormy night outside also means a dark and stormy night inside the heart of our protagonist or whatever. That always used to make me roll my eyes, but now I see that it wasn't just a metaphor. The closer you are to the outside world, the more that world can shape your sense of well-being. Same's true of the Internet, come to think of it. Of course, this isn't absolute.  But we don't exist independently from the weather or from the world or from history or from anything. And this is where the idea that nature is indifferent to us starts to break down for me because the thing is, we are nature and we need not be indifferent toward ourselves and one another or toward life more generally. It is not quite accurate to say that the ocean is wondrous or monstrous in its indifference to us because the ocean isn't indifferent to us. We move it around with our seawalls and land reclamation projects. We change its overall size and biodiversity by our choices. We move the oceans around and they move us around. We depend on the oceans and they depend on us. Humans are nothing if not wildly, utterly dependent. And like the sea says in its lovely voice, we have work to do. May the knowledge of our interdependence hold fast even in physical isolation and may the work to get ourselves and each other through keep us warm in the cold months to come. Hank, I'll see you on Friday. This video contains a clue just like all my recent videos do, but that's the clue.


another Monday in this God-forsaken city. And you know, although I try to focus on the positives, if I did list the negatives, it would seem as if everything is about to collapse.  And it's still not working. And I guess let me just go over there and explain it. So I bought a few hundred pounds of skirt steak last week because I was excited to do the first trial run of jerky. And when I turned this on, it just kept getting hotter and hotter and hotter, which means, you know, the temperature gauge, what you set it at, it's not the actual temperature that the machine wants to register as. So something's off with the wiring. If I set this to 27 Celsius, it's supposed to stay up here at 27 Celsius, but it just keeps getting hotter and hotter and hotter. It'll go to like 100, 200. It'll go up to like 500 Fahrenheit, which is insane. It's like enough. And I can make roast beef in here with how hot it's getting. Now I don't know how this came. I don't know if the electrician changed anything. I mean, I know the electrician had to hook up the main power line here. This is the, whatever, breaker, whatever you call it for the sensor on the front. So hopefully this guy comes by today or tomorrow, takes another look at it. If not, I'm gonna have to start from scratch, just cold calling some type of like a refrigerator or commercial restaurant repair guy. And God knows if I'm gonna be able to find someone that can fix this type of machinery. I'm just, I have no idea what I'm looking at.   So I called up a couple of North American companies that sell these things and I asked if they service outside of their sales and they don't, but they recommended that. I can probably contact, as I mentioned, some type of restaurant or kitchen repair company. It's just every week this sits unused now that it's here, I'm losing potentially thousands and thousands of dollars in jerky revenue. So even if it costs me a thousand, two thousand to fix it to operational status, I just need to do it at this point. It's just a matter of finding someone that could come in here. So we got most of the post office orders ready. I still got about 15 to do for Frankie's here range foods. The silver fabric for the shirts and the shorts is in. It's at my tailor. So ideally by the end of this week, next week, all the wifi shielding clothing is back in stock. You guys can get that on wifishielding.com as well as the bed canopies I'm wearing my protective shirt right now. You guys that have seen the live streams, I have a bed canopy around my computer. I have a bed canopy where I sleep, just reducing the wifi EMF as much as possible. And one of the reasons I don't like being down here just cause I don't feel good, I might try to shield the whole building with some aluminum wire mesh at some point if I have to stay down here, but that seems like a bit of a nightmare to do. I don't know how much it would cost me to get people to set that up, but it's just not really practical right now. The glucose product that's supposed to replace nature's glucose is scheduled to arrive in the port on Saturday. So that's another exciting product that we might have really, really, really soon. And hopefully we do get the jerky up and running that's five new products in a fairly short period of time. We got those new enzyme blends on organ supplements. We got the magnesium oil spray. I'm doing the water kefir, which by the way, we have about 20 in stock right now. 12 were already sold. We had about 34 for this week. So if you guys want high quality water kefir made from all organic ingredients, glass, bottle, mineral water, jump on this. It's so time consuming for me to do this and it's not really worth the money, but if you guys buy it out twice a week, I'll keep doing it. The timing is really tricky with the water kefir. You know, I'm not like all of these other companies that will leave it on the shelf for a week or two and then send you dead probiotics. This is all in the middle of the second ferment. So when it arrives to people in a day or two, it should have peak bacterial content and then it should be good for a little while longer. So definitely jump on that. Hopefully they'll sell out by today or tomorrow and then I'll have a new batch ready right afterwards. We guys have been working hard all morning, getting two pallets of orders done for Frankie's free range meat. Speaking of the fabrics earlier, I have to go drive by the Taylor and Queens. So I want to get out of here as soon as possible because it might take me an hour to get there and then an hour and a half to get home and if I spend four hours in my car today, like I did on Friday, I'm not going to be happy the rest of the week. So I just want to get out of here as soon as possible and see if I could dodge as much traffic because I also have to go on my computer at home. I got to place an order for some more Styrofoam and get a couple of other things done, a couple orders out of the way, to see what I can get on the meat end. And then we ran out of marabones this week and I might have to even buy, if the slaughterhouse isn't looking like it's going to hand out very quickly and if things keep going the way they're going, I'm going to have to buy a bandsaw by, I mean it's already the middle of August. I need a bandsaw by the end of September so that's going to be another few thousand dollars just to start cutting up some marabones. And the bandsaw I needed anyway if I get the slaughterhouse because I'm going to need a separate one to cut ice because that's what they use to cut the dry ice into smaller blocks. I've been so hands off these past two weeks just because I've been completely over everything but let me show you guys what's going on in the freezer. So for our ribeye and strip steaks, we temporarily have some smaller portion steaks. I think we still have the one pound strip loin but for the ribeye we have 10 ounce ribeyes instead of one pound just temporarily for a few weeks because we got lower pricing. I do actually have some Kobe beef wagyu steaks. You know sometimes the vendor farm I purchased from sends me wagyu that they had extra of just as like a nice gesture. I don't know how much you guys, like what do you guys think you would pay for this? It's like a moderate marbling but it is Kobe beef. It's you know, I think it's the American half wagyu, half Angus. So you know most companies would sell these steaks for 50, 60 dollars each. I don't think I have enough to give them away with every order but I don't know, I'll think about it. We have a lot of organic burgers back in stock so if you guys want these there's a great deal. It's $8.50 I believe per pound for 100% organic burger patties. By far the lowest priced online. Just so many goat organs. We did get the lamb testicles back in stock and I'm out of stock on a lot of beef organs. Rest of the orders to do for today. I don't know if there's anything else to really talk about this week. I'm just concerned that the loan company that is reviewing all my paperwork for the slaughterhouse is gonna decline it.  But I'm just trying to take it day by day and kinda stick it out cause as I think I just said go in the freezer.  I'm doing a pretty good job of catching up on all the businesses, keeping all the products in stock but let me finish up those foods orders. Let me give it over to Queens to see my tailor and get the wifi shield and clothing ready for you guys this week and then I'm gonna go home do all that work on my computer that I have to do. So I think I'll wrap this up nice and short this week. You guys have any questions about any products, anything missing? If there's anything wrong with your order please feel free to reach out to me via email. I'm trying my best. I mean it's unusual to have a company like this and just basically running everything myself. I think in past videos I've mentioned like I was hoping to have some relief at this point in some capacity but it hasn't happened. Whether that means making more money, being able to hire more people to help me but I really don't know how much longer I'm willing to stick this out. And I told myself last week that this is the hard part. If I can make it through the next few months, year or two until I'm in a position where I'm in the slaughterhouse I have my own place, I'm in a lower wifi EMF environment I'm feeling a lot better, my liver's healthier. I just don't know if I'm gonna be able to get to that point but we'll see. So thank you guys for joining me. If you could please just drop a like on the video, leave a comment.  So definitely unsubscribe so you can witness YouTube unsubscribing you and then check the notification bell so you don't get notified of my videos. But I'll see you guys for tomorrow if I don't completely lose it.


What's up everybody Jason here for jazby's case race comm jazby's high roller mystery crate number six Series two guys random letter just sold out. This is a first letter of first name With a little hit list promo. So there's a list of letters 13 spots everybody gets a random letter from the list As an example if you hit letter L and we hit a Luga Donchich then that'll be your hit Number hit list promo works is that if at the end of the break you don't get anything We will gather those names that went hit list randomize them the top name get to free spot in the next crate Each crate has four to five cards per crate And of course we pre-marked each case one through ten and we'll randomize it to see which case We'll be breaking making the process totally random Remember a big hit high-risk high reward type of break since there's only ten cases Most spots only have a few hit possibilities Just know some hits will get pulled early in the print run And I'm sure there's been quite a few of these already pulled since we're pretty much halfway there But yeah guys, so here's the dice roll. Here's the customer name So Logan went hit list from the last case So he's in here and Michael down a Tim got those straight up and then Alan to Steve got those from optic 40 pack filler So there you go. Let's roll it and we got ourselves a two and a one three times So we use this for the names and teams and to decide which case we're using three times one two three Boom Alan down to Michael and we got Three times one two three T done a D. All right, so three three Alan you have letter T Daniel with the I Y F combo Alan with B as well C K and W Tim with P Steve with J Logan you have N and a Alan with OG V Steve with M and RS and Michael with letter D So if you guys want to potentially trade for letters, let me know. I don't know if you guys do I don't think so but Also, too, I think you have a list of the cases here, right? So so far we still have these ones here and Let's see if we can Generate to see which case here we'll be using three times one Two Three go ahead with case number one that is still there worth the try Logan, but I don't think so Steve literally just said I want the Ohtani So I'm pretty sure he's not gonna give the s. All right guys TWC Try to trade couldn't trade mode is gonna happen for you buddy All right, so we got generated case number one And we'll try to keep track if you're of course who goes hit this First one guys. Here we go first hit It's a 2018 panini black Friday pack and Look at that Ken Griffey, Jr. Very beautiful looking card here from a black Friday pack as well Not numbered but it graded a 10 first of all the card graded a 10, which is awesome It's really really cheap car stocks sometimes and the autograph got a nine. It seems like Maybe a little bit of a crease at the end, but the car graded a 10 though and Was that a sell sheet head, I don't know if that was a sell sheet here. I don't think so to be honest I don't see him on there, but a very nice one. So letter K for Ken Griffey, Jr. Which will be Alan there you go first one on the board so Let me copy these names here on this side and That way I can kind of get rid of the people that hits perfect Next one, I think this is a cell sheet hit Wow, how about 1976 tops Walter Payton that is a PSA six Whoo, and I think that definitely was a cell sheet hit No, yes, it was Walter Payton Very nice PSA six going to letter W, which is Alan as well two for two Alan day Cleaning up our next one. I think this also might be a cell sheet hit Wow job or rant gold One of ten Letter J going to Steve Birch Got there from optic pack filler 40 Very nice gold the last one here one more hit It is a magic Johnson 2020 World Series champs go blue inscription and the card graded a 10 or autograph graded a 10 I should say letter M magic Steve Birch So there you go. So That's it boys and girls Magic John Moran Walter Payton and Ken Griffey, Jr. So that was in case one guys Now let's switch scenes and let's do the hit list promo So again guys letter J K M and W hit so just these customers here We have opportunity to get a spot in The next crate right now. Let's roll the dice Three and a four seven times good luck Top name gets a hit list promo spot one two three four five six seven Wow, this happened to another customer of ours a couple weeks ago when we did series one Logan is the hit list winner again three and a four seven times So Logan you're gonna be hit list five plus hit list six So there you go. So appreciate it guys. That was Hyrule measuring number six number seven is in the store seven straight-up spots to sell plus another pack filler If you guys want to get that done jazz piece case brace calm


After that last MRI, we made the decision to pull him off of life support and we got to hold him for the first time without all of his wires. We got to bathe him and wash him and put him in pajamas and they just said, now you just wait. You wait until he's ready to pass and I'm, I'm, oh, Jim Boyd and my mother was there and we had asked if we could smudge him, which would have to happen outside. So that's, that's with our medicines to, to put the smoke, wash him in the smoke. And they brought the fire marshal in. And this is in England, so of all places for it to happen. In England. Sweet kind English people, clueless to what we were talking about. They brought the fire marshal in. They escorted us to the roof. I carried Benjamin all the way up through the hospital to the roof and tomorrow's mum and tomorrow there and they're saying prayers and the fire marshal and these nurses and doctors just looking on and sort of, they were really there for us, actually. They really made that happen for us. There are two markedly, opposing experiences. One was my care in a maternity unit that I was dismissed and sent home and where the fault lies and where the decisions have been acknowledged as leading to Benjamin's death. But that was followed immediately by this other hospital experience that was, that put us first. In those moments, it was extraordinary how, how the way that they treated us with compassion and empathy and it, it just made the experience, it made it possible for us to have our personal experience and it was, we were so grateful to them for that.


Hello friends, I am Sanjay Gupta. In this video I am going to demonstrate you how you can add all the elements of 2D array which is created dynamically in C++.   First statement is a comment which is showing some of the dynamic 2D array in C++ using new and delete operators. Then I have included a header file iostream. Then I have written a statement using namespace std. std is a predefined namespace available in iostream. It is used for seen and see out. Then a class arrays define inside this class a pointer to pointer p is declared of integer type and two variables go and columns are declared. Then in public section five functions are declared. First is set size, then destroy, then read, then print and then sum. Then class is terminated. After termination of class definitions of these functions are defined. So first a set size function is defined. Here void is written type array is name of class then scope resolution operator is available then set size is name of function then parenthesis. Inside this function see out statement will display enter rows and columns this message on console. Then number of rows and columns will be entered by the user in these two variables. Then this statement p equals to new int asterisk r. This statement will allocate memory blocks for number of rows. So here integer pointer type memory blocks will be allocated using new operator. Then a for loop is available which will allocate memory for columns. So this loop will create columns of integer type using new operator. So this loop will repeat r times. So if number of rows are three, so this loop will repeat three times. If number of rows are five then this loop will repeat five times. So with the help of these three statements the 2d array will be created of r and c values. Then second function destroy is defined. In this function memory is deallocated. Here for loop is implemented which is first deleting columns and then it is deleting all the rows. After destroy function read function is defined inside read function two variables i and j are declared then for loop which is repeating r times inside this for loop another for loop is implemented which is repeating c times column times. So with the help of this nested loop formation values of 2d array will be read from the user inside p matrix. Then print function is implemented which will display values of p of ij using this nested loop which which is already implemented in read function. So first loop is repeating r times, second loop is repeating column times. After this function some function is defined which is adding all the elements available inside p matrix into s. Same loop which are available in read and print are implemented here first loop is repeating r times second loop is repeating column times. After completion of these these two loops some will be stored inside s variable which is displayed using this cout statement. After completion of these function definitions main function is defined which is declaring an object of array class a1 then set size function is called then this message enter values will be displayed on console then a1 dot read this a1 object is calling read function to receive the values from user then a1 dot print print function is called to display the entered values on console then some function it is called to add all the elements which are available in matrix and then a1 dot destroy it will destroy the allocated memory with the help of delete operator. So this is the complete explanation now i am executing this code it is asking number of rows and columns so i have entered two rows and three columns now i am entering values i have to enter six elements so i am entering six times one you can see it is showing a matrix two by three size and it is showing the sum that is six so with the help of this program i have allocated dynamic memory for 2d array i have be allocated it i have read values from user i have displayed a matrix on console and i have displayed some using some function so i hope you have understood how you can add elements of 2d array in c++ and the array the 2d array is created dynamically using new operator and it is deallocated using delete operator if you want to watch more programming related videos you can subscribe my youtube channel thank you for watching this video


Statistics and Excel. Binomial distribution, coin flip, random number generation. Get ready, taking a deep breath, holding it in for 10 seconds, looking forward to a smooth soothing. Excel. Here we are in Excel. If you don't have access to this workbook, that's okay because we'll basically build this from a blank worksheet. But if you do have access, there's three tabs down below. For example, practice blank. Example, in essence, answer key. Practice tab, having pre-formatted cells so you can get to the heart of the practice problem. The blank tab, blank worksheet so we can practice formatting cells within Excel as we work through the practice problem. Let's look at the example tab to get an idea of where we will be going. We're considering a binomial distribution situation scenario of a coin flip scenario where we have a fair coin, 50% chance it lands on heads or tails. We need to define success. We're going to say that heads is a success, tails is a fail. We will be plotting this out using our binom.dist function. We'll also look at binom.dist.range so you can compare and contrast the use of the two. We will plot it and then we'll use a random number generator, a little bit more complex one than we seen in prior sections found in the data and the analysis tools here. If you don't have that, I'll show you how to open that up as well. Let's go to the blank tab to get started. We're going to then format the entire worksheet to start out. I'm going to do that by selecting the triangle up top, right-click and format the cells. I'm going to go to the currency and negative numbers, red and bracketed, no dollar sign and no decimals as our starting point. We have a coin flip scenario, coin flip, so I'll just call it up top. I'm going to make the whole thing bold as well, selecting the triangle, home tab, font group and embolding the entire thing. What we need for a binomial type distribution is P for the probability of success for each activity. We're going to say this is going to be P or the probability of success. For a coin flipped, if it's a fair coin, we're going to say that's going to be 0.5 typically. I'm going to say 50%, 0.5, home tab, number group, let's percentify that cell. Then the number of rounds, I'm going to say number of rounds, and I'm just going to say there will be 12 rounds. Then I'm going to make column C a little bit skinnier and plot this out. Let's plot it out. We'll plot this out in a similar way as we did with the prior presentation. I'm going to say X and it's going to be P of X.  Now I'm going to say this is going to be numbered from 0 to 12, but I'm going to use our nice sequence function to do that. Instead of going 0, 1, 2, and selecting those and copying down to 12, which we could do, but I would like it to be adjustable, so I'm going to use the sequence thing here. I'm going to try to show the pros and cons of using the spill arrays to some degrees, as well as we think about this, we'll do this two different ways. So I'm going to say this equals the sequence s e q sequence tab, and then I'm going to say that we want the rows are going to be 12 of them plus 1 because I need 12 plus 0. And I'm going to start at 0 instead of 1, number of columns, none. So I'm going to put 2 commas to skip that argument. The starting point will be 0, closing it up and enter, and you give us that nice spill format there. Now let's do the second bit here, which is the binome, and once again I'm going to use an array kind of format, so this is going to be binome.dist. So here we have the two, that we have .dist and .range, .dist.range. The .dist.range is the newer of the two, and so it's got more flexibility, but again there's kind of pros and cons to using each of them, and you might pick one or the other depending on your circumstance, but this one you should be able to use basically for all circumstances, and therefore might be the default that you would want to be thinking of. So we're going to say then the number of trials is going to be 12, and then comma, the probability is going to be the 50 comma, and then the numbers I'm going to select this range here. So I'm going to put my cursor on here D2, control shift down, so it picks up that range. I'm also going to select these two and make sure that they're absolute F4, dollar sign before the B and the 4, this one F4, dollar sign between the B and the 4, or before the B and the 3, and then enter. So then it spills down, so now we've got these arrays here. If I select this item, home tab, number group, percentify it, and add some decimals, there we have it. Now I'm going to do the same thing here and not use the arrays. One of the downfalls or pitfalls of using an array, by the way, is it's a little bit more difficult to say insert a table. If I want to go insert and put a table, then it's not picking, see how it didn't pick the entire area that it normally would if there were not arrays here. And if I close this up and I try to say I want this whole thing in a table, insert table, and okay, it messes up the spills. So you've got to be a little bit careful when you're working with the tables. The other thing is that it doesn't have a formula down here. It only has a formula in that top cell, which could be a pro or a con. But let's do the same thing. I'm going to copy this down here and do it without an array. So let's copy that. Let's give us some space and I'll put it down here to see the two methods you might use. I'm going to have the same headers. This equals the X and then copying that to the right for the f of X home tab font group black, white, centering it. So now I could use the standard, the good old method of just saying 012 selecting those three, copying it down with the fill handle. And then I'll use the other binom function. So equals binom.dist, but not the range this time. So binom.dist double clicking it. So now we've got the numbers, which I'm going to pick up this one. And note the order of the arguments are a little bit different. So I'm going to say comma. And then the trials that we're going to have will be 12.  The probability is going to be 50% f4 on the keyboard because I'm going to be copying it down and then comma. And you'll note it's got this cumulative argument. Now the cumulative argument is the same thing or something we saw with the Poisson distribution. We're saying that if you pick false, then you're not going to have a cumulative up to a certain point. Whereas if you pick true, it'll try to do the cumulative up to the point, up to that certain point. We want it not to be cumulative so we can type in false or we can put a zero here, which will also say false. That's telling it false and enter. I'm going to put my cursor on it and then double click the fill handle. That should copy it down and then we'll percentify it and add a couple of decimals. Now with this second one, note that what we can do here is insert a table because we didn't use the spill functions in any spill function. So I can go to the insert and if my cursor is in here, I can make a table from it and insert the table and there we have it. And the tables can be nice sometimes.


Okay, so we're going to just do this lecture via video. It's not quite as good as being in the classroom, but if you have any questions, just feel free to email me or post something in Blackboard, figure some way out of doing Q&A. But since we had our class canceled last night on us due to that situation on campus, I thought we'd just go ahead and knock this out via video. So this talk tonight is about the worlds of gas and liquid. We're talking about the giant planets, and there are four giant planets in our solar system. They are, of course, Jupiter, Saturn, Uranus, and Neptune. Now you often will hear these four planets referred to as gas giants, but in reality they're really kind of subdivided into two subclasses of giant. The first two, of course, are the gas giants. Jupiter and Saturn. The second two are the ice giants, and each of these planets are essentially two of a kind. Uranus and Neptune look very similar to one another, just on appearance, even in this illustration. Jupiter and Saturn, if you ignore the rings around Saturn, which we'll cover in a future lecture, you'll see that the two planets are largely very much the same. So both of these sets of worlds have characteristics that are very similar to one another and very different from each of the other pair. And let me just kind of illustrate these characteristics at a high level, and then we'll delve into them at a slightly more deeper level. So the first characteristic is obviously the size. And in astronomy, we measure sizes by radii, or the radius. So going from the centers of the planets out to their very edges of the cloud tops, we find that Jupiter and Saturn are similar in radii and radius rather to one another, whereas Uranus and Neptune have similar radii to each other. But both, of course, just by looking at it, are very different from one type of giant to the next. The second major characteristic is their composition. Jupiter and Saturn largely consist of mostly hydrogen and helium, whereas the ice giants themselves, they do have hydrogen and helium, but it's a much lower percentage. And instead what you find in these giants and these ice giants are more water and other volatiles such as ammonia and methane and so forth. And in fact, as we're going to learn, these two worlds, these ice giants, are so far away from the sun, it's actually cold enough that these molecules, things like ammonia, methane, and so forth, condense and form ices, and that's why they're called ice giants. They really do have basically icy chunks floating around in the atmosphere, you might think of it that way. So Jupiter and Saturn are much closer to the sun at 5.2 and 9.6 astronomical units respectively, whereas Uranus and Neptune are much farther from the sun, especially Neptune. It's way out there all the way at 30 AU. So the fact that they're farther from the sun and they have a different chemical composition is no coincidence, and we're going to explore that in a little bit more detail. Finally, at the centers of these planets, they both have kind of rocky cores. It's just a question of how large are they relative to the planets as whole? In the case of Jupiter and Saturn, their cores are relatively small compared to the overall size of the planet, whereas in the ice giants, we have relatively larger cores. Both cores, I'm sorry, all four cores, you might say, for both sets of planet are composed of the same kinds of rocky and metallic material mix, and we'll talk a little bit more about composition as we get further in. So there are many characteristics that they have in common with one another, not the least of which is that they don't have any solid surfaces. They all have managed to hold on to their primary atmospheres, which just have a composition of relatively light gases and some complex molecules, but that's about it. And you might remember that we talked about the formation of our solar system and planetary systems in general, but when planets form, they initially have a certain complement of gas surrounding them. Those make up the planet's primary atmosphere. It's just that for one reason or another, actually for several reasons, particularly the planets that are closer to the sun, they lose those primary atmospheres. So living here on Earth, we are living under our secondary atmosphere. We once had a primary atmosphere that was blown away by the solar wind. Earth wasn't massive enough to hang on to it, et cetera, lots of reasons.  So they're still exhibiting the initial atmospheres that they formed, and they'll never be a secondary atmosphere to Jupiter, Saturn, Uranus, and Neptune because they're all holding on to their primary atmosphere. The second thing, or the third thing rather that they have in common, is the fact that they're very massive and they're very large and they rotate very rapidly. So let's just dig into these one by one. First of all, no solid surfaces. It's really important to understand that we're only looking at the actual cloud layers in their atmospheres. We're not actually seeing through or waiting for a clear day on Jupiter or Neptune or any other planet to happen and we'll suddenly see down into the surface. There is no surface. It's all clouds all the way down until you get all the way deep into the cores in the mantle regions, which we'll talk about later. Now you might be thinking, well, okay, there's Venus and we can't see its surface, but we know it's there. All we can see are the clouds. Yes, that's true. We do know that there's a solid surface underneath Venus's cloud layer. The thing that I want to keep in mind is that the surface of Venus is not very deep. You don't have to go very deep into the clouds before you strike surface, whereas with these giant planets, you'll go all the way down to their cores before you encounter anything that is remotely surface-like, rocky or metallic or otherwise. So we're not talking about small terrestrial planets surrounded by enormous atmospheres.  That's really what we're dealing with. So we're not really making a comparison to Venus. So let's talk about their composition. As I said, they're composed mostly of light elements. What do we mean when we say light weight? Well, we're typically talking about hydrogen and helium. You'll find that there's a tremendous abundance in these giants and it's much, much, much more than what we'll find here on Earth or Mars and Venus and Mercury. The terrestrial planets just don't have an abundance of these light elements, namely hydrogen and helium, or as there is great abundance in the giant planets. And why is that? Well, they all formed past the frost line. You might remember, we talked about this before, and we talked about the formation of planetary systems, that the farther away you get from the star, whether it's still forming as a protostar or even after it's formed, it doesn't matter. The farther away you get from the star, the lower the temperature gets. So what that means is that when you're close to the star, say from the distance of Jupiter or closer, and we call this an imaginary line, we call that the frost line, if you are, in this case, to the left of the frost line, anything that constitutes what we call a volatile element, a volatile material such as water, ice, molecular hydrogen, hydrocarbons and so forth, it simply is too hot there. They're receiving way too much radiation from the sun. The temperature is simply too high to permit those molecules to condense, or those elements, I should say, to condense. As a result, they remain in a very rarefied gaseous state. They just simply don't condense anywhere onto any of the planets. And so Venus, Earth, Mars, Mercury and so forth, all of these are relatively devoid of hydrogen. And as we later on would learn, where do we get most of the hydrogen and the volatiles that we do have on Earth? They were carried inward from the outer solar system via comet. So that means that once we are past the frost line, going to the right, if you will, we now have an abundance of these volatiles. And all of these materials, including the refractory materials that we have a great abundance of here on Earth, to the left of the frost line or interior of the frost line, the Jovian planets or the giant planets, rather, have access to just about as many refractory materials as well as all of those volatile materials as well. So it's getting a double whammy, a double helping of materials to get larger with. So the key thing just to remember is that you can only get these volatile ices in the outer disk. Okay, but when you're interior of the frost line, you're stuck with refractory materials, basically rocks. And that's what we live on is one of those rocks. Okay, so we're talking about the composition of these gas giants, I'm sorry, of these giant planets, not just the gas giants, but the ice giants. We have plants that formed past the frost line. And really just about everything that you spot in the atmospheres of these planets are bound in some way to hydrogen. That's largely because hydrogen is the most abundant element there is, followed by helium. So everything that you're going to see, if you're going to find, for example, carbon in the atmospheres of these planets, they're going to be bound to four hydrogen atoms giving us methane. Or if you were to find nitrogen flying around, it would have long since bonded to three hydrogen atoms to give us ammonia. So what you're really are taking a look at, what you're sampling in these atmospheres, are really just manifestations of hydrogen-based compounds or hydrogen-based molecules. Any element that is heavier than helium, by the way, we refer to those in astronomy as a heavy element or a metal. So we have hydrogen and helium, and then everything else, carbon, boron, argon, nickel, et cetera, oxygen. All of those are considered, quote unquote, heavy elements, or even sometimes we refer to them as metals. So just keep that in mind that you're, you know, whereas here on Earth, we have lots of silicates, lots of heavy elements, out here at the giant planet regions, we find mostly light elements. So what are we composed of specifically? Let's just take a look. Well, when we have Jupiter and Saturn, the gas giants, we are looking mostly at hydrogen and helium. We've got some trace amounts of heavy elements. I mean, there is some ammonia and methane in there, but just not that much. When it comes to the ice giants, on the other hand, we've got a much greater percentage of these heavy elements. So less standalone hydrogen or molecular hydrogen, and less standalone molecular helium. Instead, you're going to find it mostly combined with other stuff, and we'll talk about that in a little bit more detail. So the other characteristic is that they're all, of course, very massive. I mean, they just have a lot of stuff. As a matter of fact, Jupiter is more massive than all of the other planets in the solar system combined. In fact, I think you can even add up not just all of the other planets, but all of the asteroids and all of the comets and all of the dwarf planets, and you still come up short compared to Jupiter's overall mass. The only thing more massive in the solar system than Jupiter is the Sun itself. What is also a little bit less obvious is that the planets themselves, these giant planets, all have relatively low densities. So they're fairly large, they're fairly massive, but their densities are low enough that in the case of Saturn in particular, its mean density is less than water. Water, as you might remember, is equal to one gram per cubic centimeter. Saturn is about 0.7 grams per cubic centimeter. In other words, if you could manufacture somehow a bathtub large enough and, I don't know, I guess get like a gravity field slightly greater than Saturn's to pull Saturn into that bathtub, you would find Saturn bobbing in the giant bathtub. I don't know how you're going to build that bathtub or much less fill it up, but good luck. It's just kind of cool to know that you can calculate these things and actually discover that Saturn can float in the giant interplanetary bathtub. Okay, so in addition to being very massive, we often equate large or highly massive objects with very large objects, and that doesn't always have to be the case in nature, but certainly in the case of the giant planets, they're called giant for a reason. They're big, they're really big. Now, we measure their distances, as I said, we measure rather their sizes, excuse me, we measure sizes by their radii, so we're talking about an imaginary line going from the dead center core of the planet all the way out to its outer cloud tops, and we measure that line at the equator, so we're talking about going from the center out to a cloud top that's somewhere on the planet's equator, and we're going to get into why we talk about the equatorial radii in a moment, but this means that combined with their size, well, that their size rather gives us effectively the planet's volume, so the planets are huge. And matter of fact, it's not obvious looking at this, but it turns out that if you take some calculations, you'll discover that Jupiter's got enough volume, it's just physically large enough to accommodate all of the other planets in the solar system combined, so these things are huge. Jupiter is a little more than 11 Earth radii across in size, Neptune is the smallest of the giants, it's just coming in at about a little under four Earth radii, but they're quite large, even the smallest of them is staggeringly huge compared to Earth. So now we're going to talk about why we think about radii as a function of going out to their equators, and that's because they have, actually I'm sorry, let me take it back, I'll get to that in a second, they orbit, let me jump ahead, they all rotate very, very rapidly, and so what this means is that at just under 10 hours for Jupiter, which is the fastest rotating planet of the giants, indeed the fastest rotating planet in the solar system, this causes the equatorial regions of these planets to bulge out, you can almost think of it as like a centrifugal force, I don't like to use that because it's technically not a real force in physics, but okay, we'll just go with it for the time being. You can imagine taking a ball on a string and twirling it above your head, you know that the ball is attempting to go as far away from you as possible, it's extended all the way out, it's a lot like that here, the equatorial regions are rotating the fastest on these planets, and therefore they are trying to effectively fling themselves away from the planets, leaving toward this overall equatorial bulge or an oblate, that is to say non-speroidal shape. You can even just take a look at, these are real images of the planets, no more illustrations, and you can take a look at Jupiter and Saturn particularly, and you'll see that they're clearly not spherical, they are kind of oblate, obloid shapes, they're a little bit squishy at the poles, and that's precisely because of their relatively short, i.e. fast rotation periods. Another thing that they all have, well one of the things that they don't have in common is their obliquities, they are kind of all over the place, well maybe not to a huge extent, unless of course you take a look at Uranus, it's knocked over effectively on its side at about 98 degrees. Now keep in mind that all of these obliquities are just another term for the planets axial tilts, and they're tilted with respect to what? They're tilted with respect to their plane that they share with the Sun, i.e. the ecliptic, effectively. So Jupiter is tilted not very far from perpendicular, just a little over three degrees, Uranus all the way has flopped over at 98 degrees. It's not clear exactly why Uranus ended up this way, but something during its formation we presume must have knocked it over, and it sounds like it would involve a very sudden powerful collision, but it's a little bit more complicated than that, and we're not really sure exactly why, but one of the clues that it might not have been just a sudden catastrophic event is the fact that not only is the planet knocked over on its side, but its ring system, and we're going to talk about rings in another lecture, but its ring system is also in the same knocked over configuration you might say, and even its moons orbit in the same knocked over configuration. So maybe it was like a gradual title shift that brought the rings and the moons into this knocked over position along with the planet. It's kind of interesting. One of the things though about Uranus, it's extreme obliquity, is that this leads to extreme seasonal changes on Uranus. You might remember that the axial tilt is the reason for the season. It's the reason why we have winter, summer, spring, autumn. Uranus and all these planets indeed experience seasons to varying degrees, but Uranus has the most extreme seasons, and one other thing about Uranus is that the seasons are closely associated with what you and I might think of as a day, when we think of a day as the sun rising and the sun setting. Well, in this case, the sun remains more or less over one of the poles for approximately 42 years, and then you get 42 years of daylight at the other pole, which means that you've got 42 years of darkness on either side.  It's kind of crazy. It's just very different than anything we've experienced here on Earth. So this here is a quick wrap-up of all of the physical properties. It's just a convenient table for you to go back and reference. Feel free to take a look at this. You don't have to necessarily memorize every single one of these statistics, but they're really good to go back and take a look at once in a while while making some comparisons and thinking about some of the questions that you might get asked. So take a look at it, get familiar with it, and then when we come back, we'll talk about the cloud structures of the giant planets.


What up, what up, what up, I'm Brian Manchiong. And I'm Corey. And we are back with another episode of No Labels Necessary Podcast. You can catch us every Tuesday, every Thursday on YouTube, Spotify, Apple, wherever you stream your podcast here at the intersection of creativity and currency. And today, we have a special episode. Artists, we have a Ask Me Anything episode. For those of y'all who do not know, we have our private space. And any of y'all who come into our free private space, we do these sessions where artists can literally ask us anything a couple times a week. And we have some great questions that we think are really going to be impactful for y'all. We're going to cover topics like merch today, super fans and doing shows for those super fans. We got topics like LinkedIn. That's like a whole nother beast, but there is value to it. So we'll tease that as well.  Now, let's get right into it. And by the way, we answer these questions in the network as well, but on these videos, we're going to give even more information than we do in text. So Elijah Cole asks, you ever see a time where you guys teach strategies to bypass the DSPs for the most part and concentrate on spaces that we can better control? I'm looking forward to strategies on making money early on. It takes a lot of streams to have anything left. He ain't lying, man. You ain't lying to Elijah to do take a lot of streams and making money. A whole lot of streams. About 1,000 streams just to get a happy meal, bro. They work out like that. Do we teach that? Yeah, I feel like that's... Most of our strategies aren't really platform dependent. We may talk about them in context of certain platforms, but that's because y'all have asked about the same platform. There's really more on y'all than on us. We teach growing an audience. You can put the audience wherever you want to put it using really the same couple of strategies.  That core strategy can be directed at anything. Like I said, most artists choose to direct it at DSPs and streams, but if I run, what's the difference between me running ads pushing people to my Discord and me running ads and pushing people to my Spotify? On the top level, there's no real difference. There's certain things you have to think about at the bottom of the funnel, you know what I'm saying? Like in terms of how they might be thinking about converting them being the people on the other side of the ad, but up until that point, it's really exactly the same. Yup, it's just a call to action. Just like you can make a YouTube video and I could say, go to knowlabelsnecessary.com in this video, or I could say, go to knowlabelsnecessary.com slash monetize, right? By the way, go to www.knowlabelsnecessary.com slash monetize, cause we do have a video now speaking specifically on this monetization. I'm working on that series for y'all who don't know to help y'all understand how to monetize through completely different ways from DSPs, but most of the stuff that we talk about to Jacory's point is literally, what are you saying? Where are you driving the traffic to? We teach you how to drive traffic in a plethora ways. It's up to you where to put it. We speak on the platforms that we speak on because y'all ask for those specific platforms, but the people who go deep, they already know. They already know it's there because we got people who are making tens of thousands, hundreds of thousands of dollars using the information that we've put out on the other thing. So go to www.knowlabelsnecessary.com slash monetize. I think for the people who are looking to make money, that'll be a good rabbit hole for y'all to go down. Thea Shea, she asked, considering the interview we did with Justin Phillips, how you can build a million dollar clothing brand. Go check out the interview we did with Justin Phillips. I'm curious on your opinion on merch releases for emerging independent music artists, especially in the context of establishing a long-term brand as your music gains traction, right? So here's a question. Would you recommend starting with basic merch and gradually moving to higher quality pieces or do you believe investing in quality items right from the start as discussed in the interview? Which one is a better approach to Ujikore? I believe I gave the other advice of 80% basic pieces, 20%, you know what I'm saying? More well thought out, custom pieces as the base builds. Cause the reality of it is, man, like custom pieces are expensive. Like to get somebody a high quality hoodie or shirt or jacket is gonna be a lot of money. Money that you might not have out the gate and might not even have the fan base to really need to care about that. But what I've seen in the emerging stages is they usually just want to like buy something, you know what I'm saying?  You know, like there are ways to give decent quality merch items at a pretty good price. But that's why I would start like, hey, let's maybe POD, a print on demand, some decent merch, some tee shirts, some things like that. And then as the base builds, then we can do these special high quality drops every now and again. Yeah, cause high quality merch sounds great until you see how much it costs. Until you sitting on that shirt. And you sitting on it and can't sell it for sure, for sure. So I'm all for that strategy of, yeah, let's one do print on a man. It's a lot more than you think it is, trust me. Like we already knew that it was a lot more than we thought it was. And then we did it. And it was way, way more than we do. Still got shocked. Right, still got shocked. Shout out to Justin for telling us to slow ourselves down in that direction. You know what I mean? One thing I will say too is I think, like she's asking about quality in terms of the actual material. Actual material, yeah. Yeah, but I think you can do high quality ideas. You know what I'm saying? Like I gotta add the other day for, it wasn't an artist merch, but I think it could be cool artist merch where this company is selling car air fresheners that are in the shape of like vinyls. And so you get different album vinyls. And so I'm looking at it, I think it's probably like 10 cents of air freshener if you do like an order of a thousand more. So you can get a hundred dollars worth of a really unique merch item. You know what I'm saying? It is quality because of the idea and you still don't have to break the bank. So like, I think that's another way to think about it too.  But you can find a good middle ground.  Because as we've learned, man, these Chinese vendors, man, if you can dream it, they can make it. If you can come up with it, it'll get done. Just don't know when you'll get it.  But with all that being said, so I like to think of it like this, right? People know that you are not big popping, big pimping. You know what I mean? And people are willing to grow with you. High quality design, right? Like actually be thoughtful in how it looks and then hit that messaging on point. Like whatever your message for your audience is, connect with them there. And then yeah, improve your merch over time. Nobody is expecting the highest of quality. Now, if you're building this brand on some type of high quality, like fashion driven approach, then that's a whole another thing to consider. But most of y'all don't need to do that, right? So yeah, I think that's really it. It's straightforward. Don't overthink it. Do what you can afford. And then as you get bigger and bigger, then you can take those bigger risks because it is a risk as well. Yeah, facts. Amy said, I have an artist who wants to focus on doing more college shows. He's planning on mass story viewing colleges and having a virtual assistant pitch his EPK to organizations at schools. Is there anything else they should be doing to get more college shows? First of all, first of all, beautiful, beautiful. I love when artists take these, you know, interesting hacks of getting attention and building leads, right? They're basically doing a real outreach to these college shows, right? These college organizations. It's a sales funnel. Sales funnel. I'm going to send the EPK and then I'm going to create some social level of relationship by interacting and engaging with your organizational line. And these organizations, by the way, a lot of these organizations, the organization pages don't necessarily have that much engagement usually. They might have a little bit for the people who are there, but like an extra bump in engagement, they will definitely notice. And they're going to see that comment. Somebody's going to see it. Somebody's going to see it. The person managing it will see it, right? We had a whole talk with some organizations, right? And they were thirsty to figure out how to get people more involved. So, yes, engaging with these organizations is a beautiful strategy for anybody who wants to do shows with the college organizations. There's a nonprofit organizations, any of these people, like there's a full strategy. You just have to find the ones that make sense for you. And with that said, because I happen to know this individual and this strategy, my biggest thing that I see with shows, and I've told them this, is most artists don't do a good job of capturing the experience of their shows. So, yes, getting your streams, bam, puts you in a beautiful place, right? And getting some followers and real fans, beautiful place because it makes you look more attractive and more realistic. All that's great. But a lot of these college shows and these organization shows, one, they're looking for somebody who just can perform and can entertain their employees, right? They're members of their program. They're not thinking like, I'm gonna bring Drake, all right? Because if they did, it would just bring Drake. And they use different budgets for different events when they're trying to use get marketing to actually get those type of artists sometimes. But they're smaller events. They're not looking for that type of thing, right? Because to that point with colleges, they're usually trying to keep it in-house anyway. So sometimes having an act that might attract too much of the community is a bad thing, right? Like I'm in Georgia State, you know what I'm saying? I just want Georgia State students to come, but this shit reaching all the way out to people at Riverdale and then people, folks trying to come up from Riverdale. There's a little bit of a conflict there, right? In terms of safety and things like that. Like to your point, we're not looking for max bang for buck in terms of draw. We're looking for max bang for buck for entertainment value. And an office party is different than a concert, you know what I'm saying? So make sure you show the experience of your show, right? Do a really good job of highlighting that experience and the vibe of it. Not just you performing on stage where you literally be any different type of event. Like capture audience interactions, maybe talking with people in the shows at the end. Maybe people giving a review of your show like was it dope? Was it not? If you're, well, you don't want that. Was it not? We're not putting that in there. But, and like what can you do experientially even though you're not maybe controlling the entire environment with production value, how can you make it feel unique, right? So like capture that, put that experience in footage, right? That is very much so worth investing in a high quality reel. All right, people think about music videos know a high quality reel that's gonna make you money directly by pitching it to an organization and they're able to see you and the experience of you versus the next artist. That's gonna help you get that extra money. And this artist that we're talking about has already gotten, he's probably at least made 30,000 around college shows over time at this point, right? So capture y'all's experience. I know it might not seem like it's worth it for some of y'all if you're already getting shows but once you start to get shows you will get more shows and more money by doing that. All right? Now, next we have Melissa Kariuki, I think I said that right. How many super fans do you think artists should have in a city prior to organizing a live show there? A range would be appreciated. This is even for a small show of let's say 70 people. 70 people, you should be able to get that off of friends and family and a couple of fans and my fans. Yeah, I agree. Yeah, I agree. She wants a number. If we had to put a number on it, I was like 30 to 100 people in that city. To do a seven, but here's my problem. She said super fans. I don't think you need super fans to hit 70 people. You need mildly interested people. Yeah, you just need good people who rock with you enough. Maybe you got five of those who are like fan fans but you need enough people to rock with you and then you need to create the experience in a way where they would bring their friends. Once you do that, you really only need 35 people to bring one more person and then you break it down from there. And I think the problem is, and this is when we go to www.knowlabelsnecessary.com slash monetize, that will also be in the description below for those who are watching on YouTube. The whole paradigm shift that artists need to have and that's what I'm spending pretty much the next six months leading people down is you can create concepts in ways that will attract people who aren't even fans of you. And I think we spend too much time looking for super fans of just your music when the reality is if it's only relying on your music, you're at a deficit. But there's people who start brand new events every day and bring out hundreds of people when they don't have a known name, they're not a known promoter and they don't have any music, they just got a DJ. Yeah, in the building. A DJ in the building, yeah. I agree because I understand why she's asking about it from the super fan perspective. She's probably been watching a lot of us talk about conversion, racing, things like that. But to your point is if I, one, if you have good timing with it, right, which kind of goes into market research, I'm playing this event at a time where it seems like there's not much going on that could pull away from me. I'm like, yeah, you can get the lukewarm fan to come out just as easy as you could get the super fan to come out, you know what I'm saying? They both need something to do that Thursday night. You know what I'm saying? They both are aware of you and at least interested in you and at your point, ideally they got at least one or two friends, you know? That's it. And if you can create an experience, because this is where the big brain comes in, you're not crafting the experience to necessarily attract the super fan. The super fan gonna come regardless. You're crafting something that's interesting enough that the super fans are cool with going. Perfect. You know what I'm saying? That's exactly what it is. Like, hey, I know you gonna go, but your friend might be like, I ain't really feeling it. And then that could knock the whole operation out. And it goes back to the same reason I talked about building that video reel of what your experience looks like, not like what it looks like you performing on stage, the experience, because your job is to make it easy for people who already love you to sell other people to come down your rabbit hole. That's it. Now, that's it for this video. If y'all like episodes like this, we will do more Ask Me Anythings where we use those questions from the No Labels Necessary Brown Network community. If y'all wanna go there, it's just www.nolabelsnecessary.com. Make sure you do the www. This is yet another episode. I'm Brian Manchin. I'm Corey. And we out. Peace. Appreciate you for watching. If you like content like this, you'll love seeing our music marketing strategies that we use as an agency to actually blow up artists to millions and even billions of streams that are available for free at nolabelsnecessary.com. And the cool part about it that's gonna really make you love it is we don't have to be all entertaining and add all this fluff just to get some views that we do on YouTube. We get straight to the information. There's play by play in courses that give you a breakdown of every step that you should do to get success. And you have the ability to have communication with us. We get on live talks, a lot of cool things for members and it's free just to hop in. So check it out right now at nolabelsnecessary.com.


The story of Dr. Kildare. Whatsoever house I enter, there will I go for the benefit of the sick. Whatsoever things I see or hear concerning the life of men, I will keep silence thereon, counting such things to be held as sacred trusts. I will exercise my art solely for the cure. The story of Dr. Kildare, starring Lou Ayres and Lionel Barrymore. Metro-Goldwyn-Mayer brought you those famous motion pictures. Now this exciting, heartwarming series is heard on radio. In just a moment, the story of Dr. Kildare. But first, your announcer. It's Citadelle's of American medicine. A clump of gray white buildings planted deep in the heart of New York. The nerve center of medical progress, where great minds and skilled hands wage man's everlasting battle against death and disease. Blair General Hospital, where life begins, where life ends, where life goes on. It's your business, Jimmy, your problem. But if you tell Karoo you won't do it, you'll tear his gardenia off and stamp on it with both feet. Then look out for flying pedals, Dr. Gillespie, because I'm not going to do it. Well, now, now, he might stamp on you too. That I can't help. I've got a patient waiting in emergency. And as far as I'm concerned, that's more important than any of your specially conducted tour. Not to Karoo, at least not when a wealthy patron is about to make a donation. Well, after all, that's his problem. I'm a doctor, not a promoter. Jimmy, after all, Karoo is the superintendent of this hospital. You? Taking his side? I don't believe it. Well, now, I'm thinking of your career. Yes, sure. I never played hospital politics. You know, that's true. But maybe I should have. Look where I ended up. Only the world's greatest diagnostician. Too bad you couldn't have been a success. Well, but there are different kinds of success. Now, you take Karoo. You take him. All right, but... That's what I'm leaving right now, Dr. Gillespie. Just a moment, please. You do have a sign with Karoo. I know. Showing some millionaire secretary around the operating room. Sorry, I haven't the time. And precisely what is this case you consider so important, may I ask?  He's still unconscious. Why, it's a heart condition, obviously. The intern can deal with it. It was the intern who called me, Dr. Karoo. He's scared, and I know how he feels. Well, I'll see you later. Dr. Kildare, I positively and absolutely forbid you. Did you see that? See what, Karoo? Insubordination, Dr. Gillespie. Ranked insubordination. Oh, nonsense. Kildare's a patient waiting, that's all. A patient? Oh, when I have a representative of Mr. Jeremiah Ramsey coming right here to this office any minute. Not really. Oh, you expect a half million donation or more, if we can show clearly the hospital needs it? Well, I've never seen a time-blare hospital, didn't you? But I was counting on Dr. Kildare to well explain things. I've been away from actual practice for some time, and after all, my talents do run more to administrative lines. Yeah, heaven help the patient who ever had to depend on your medical talents. See, the world Karoo, your millionaire secretary, is a parent. I wonder if I could prevail on you two. Don't look at me. But somebody has to convince her we need that donation. And since there are only two of us left. Hand me that stethoscope again, will you? Here you are, Dr. Kildare. It certainly isn't a hot condition, as Karoo calls it. You can take a look at that thermometer now. All right, Dr. The thing young Benton called me, if this had been handled as a routine stroke. 97.4. So normal. Let me see now. There's a slight precipitate beginning to form here. What do you think's wrong with him, Dr. Kildare? Well, it isn't a heart attack. I wonder if he could possibly come in. Oh, Benton, yes. Brought us wallet and things up from the office, Dr. Kildare. Is there any change yet? No, none of any importance. But I think I know what's wrong. Let me see now. Yes, if I'm right, there should be. Here we are. What is that? If a bearer is found unconscious, notify nearest physician immediately. Give no stimulants. Oh, that's what it is. Uh-huh. Diabetic coma. Parker, get 20 units of insulin from the dispensary. And hurry. Three operating room, Miss Mudd. Thank you, Dr. Karoo. And like the others, this room, too, is utterly inadequate. You don't say so. Oh, yes indeed, Dr. Kildare. As of course, you can see for yourself. Well, I don't know. I think you're underrating your institution, Dr. Oh, my dear. Look, the lighting. I'd say it was average. Possibly a little better. Oh, good heavens. No, the lighting over this operating table would never pass inspection by the state board. Indeed. Of course, it's nothing that a few thousand dollars wouldn't take care of. Oh, well, if that's all that's needed, then I would certainly think an institution this size could manage it somehow. Oh, well, that's only for this room and only for the lighting. Actually, the whole hospital is in horrible condition. Oh, Dr. Karoo, you must be exaggerating. Exaggerating? My dear Mr. Mudd, do you realize that our equipment is so obsolete, our supply is so limited that we're unable to maintain even the minimum cemetery standard required for law? Why? Oh, yes. Shocking. Dr. Karoo, I have never been so amazed in my life. Tell me more. Be patient. It's diabetic, you know. He gave in the regular insulin and a balanced shot of protamine zinc. Benton's staying with him, and I'm going back later. I suppose Karoo was a little put out. Only to the extent of turning pale, pink and calling it rank in subordination.  You mean, you've got to learn to take these things more seriously. Oh. Well, true enough, Karoo is an imbecilic nincompoop. Granted. But nevertheless, he can do you a lot of harm professionally. Look, Dr. Gillespie, you know I went into medicine for several reasons, but mainly just because it's the best way I know of helping people. And as far as I'm concerned, the only professional harm that could happen to me would be to change that idea. Till there, that's rank idealism. You know where I learned it. If you mean for me, that's different. I've been at this hospital since time immemorial, so I can afford to be a cantankerous rebel. You can't. Maybe not. But I still believe the first consideration in medicine always is the welfare of the patient. Sure, I agree with you, but... I know the hospital needs money, too, and unfortunately a big part of it has to come from donations. OK. But I still think... I have no argument with you at all. You're absolutely right. But confounder, why can't you be a little more diplomatic with Karoo? You really mean that? Well, of course. I... well, I... Oh, pull his whiskers. I don't care what you do. Well, I'm back, Dr. Glesby, in case you need me. Parker, every time you're away for an hour, I'm reminded just how little I do need you for anything. Well... You would make a good, horrible example for Karoo's sales talk. Why, Miss Mudder, take one look at you... Miss Mudder? Quite a name, isn't it? And Karoo thinks that she's a representative from his wealthy patron. Why, yes. Come on, Dr. Glesby. Before it's too late, we've got to find Karoo. She'll be back later, of course. She was most impressed by the things I told her. Yeah, imagine she was. Well-killed, eh? Just what kind of things did you tell her, Dr. Karoo? Well, now, of course, I may have gilded the lily, Dr. Beat, over-emphasized the run-down condition of our equipment. He hid it slightly irregular. It is now ethical standards due to lack of funds, but all in the good cause, Dr. Kildare. If I may take occasion to remind you... I see. Then I take it you're entirely satisfied with what you've accomplished. Feel now that it's just as well I didn't talk to this woman. Well, Fabio, for me, Dr. Kildare, but I really do doubt that you could have done quite as good the job of selling. Go on, Kildare. Slip in the business. I can't wait. Slip me the business? Dr. Karoo, you'd better hang on to something. You see, Miss Mud is not who you think. She's not? Well, then who is? I mean, where is Mr. Ramsey's representative? Well, it sounds very much as though he's the man I've had waiting downstairs in the lobby all morning. What? Anyway, I missed the grunnions and worried up that he wanted to look over the hospital. And you kept him waiting all morning? We're ruined. Absolutely ruined. Well, that isn't the worst of it, Dr. Karoo. There's still Miss Mud. Oh, dear, I forgot her. And apparently you've also forgotten the announcement of her appointment a few months ago. She's one of the new examiners for the State Board of Hospitals. Really? Well, in that case, I suppose I'd better... Oh, heaven. From somewhere... But you don't realize all the things I told her? We can imagine. I said we were violating sanitary regulations, ignoring fire codes, paying no attention whatsoever to institutional law. But we're ruined. Absolutely ruined. Oh, I don't think it's that serious. She'll make a report to the Board of Regents. They'll throw you out, of course. Throw me out? But after that, things should settle back to normal. Normal, you say? Normal? Dr. Karoo, get a hold of yourself. Cast aside, I can hold you when my poor wife, she just ordered new drinks at the dining room. Fine, be nice to the new superintendent. After all the years I've given to play a hospital.  Oh, Dr. Kildare, it's all your fault. My fault now, really? I'm kind of tired of waiting down there. My name's Grunyan. Mr. Grunyan. I just now learned of the atrocious treatment you were given this morning. And I want to offer you, may beg you to accept my abject apologies and humble assurances.  What's wrong with him? One of the mental cases? No, no, no, no, Dr. Karoo is our former superintendent. He's... You're kidding. No, really, you see, he takes the patient's trouble so much to heart that sometimes it's just too much for him. Now, wait now, Mr. Grunyan, if you don't mind waiting outside. I'm sure he'll be all right in a few minutes. But I've been waiting all... Well, now, what are we going to do? Karoo, you're up. To kill the air in just a moment. Dr. Gillespie, I'll give you 10 to 1. We made a mistake in letting Karoo go off along with that Mr. Grunyan or Grunyan or whatever his name is. Well, I don't know how we could have stopped him, Jimmy, without locking him up. I guess not. He's all set to die for dear old Blair to make one last gesture and hand over a half million dollars along with his resignation.  Well, I've never seen anyone else in my life who could blunder into as many ways of doing the wrong thing. He's a biological paradox. The only example known to medical science of a living human being born without a brain. What are you talking about, Dr. Gillespie? My mistake, Jimmy. He is one of two examples. Well, what do you want, Parker? You don't have to shout at me. I don't even have to put up with you. Well, it's all right, Parker. He just has another mild case of Karooangitis. Crew and what? Never mind. How's the diabetic in 508? He's conscious now. That's what I can't let you know. Good. Dr. Benton said to tell you that he's responding normally and can probably have something to eat about 2.30. Fine. I'll drop by to see him right after lunch. Which, by the way, is a good idea. Well, my dear doctor, shall we go across to Sullivan's and risk tomean poisoning again?  You go on. I've got a halfway idea how we might straighten out the blunders Karoo made when he talked to Miss Mudd. Now, wait a minute.  Well, no, something has to be done. All right. Tell her the truth. Ah, it isn't quite that simple. It could be. You just leave it to me, Jimmy. Ten minutes, conversation. I'll have everything all fixed up. That's exactly what I'm afraid of. Parker? Huh? Parker, I'd like your opinion about something. Oh, I, of course, stopped to kill there.  If you're talking about who I think you are, well... A man who has repeatedly claimed that a staff doctor should concern himself only with the medical affairs of the hospital and should stay away from the... Fiddlefaddle, I think that's what he'd say. Yes, stay away from the fiddlefaddle. Thanks, Parker. Ah, fiddlefaddle. And then when you find that man doing exactly the opposite from what he believes... Well, how can you explain it? Well, I guess you just can't, Dr. Kildare, unless, of course, he was born without a brain. Born without a... Parker, you get out of here. Go on. It's in subordination, Dr. Rankin subordination. Well, give my regards to Karoo when you get out on that same limb with him. I'm going to lunch. I think over this operating table is... You see? Well, now I don't know Dr. Karoo. It looks all right to me. Oh, my dear sir, it's frightful. Really frightful? Of course, it's nothing that a few thousand dollars wouldn't take care of. Two thousand dollars, hmm? That's only for the lights and only in this one room. I see. Well, it sounds like the place isn't pretty bad shape. Of course, a half million isn't really very much to a wealthy and generous philanthropist. No, I suppose not. You know, Dr. Karoo, I'm frankly amazed. I had no idea the conditions were so bad here at Blair. Mr. Grunion, you've only heard the beginning. Just wait until I get through. Dr. Gillespie, do you mean to say that you went without your lunch and waited here for me to get back in order to tell me that? Well, now I think the information's fairly important, Miss Mud.  I see. Well, I imagine it might have been a good deal more shocking if I weren't partly prepared for it already. I suppose you are quite sure. Oh, yes, of course. Ordinarily, it's quite normal, but he does have these spells when he gets none other than a walnut grove. Of course, we've all known about it all these years, you know. Well, shouldn't something be done about it? I mean, after all, the superintendent of a big hospital like this...  The only symptom is that pessimism you saw this morning. He thinks the whole place is falling to ruin when actually it's running at the top efficiency. Amazing. Better. Dr.  Yes. How's our patient? Well, Dr. Kildarey... Oh, man, I'm quite capable of answering the question for myself. Oh, you apparently are. Feeling all right, eh? I haven't felt better since my 62nd birthday. Thanks to you, joint old. Oh, well, you've been told wrong. Dr. Benton's your physician. I'm only a consultant in the case. Hmm. Thanks to both of you then. Dr. Kildarey, if you're going to be here a while, I think I'll grab some lunch. Sure, sure, go ahead. His response has been completely normal. I gave him 10 more units at one o'clock in order to standard DV lunch. Do now. All right, Benton. See you later. Heh. Talk about a man like you, uh, dad blames specimen under a microscope.  Eh, good point. Very good point. Of course, you won't be long if you go around skipping your insulin shots very often. Well, a man gets careless at my age. I know.  You wouldn't know.  You a staff doctor here? Guilty, Your Honor. Getting rich out of the magic. Oh, yes, yes. I have a private annex at Fort Knox. Hmm. Young man, I suppose I haven't been a half block from a hospital when this happened. But you were, so why suppose? Yes, imagination's a bad business. Have lunch with me, young fellow. I always hate to eat alone. Sure, I'll have a cup of coffee. I like to watch a convalescent patient eat. Means he's recovering. Means you'll get rid of him that much quicker, too. Oh, oh, oh. You know something, young man? Hmm? I think we understand each other. And you know something else? I think I agree with you. Oh, Dr. Gillespie? Oh, who are we holding here? A consular war or a victory celebration? Jimmy, it worked like a charm, just as I told you it would. I see. Where are the sacrificial victims? Mr. Grunion is making a phone call at the moment. Ah, Miss Mud's gone after some forms to be signed. Dr. Gillespie's being coy, you know. He won't tell me what he said to her, but it must have been effective. I'll bet it was. And, of course, Mr. Grunion is thoroughly so. I suppose you gave him the same story you told Miss Mud earlier today. Oh, and even better one the second time. Everything is just wonderful, Dr. Kildare. Why, I'm even inclined to forgive your little Pactillo. Thank you very much, Dr. Grunion. Oh, come in, Miss Mud. I'll just leave these with you and you can mail them in. Oh, Miss Mud, I don't believe you've met... Oh, hello, Dr. Kildare. How are you, Miss Mud? You know each other? We met at lunch over at Sullivan's. Yes, we had a very interesting conversation. In fact, that's the only reason I'm giving the hospital a clean bill of health, so to speak. What? You see, Dr. Kildare told me the whole story. And after all, Dr. Karoo, I couldn't see any of those terrible conditions you tried to point out.  Dr. Killespie. Oh, yes. But I thought it was so cute to let you go on with it. Cute? Well, I suppose I really should go. Sorry to keep you waiting, gentlemen. Well, Mr. Grunion. Well, Miss Mud, imagine meeting you here. You two know each other. Oh, yes. We met at the medical convention in Albany a few weeks ago. Yes, we did. Yes, indeed. Yes. Well, Mr. Grunion, I do hope you'll be able to convince Mr. Ramsey of our need. Ramsey? Who's Mr. Ramsey? Why, he's the... He's your heaven's name, are you? Field Representative for the Panachmy Hospital Insurance Plan. Oh, dear. We have considered putting Blair Hospital on our preferred list. Oh, dear. But, of course, that's out now that I've learned about conditions. Oh, dear, dear, dear. Mr. Grunion, I think the boys have been giving you a rib. Maybe I can straighten the whole thing out. Well, I... I do respect your opinion, Miss Mud. Well, come on, then. Let's go find a quiet spot and reminisce about Albany. See you again soon, Dr. Kildare. I hope so. Goodbye, Miss Mud. Dr. Kildare, I... I hardly know what to say. Karoo, I think we both said too much already. Well, since everything seems to be taken care of, I guess I'll just get back to work. There's only one thing I'd so counted on that donation for Mr. Ramsey. I wonder what could have happened to his... Ramsey? Oh, Dr. Karoo, I almost forgot. Mr. Ramsey should have all the arrangements completed and a check deposited to the hospital account by, uh, oh, the end of the week. What? Dr. Kildare, how do you know? He told me a little while ago. Soon as he recovered from his diabetic coma. Oh, no. You mean that emergency patient in 508, the one that I... the one that you... Oh, dear. He seems to be highly impressed by our efficiency and our concern for the welfare of the patients. Maybe overly impressed. I must go and lie down. I must go and take an aspirin or something. I... Well, then, Jimmy, Dr. Gillespie, I was just lucky. Confounded I... No, don't say it. But I... All right. To the story of Dr. Kildare. Now for the state hospital board. If you'd like to sign them, we'll get them sent off. Love to sign them, Jimmy. I hope you've included our best regards to Miss Mud. Oh, yes. And close to personal note. Personal, huh? I hope you asked her to say hello to Mr. Grunian, just in passing. Maybe it's some Albany convention. I, uh, mentioned his name. Good, good, good. Well, here you are. And may they both rest in peace. Allowing for your exaggerated metaphors, I guess I agree with you. A mix-up like that once a year is plenty. Dr. Gillespie, there's a Mr. Beetlepuss here to see you. Beetlepuss? Never heard of him, Parker. Well, he says he wants to look over the hospital. Over the hospital? Well, because he works for the phone company, and he has to know where the new telephones are supposed to go. Jimmy, you go with him. Not me, Parker. Take Mr. Beetlepuss upstairs and introduce him to Dr. Karoo. Mr. The Story of Dr. Kildare, starring Lou Ayers and Lionel Barrymore. This program was written by Les Crutchfield and directed by William P. Russo. Original music was composed and conducted by Walter Schumann. Supporting cast included Virginia Gregg, Ted Osburn, Isabel Jewel, Will Wright and Willems Herbert. Dick Joy speaking.