The Luxe Radio Theatre presents Hollywood. The others company, the makers of Luxe Flakes, bring you the Luxe Radio Theatre, starring Olivia de Havilland and Richard Baisart in The Corn and Breaks. Greetings from Galaxies, Mexico, ladies and gentlemen. Even though I am a few hundred miles away directing a motion picture, the Luxe Radio Theatre is in Hollywood as always. Tonight, we proudly present one of the finest actresses in the history of the American screen, Miss Olivia de Havilland. In the distinguished drama, The Corn is Green. Our play tonight, The Broadway State's success by Emlend Williams, gives Mr. Havilland an opportunity to combine her great artistry with a great role. And appearing with her is the promising new star, Richard Baisart. The Corn is Green is the story of a school teacher who finds a student for the great future and then is almost defeated in her efforts to educate him for the future by a very simple obstacle, the human need for love. Do you know today's teachers, like many others, have something of a budget problem? And of course, that's always a good opportunity for Luxe Flakes. Every woman who runs a home these days, whether it's a full-time or a part-time occupation, needs to manage efficiently. Even on a small budget, Luxe Flakes provides safe, dependable washing care. That's thrifty, too. And now, here's The Corn is Green, starring Olivia de Havilland as Miss Moffitt and Richard Baisart as Morgan Evans. The Welsh countryside, some 50 years ago, an obscure village called Glensano. There's an old house in Glensano, long empty. And on this spring afternoon, the new owner has just arrived. So I trust you will find everything in order, Miss Moffitt. I will go now. No, no, please wait, Mr. Jones. You too, Miss Rambray. Oh, I do thank you both. From what I can see, you've arranged my things splendidly. But I want very specially to talk to you. Excuse me, are you saved? I beg your pardon. Are you church or chapel? I really don't know. Anyway, I... What is that scene? The boys coming home from the mine. Oh, they burst into song in the slightest publication. You mustn't take any notice. It's beautiful. The mine. Cold, is it not? It is cold, three miles over the hill. I see. Now, before Mrs. Wattie gets here, Mrs. Wattie, my housekeeper, she and her daughter are coming from the station with my baggage. Now, tell me, what's that large empty building next door? It is the old farm belonging to the Gwallyer farm, before the farm was burnt down. Then it's for rent or for sale? I would think so. But what is that to do with you, Miss Rambray? I will tell you. We have mutual friends in London, Miss Rambray. They have told me that you live alone, you have just enough money, you're educated.  How hard it dubs them. But isn't it so? Not at all. When the right gentleman appears, I shall... If you're a spinster, Miss Rambray, well on in her 30s, that right gentleman is not coming. He's lost his way.  If a woman's only future is to marry and... But haven't you ever been in love? No. I've never talked to a man for more than five minutes without wanting to box his ears. Which brings me to you, Mr Jones. My conscience is as clear as the snow. I'm sure it is. The wind growths told me all about you too.  How can I be disappointed when I'm saved? Oh, but you can. You're frustrated, Mr Jones. So you fall back on being saved. Am I right?  But in the meantime, would you two like to stop moping and be very useful to me? Useful? How many families are there around here? There are 50 families in the village and 15 in the farms around. Many children? Children. Here they are only children until they are 12. Then they go to work in the mine and in one week they are old men. How many of them can read and write? Next to none. Why, do you ask? Because I am going to start a school for them. A school for them? But what for? What for? Do you see these books, Ms Woundery, which you were kind enough to unpack for me? Hundreds of them. And something wonderful to read in every single one. These nippers are to be cut off from all that forever, are they? Why? That is school for ordinary children. Oh, when I heard this part of the world was a disgrace to me. When I heard this part of the world was a disgrace to a Christian country, I knew this house was a godsend. I am going to start a school in that barn next door. And you are going to help me. I couldn't teach those children. I couldn't. You smell. If we'd never been taught to wash, so would we. As for you, Mr Jones. I must solicit this clock in Guinegarum. I earn 33 shillings a week. I give you 34 and your lunch. I'll pay as well as this house and I know exactly what I'm going to do with it. But those children in the mine earn money. How can they go... I'll pay their parents a few miserable pennies they get out of it. And when I've finished with you, Ms Woundery, you won't have time to think about snapping up a husband. And you, Mr Jones, won't have time to be so pleased that you're saved. Well, I do not care if you are not, Chapel. I am with you. Good. Now, sit down. I'll tell you exactly what I have in mind. I... I disturb your supper, Ms Muffart. But the carpenter is at the back door, about the barn. And the boys for the evening class, they're in the yard. Did they write their essay? I don't know, Ms Muffart. One of them has a bottle of rum. I'll take care of them. Never mind my tea, Mrs Wattie. They are the same boys I enrolled last night. They have only come to make sport again. And you're going to finish your stuff for me. I'll make her a wobbly later. She's got a clinker, that's what. Clinker? Ms Muffart is a very unusual woman, Mrs Wattie. Terrible strong will, of course. Terrible. Get her into this, if I keep telling her. Well, bring me and Bessie here. I said, now I said, not with my past, I said. Your past? Of course she took me up. But what for there? And now I've joined the corpse. It's all brought it out. The corpse? The militant righteous religious corpse. Running them in the street I did singing and praying and collecting poor blood. I've been a different woman ever since. Can you say? Yes, I am. So am I. Ain't it loud, Bessie? But what was your past? My fingers. Stealing? Every where I went. Terrible. Bessie, come here and clear the table before I give you a clout. First thing you boys will do is go to the pump and wash yourselves. This is my home. It's not the coal mine. Let's see what I said. Yes, Miss. Of course. Please, Miss, first can I have a kiss? What did you say? Please, Miss, first can I have a kiss? Of course you can. Can I drive to anybody else? Very well then. Just see that you wash. Please, Miss, can I have a smack bottom too? Mr. Jones. Monsters are as clear as supper dishes. Mr. Jones, is it true the school idea is not going on that well? Who told you that, Bessie dear? We've been here six months now and nothing's hardly even started. Everything is splendid. Oh, I'm glad. Miss Margaret's been cruel to me, but I don't bear no grudge. Who told you? She asked Miss Wheatie. She told me they're bad for me. And it says right on the bag they're very awesome. Do you like my hair? It's very becoming. You're quite a young lady, Bessie. Mr. Jones. Oh, yes, Miss Mothart. The boys, are they still out there? This round right now we're just talking to the carpenter. Oh, I'm sure I don't understand it at all. This is the strict orders. He has strict orders not even to discuss the bar. Who gave you order, Miss Mothart? That's what I want to know. Oh, it's been a bit of a day. Press that letter from the square this morning. No child can be released from the mine. Then no request from that tavern in the village. A school would interfere with beer drinking. A message from the chapel people to the effect that I am a foreign adventurer with cloven feet. Yes, it has been a bit of a day. I will go and speak to the boys, Miss Mothart. Poor Jonesy. He's terrified of the older ones. So am I. They're so big and black. Oh, dear teacher. Remember me? Oh, it's not that it's quite. Good evening, lady. Would you mind going outside, Squire? Then knocking and waiting quite a long while before I say come in. Good. Parle again, Squire. But it's not the Squire. Oh, just look at me. Oh, excuse me. I shall be a minute. Mr. Trevibay, I'm rather irritable this evening. So unless there's a reason for your visit. No, but there is. A certain gent has just been dining with me. Sir Herbert Vase. Yes? He's decided he has no use for the bar next door. He does not see it as a school. So he must regretfully, et cetera, et cetera, et cetera. But he's implied all along he'd be glad to sell it. Then some bigwig must have made him change his mind. Hey, dear Pettigold. You again? Guessed it right off. Not going to have any of this hanky-panky nonsense in my village? Your village? My village. All my life I've done my level best for them. They call me Squire, you know. Term of affection. Golly touching. Oh, they jabber away in that funny Welsh lingo. We bless their hearts as a free country. But putting them up to reading English. Giving them idea. Why?  What's the idea, sir? What's the idea? I am beginning to wonder myself. So why don't you take up croquet, Miss Martha? Keep you out of mischief. Oh, the enchanting Miss Rhondra. Squire. Oh, but you're not leaving. Wait a minute. You're the Squire bountiful, are you? Adored by his contented subjects. Intelligent and understanding. I should just like to point out there is a considerable amount of dirt, ignorance, misery and discontent abroad in this world. And that a good deal of it is due to people like you. Croquet, dear lady. Chatting prance.  I'll have an income poop. And you can go to brown places. I perceive, madam, that you've been drinking. Adore this, Rhondra. Oh, dear. Oh, dear, dear, dear. That was undeniable. I know, but I feel better for it. He must have given you a call. Oh, he was kindness itself. He merely persuaded Sir Herbert not to lease and not to sell. What? What would you do, Miss Martha? Sell the house.  Smother it. And what are these filthy exercise books doing on my desk? Oh, those hooligans outside. They said last night that Mr. Jones had picked them up because they could write English, and would I mind my own some dreadful word? Business. Oh, yes. The effort. How I would spend my holiday. I must have been mad. Listen to this one. If I had ever holiday, I had breakfast in bed and talks, then dinner and a rest, tea, then nothing, then supper, then I talk, and I go sleep. From sheer exhaustion, I suppose. Look, this one is illustrated. But what is it supposed to be? A bicycling tour with me in bloomers. Oh, your squire was right, Ron.  Yes, Miss Mockett. Listen to this. The mine is dark. If the light come in the mine, the rivers in the mine will run fast with the voice of many women. The walls will fall in, and it will be the end of the world. We have watched at the pump, Miss. Be quiet. So the mine is dark, but when I walk through the... something sharp, I think, in the dark, I can touch with my hands the leaves on the trees and underneath, where the corn is green. Go on reading. There is a wind in the shaft, not the carbon monoxide they talk about. It smells like the sea, only like as if the sea had fresh flowers lying about. And that is my holiday. Did you write this? What is the matter with it?  Spelling deplorable. Mine with two ends and leaves, L-E-F-S. What was it by rights? A V for one thing. I never heard of no Vs, Miss. And don't call me Miss. Are you not a Miss? Yes, I am, but it's not polite. Oh. You say yes, Miss Mockett, or no, Miss Mockett. M-O-W-F-A-T. No Vs? No Vs. Where do you live? Good morning, Miss Mockett. Pour my help from here. How big is it? Four houses and a bigger house. Have you any hobbies? Oh yes. What? This Miss. Wrong. Put the bottle away. Do you live with your parents? No, by my own self. My mother is dead and my father and my four big brothers was in the big shaft accident when I was 10 years. Killed? Oh yes, everybody was. Who taught you to read and write? Taught? Taught, the verb, to teach. Oh. Teached. Who taught you? I did. Why? I don't know. Can I go now? No. Do you want to learn any more? No, thank you. Why not? The others would have a good laugh. I see. Have you ever written anything before this exercise? No. Why not? Nobody never asked me. What is the matter with it? Nothing is the matter with it. It shows you may be very clever. Oh. Have you ever been told that before? It is news to me. What effect does that news have on you? It is a bit sudden. It makes me feel that I want to know what is behind of all the books here. Can you come tomorrow? Five o'clock? Not before seven, Miss. Six miles to walk. Seven then. That will be all. Good night. Good night, Miss Moffat. Are you the one I spanked? I am the one, Miss Moffat. Miss Romery. Mr. Jones.  It doesn't matter about the bar next door. We'll start the school here, here in this room. Hang in the square.  Ring the bell, Mr. Jones. The bell, Miss Moffat? Ring it. It's clear to hear it clear to travel behold. When I walk in the dark, I can touch with my hands where the corn is green. With that, too, of the corn is green. Here's Libby Collins, our Hollywood reporter who has been stargazing. And discovered the most wonderful new star, John. Of course, it was really hard you to discover her. Vacationing with friends three years ago. He can pick a winner, all right. She's an exotic beauty. New Orleans, Bourne, California educated. If fans see lovely faith du mergue in where danger lives, they'll go wild.  Oh, it's terrific. And the end is super dramatic. Robert Mitchum threw himself into the part so literally he refused a double for a dangerous fall down four flights of stairs. I understand faith has a pretty strenuous role for a newcomer in where danger lives. She certainly has. Her role takes her from fashionable life in San Francisco to a fourth-rate hotel in New Mexico. In one scene, which took three weeks to shoot, she wore the same simple cardigan blouse every day. But do you know, Lux Flakes kept it so fresh she would think the wardrobe department gave her new one every day. You can depend on Lux Flakes to keep washables nice and new. Well, faith is just as enthusiastic about Lux Flakes for her own wardrobe. She loves solid colors dramatized with an exotic belt or scarf or earrings. Naturally, it's important to her to keep the colors true. She insists on Lux Flakes for everything in her wardrobe that's washable at all. There's no safer care for colors. Wrong washing methods fade colors far too quickly. In test after test, identical colors and fabrics stayed lovely up to three times as long when they were washed with gentle Lux Flakes. You can see why so many Hollywood stars make Lux Flakes care the rural for all their nice washables. And a wise rule for girls everywhere. Use Lux Flakes to give your washable cottons and rayons that lovely Lux look all summer long. Act two of The Corn Is Green, starring Olivia de Havilland as Miss Moffitt and Richard Basshart as Morgan Evans. Two years have gone by. Miss Moffitt's school has become an accepted part of the little Welsh village, though still without the blessing of the squire. And the most promising student is the young coal miner, Morgan Evans. I have my history summation, Miss Moffitt. Yes, nine pages and I told you six.  Yes, Miss Moffitt. Have you got those lines of Voltaire? I think so, Miss Moffitt. Then go for your walk now. Good and bliss can be better than ours. Yes, Miss Moffitt. I'll expect you to have that Voltaire behind you now and take your pen from behind your ear.  Let me along, Busy. Miss Moffitt, all this ordering you about. I got guys in my head if she hasn't. And I think you're getting sick of it. Am I? And what else do you think? I think that when she tells you to take a walk, you don't take a walk. I think to stop in the village, regular every afternoon, standing up at the bar, drinking rum. Right, aren't you? Or why don't you tell her then? Because that's just what I am going now. Miss Moffitt, Miss Moffitt. No sign of Morgan. I sent him for a walk, Mr. Jones. He brushed the cobwebs from his mind and gave him the chance to memorize his Voltaire. Oh, I hope he's not going to be slow at French. Two years ago, he scarcely knew English. That's the wonder of it, Miss Rombury. Morgan Evans has the most brilliantly receptive mind I've ever come across. Don't tell him so, but he... Is that you, Busy? I thought you were in your room studying. I don't. Good, Busy. Come here, dear. He's probably sitting down, Miss Rombury, studying at a desk. For two years now, I heard attempts and everything. I don't know why. What's Watty doing? Busy said she's been sitting down for two years. She's lucky. What are these letters, Rom? My bills are here. Oh, the new desks. And that's suit for Evans. Well, I'll sell a couple more shares of stock. Not again. Why not? It's easy. Be Watty now. Just what is this dying duck business? All these lessons are bad for my insides. What's the matter with your insides? It goes round and round for sitting down. There is nothing to prevent you from going for walks between lessons. You can go for one now to the post office. Well, well, go, please. I'm not going. What did you say? I'm not going. Everybody's against me.       I'm going upstairs, and next week you're going to leave this house and go to work. Oh, look! The Squire's courage – the Squire. Then he has come. Oh, it is the Squire. But he hasn't been here since... Driftry, cielo your'sagirl. I behave more stupidly that night than I ever have in my life. And that's saying something. Now run, both of you. But why is he here? All I can tell you is that it has to do with Evans, and it's vital – I make the right impression. Oh, what sort of an impression? and help us in cleaning, of course. Oh, quickly, Ron, just, just disappear. How wonderfully kind of you to stop by. Well, you wrote me a note, you know. Well, here to be insulted again, though. Call me an adult-headed nincompoop, you know. How could you ever forgive me? You know the hares. Do tell me, Squire, how did your prize-winning ferret to croquet this afternoon? Rather boring, you know. I've heard you made such an amusing speech. Oh, didn't they tell you about that? Rather a good par, eh? Thought Griffith the butcher was going to laugh his fool after all. Do you know, that makes me rather proud. Crowd, why? Because Griffith the butcher would not have understood a word. If his little girls hadn't learned English here at my school. Oh, never thought of that. Oh, headache.  We live and learn. And I have learned how right you were that night.  Oh, no. You see, in one's womanly enthusiasm, one forgets that the qualities vital to success are intelligence, courage, and authority. In short, the qualities of a man. Oh, come on, come on. After all, meant well, I suppose. Oh, so kind of you to say that. And I have no right to burden you. But you see, my problem is one of your younger tenants, one of your former minors. Giving you trouble, eh? What you been up to, poaching? Oh, no. Bit of Muslim, little cockney-filly proud. Fancy what? Oh, no, I assure you. No, the problem is just Morgan Evans himself. And like a true woman, I have to scream to you for help. Scream away, dear lady. Scream away. His cover. To begin with, he can write. He was born with very exceptional gifts, and they must be, they ought to be given every chance. You mean he might turn into a little old bloke? He might, yes. Oh, I'm bloke. How's he doing? Well, his work, it's very good. How'd you know it's good? Well, that is when no Shakespeare's good. Shakespeare, what's he got to do with it? Well, he was a literary bloke, too. This young tenant of yours has it in him to bring great credit to you. Imagine if you could say that you had known, well, say, Shakespeare as a boy on your estate. Lot of luck, well. Just look in this book, Squire, the inscription, to the right honorable Earl of Southampton, your honours in all duty, William Shakespeare. I often think of the pride that surged in the Earl's bosom when his encouragement to Shakespeare gave birth to the masterpiece of a poor and humble writer. Funny, never thought of Shakespeare being poor somehow. If this boy is really clever, pity for me not to do something about it, huh? A great pity. And I can tell you exactly how you can do something about it. Buzz on, dear teacher, buzz. Well, there's a scholarship open, a scholarship to Oxford. Oxford? They've agreed to allow Morgan Evans to compete on one condition, but you vouch for him. My dear lady, you take the cake. Oxford? Can't he be just as clever at home? No, he can't. For the sort of future he could have, the background of the university is absolutely essential. So varsity, you'll hang it on, he'll never get it. I know, but he must have a chance. Still, the mere prospect of one of my minors. Think of Shakespeare, Squire, the Earl. All serene, dear lady, all serene. I'll drop a line to those Oxford chefs next week. They're rather a lot, well, I must be off. Blouse should be most obliged if you wrote the letter tomorrow. Would you like me to drop to recommendation? You must be so busy with so many other things. I am, rather. Polka supper tomorrow night, you know. Yes, do that. Goodbye, dear lady. Thank you so very much, Squire. Happy of conditions and all that. Glad you've come to your senses. Goodbye. Goodbye. May I come in now?  What happened? In five minutes, I have given the Squire the impression that he spends his whole time fostering genius and the illiterate. I'm entering our pit pony for a scholarship, Ron. Oxford. Hallelujah. Come in, Evans. I'm starting you on Greek next Monday. Greek? You'll need it. I'm putting you in for a scholarship at Oxford. Oxford? Where the lords go? The same. Oh, and this is the nail file I mentioned. I'll show you how to use it. I shall not need Greek or a nail file in the coal mine. In the coal mine? I am going back to the mine. I do not want to learn Greek nor to pronounce any long English words nor to keep my hands clean. What's the matter with you? Why not? Because I was born in a Welsh hayfield when my mother was helping with a harvest. And I've always lived in a house with no stairs, only a ladder, and no water. Until my brothers was killed, I never sleep except three in a bed. I know that is terrible grammar, but it is true. What on earth has three in a bed got to do with learning Greek? It has a lot. Trying to better myself. You cannot take a nail file in a public bar, Miss Moffat. I never heard anything so ridiculous. Besides, you don't go to a public bar. Yes, I do. I have been there every afternoon for a week, spending your pocket money. I've been there now. I had no idea you felt like this. Because you are not interested in me. Not interested in you? How can you be interested in a machine that you put up any in, and if nothing comes out, you give it a shake? Evans, write me an essay. Evans, get up and bow. Evans, what's so subjunctive? Do you know what they call me in a village now? Kibokura school, the school teacher's little dog. What has it got to do with you if my nails are dirty? Mind your own business. I never meant you to know this. I have spent money on you. I don't mind that. Money should be spent. But time is different. When you're as old as I am, two years is valuable currency. I have spent two years on you. Ever since that first day, the main spring of this school has been your career. Sometimes, in the middle of the night, when I have been desperately tired, I have lain awake making plans, large and small, sensible and silly. Plans for you.  If I say any more, I shall start to cry, and I haven't cried since I was younger than you are, and I'd never forgive you for that. I'm going for a walk. I don't like this sort of conversation. If you want to go on, be at school tomorrow. If not, don't.  I don't want to be thankful to no strange woman for anything. I don't understand you. I don't understand you at all. So Miss Moffett has gone for a walk. I don't feel like talking. Oh yeah, J.U. and A. Mind your own business. I won't. Oh, I can know about everything. I like doing all the things I like. I'm going away soon. Miss Moffett's sending me away. Why? Will you miss me, Morgan? I don't know. Maybe.   That's right. You don't have to go to Oxford.  That's right. What a man wants is a bit of sympathy. Come here. Yes, Morgan. Come here. Think, Mrs. Wattie, just think. The morning we've waited for has come. This morning, Morgan Evans takes the entrance examination for Oxford. Oh, what if he'd gone back to the mine last autumn after the dreadful thing with Miss Moffett? Oh, it was a rum, Miss, just a rum. Dear me, the squire should be here by now. What's the squire coming for? Convigilate, of course. What was that, please, Miss? The university appointed the squire, Miss Moffett, to watch him while he's taking the examination. So he cannot cheat.  Almost forgot it. For you, Mrs. Wattie, a card from Betsy. Oh, er, again. But do you not miss her, Mrs. Wattie? No. I don't like her, you know. Never ask. But your own doctor. I know, but I've never been able to take her. Now. Well, it's not snowing, Ron. He ought to be here soon, Morgan and the squire. Oh, Miss Moffett, would it not be as splendid if he won? Not very likely, I'm afraid. Two years isn't enough, Ron, not even for him. He'll have strong candidates against him, boys from good schools. It all depends on how much the examiners will appreciate a highly original intelligence. But wouldn't it be exciting? It would be a wonderful thing for him. It would be a wonderful thing for rural education, all over the country. And most of all, it would be a wonderful thing for you. I know every trick and twist of that brain of his, exactly where it will falter and where it will gallop ahead. And yet, not to know him at all. I woke up in the middle of the night thinking about Henry VIII. I had a feeling there may be a question about the old boy and the papacy. I bet a cram won a two-pack syndrome before he starts. Oh, he must win it. He must. Miss Moffett. Yes, Mr. Jones? She's come back, Miss Moffett. Betsy, she's here. Onside, Al. But it cannot be you.  Well, Betsy, this is unexpected. Isn't it, Jop? Your mother's in the kitchen. Is there the same mom? Then why are you here? Questions and answers just like skill again. It's you I've come to see. Perhaps we had better retire to the study, Miss Ronberry. Oh, oh, yes, of course. I can give you exactly one minute of my time. Why? Morgan Evans is sitting for his Oxford examination this morning. Well, he needn't. He won't ever be Garand Oxford. And why not? Because there's going to be a little stranger. I'm going to have a little stranger. You're lying. If you don't believe it's Morgan Evans, you're just asking. Ask him about that time you locked me up. The night you had words with him. Oh. Ordering him about as if he has no human feelings. You're just asking. Why couldn't I have seen before? Does he know? I've come to tell him. And he'll have to marry me, of course, or I'll show him up. After all, the little stranger. Stop saying little stranger. If you're going to have a baby, then call it a baby. Have you told anybody? Mr. Jones is all. The scribe is coming at the road with Morgan. I'll wait for him here. For the next three hours, Morgan Evans is not going to be disturbed. You're not going to see him. You can't bully me the way I am. Hasn't something yet, has it? I'm teaching you something, am I?  You will then go upstairs. And as soon as the examination is finished, we will talk it all over. When they're a little more calm. Knock, knock, knock. Evere, I've got to see him. If you try to disobey me.  I mean every word of that. Don't mind. Three hours of go soon enough. Nobody home. Squire, sir, very sorry. Oh, how kind of you, such a dreadful day. Another law, Mrs. Pentagon. Get anything for a law. Sit down, Morgan. The questions are in this envelope. Before I break the seal, I have a feeling they may bring up Henry VIII. I've written down a couple of dates. Here, memorize them. Yes, Miss Morratt. Glad it isn't me.  Just don't get exuberant, Morgan. No. Nor illegible. No. But aren't you going to wish my purpose a good fortune? Good luck. Thank you. Ready? Ready. This is your examination. Yeah. I go to work. Miss Morratt. Yes? The very first question. Henry VIII. We've intermission. We'll resume with act three of The Corn is Green. And now from Gallup, New Mexico, we bring you our producer, William Keely. An hour ago, I was in one of the most primitive parts of our country, creating the atmosphere of 1865 for my new picture of frontier days, starring Errol Flynn. 60 minutes and 50 miles later, I am back to the comforts and pleasures of the 20th century. Sitting beside me in the studio tonight is one of the hardest working members of my cast for Rocky Mountain, the glamorous Patrice Wymore. I've enjoyed every moment of it, Mr. Keely. I can hardly wait to get back to Hollywood to see the rushes when we get back to the Warner lot. Did you see Warner's preview of Bright Leaf before we left Hollywood? Yes, I did. And Gary Cooper was wonderful. Patricia Neil and Lauren Bercall, too.  Yes, and speaking of contrast, making a picture here on an Indian reservation must be quite a change for you from dancing on Broadway. Indeed it is. But I'll say this, Lux Flakes are just as useful. Every night when we get back to the hotel, I luxe my nylons. I've had simply wonderful luck, not a run, even in my sheerless nylons since we've been here. Well, we'll probably be here for another six weeks, but I think I can promise you an ample supply of Lux Flakes. I'll remember that promise. Down here, I appreciate Lux Flakes more than ever. The desert sand seems to get into everything. I just couldn't get along without Lux. Thank you, Patrice Wymore, for joining Mr. Keely tonight. Girls all over the country agree with you that lux is a must for precious nylons. Strain tests prove that washing stockings with a strong soap or rubbing with cake soap make runs come quickly, but Lux Flakes make nylons last twice as long. You'll find it pays to give all your nice things Lux Flakes care for that lovely Lux look. We pause now for station identification. This is CBS, the Columbia Broadcasting System. The curtain rises on act three of The Corn is Green, starring Olivia DeHavilland as Miss Moffitt and Richard Bassard as Morgan Evans. It's mid-summer now in Glensarno, seven months, since Morgan Evans took the examination for Oxford. Seven months since Bessie Wattie suddenly returned and Justice suddenly disappeared again without seeing Morgan. All week, Morgan has been far from Glensarno in Oxford, waiting word of his success or failure. How can you be so calm, Mr. Jones? Look at all the whole village is down at the railway to meet him. Is this true? All they talk about is Morgan Evans and the scholarship with the not talking of Bessie Wattie and why she came home then would wait so quickly again. It does not matter. It is more important to know about Morgan. If he hasn't won it will break her heart. She would feel it so keen as old heart. I used not to think so, but since this examination day, they've been so much better friends. It has been a pleasure just to hear them conversing. Any news, Mr. Jones? Not yet, Miss Moffitt. I thought not. Where's the choir? To the railway miss with the rest of them. You don't appear nervous. I am fasting nervous, Ron. If he has won, I shan't believe it, exactly. And if he has lost... If he has lost, we must proceed as if nothing has happened. Meantime, Mr. Jones, your report is on your desk. Miss Ron, reform two are waiting for you. Oh, yes, Miss Moffitt. Morgan. I know they would be all watching for me, so I got off at Lon Moffitt. Does that mean? I have no news. One way or another. Except I am no longer hopeful. Why not? They talk to me for hours. Oral examinations. They jump down hard on the New Testament, as you said they would. You are very pale. Better than a raging fever. Go on. I spent 10 minutes explaining why St. Paul sailed from a town 300 miles inland. Oh, dear. And the French? Not good. I said natural amount to everything, but it did not fit every time. Did the President send for you? He did. He asked me if I had ever had strong drink. I looked him straight in the eye and said no. Oh. I was terrible, but terribly nervous. My collar flew open. He did not seem impressed with me at all. Then as I was leaving, he appeared to be sorry for me in some way, and I received the impression that I had failed. When should we know? Today, tomorrow, the next day. They will send you the word. Fail, I cannot even talk about it. But we must talk about it. You faced the idea of failure the day you left for Oxford. But now I have been to Oxford and come back. Come back from the world. Since the day I was born, I have been a prisoner behind a stone wall and now somebody has given me a leg up to look at the other side. They cannot drag me back again. They cannot. They must give me a push and send me over. I've never heard you talk so much since I've known you. That's just it. I can talk now. The three days I have been there, I've been talking my head off. My second night there, I took a walk. There was a moon up. Not the same moon I have seen here. A different face altogether. All of a sudden, with one big rush against that moon, I saw this place again. You and I sitting here studying all those books and everything I have ever learned from those books and from you was lighted up like a magic lantern. Rome, Greece, Shakespeare, Carlisle, Milton, everything had a meaning because I was in a new world.  I didn't want you to stop. I had not been drinking, Miss Muppet. I know. I can talk to you too, now. Yes. I'm glad. I tell you, Jones, I am finding this waiting a definite strain. Telling the lad they'll send the results through the post. Where is he? Still eating? And Miss Muffet says, please no questions till he is through. Whenever that could be, the young man will start to. Just as I feel. How'd you do? Hello, ma'am. Whoa, whoa, whoa, what the deuce? Bessie. Bessie Martin. Three days ago she sent money to you. Did you not receive the letter? Yes, I did. No, the others till I was sick of it. What is all this? I'm here to congratulate a certain young gent in cases when that scholarship. No, no. What has that got to do with you? You see, Miss Ronbill, it's like this. Don't see it. Don't see it. Four weeks ago yesterday, I had a baby. You had a what? Seven pounds, nine ounces. Good heavens, how ghastly. Don't look, I'd doll him up. Now, where have you been all these months? I'm doing what I'd like to know. Turning you into a granny. Have a good sleep. Later we... Hello, Miss Martha. You know what? Now I think it's time you told us who the fellow is. Proceeding, that's what. I'm going to take proceedings. That's right, dear, is it? Listen to me, Bessie. I'll pay you anything. Anything. It's no good, Miss Martha. It's more than heavens. What? I don't believe it. Oh, ma'am. I've been dreading this for months. In a way, it's a relief. Well, where is he? I got a four-week sale, baby, and I haven't got open to keep him. I'll call him. There is no need to call him. I am willing to marry him, bestowing on the infant every advantage by bringing it up a Baptist. You'd like that, Miss Martha, wouldn't you? I'd like to bludge, really, but I couldn't. Besides, my friend would be furious. Your friend? Ever such a nice gentleman, ma'am. Quite as well. I have never heard such a conversation outside a police car. I suppose you wouldn't care to marry me. Good. Doesn't that friend of yours want to marry you? I won't talk of anything else. And he won't have the baby. So I've got to give up my friend and marry Morgan Evans. Unless Mr. Jones would consider the baby without me. The baby without you? Your own child? What about your mother, love? I hadn't got any, didn't you know? Oh, what a thing to say. I cannot remain here another minute. You want Morgan Evans to marry you. On the chance he'll become found enough the child to ensure its future, then your conscience will be clear and later you can go off on your own. I shouldn't be surprised, Troy. Meanwhile, it's worthwhile to ruin a boy on the threshold of... Oh, there must be a way out. There must be. Bless us, ma'am. I've got it. What? Why can't you adopt it?  Well, just do your best, say. Well, I never followed it, though. Yes, yes, it would. But what would I do with a baby? I don't even know what they look like. Oh, they're lovely little things. Now, it's all right. Stop it. It's fantastic. Oh, do please. It put everything to rights. He might be up like his father, you know, but he's not tenor. Quite nice. But it's...it's mad. Oh, not as mad. Taking me in was with my past. But you're the grandmother, Wattie. Surely you. Oh, I couldn't. I don't bear it. No, I will. But every penny I get goes to the corpse.  Vessie Wattie, do you mean that if I do not adopt this child... I will have to tell Morgan Evans and he will have to marry me. I swear that. And if I do... I swear I never know a thing about it. Then I give in. Oh, that's lovely. My friend will be pleased. Well, I'll talk along then and we'll arrange details later, shall we?  For which we must be truly thankful. For which we... Morgan. Has she gone? Why? Squire just came with a back way to see me.  Then it's true. He thought I knew. Then he said it was for the best. That I ought to be told. Why should this happen? There is no need for you to upset yourself. Miss Muffatt is going to take care of the... Oh, what? I'm going to adopt it. And what do you take me for? Then what would you like to do? What would I like to do? It is not a question of what I would like to do. It is what I am going to do. I am going to marry her. And that is final. I knew, I knew. Answer it, Wattie. No, no, I'll go. It may be the Squire, and I don't want him here. Oh. Oh, thank you. It's a telegram. It's from Oxford. You have won Miss Scholarship, Morgan. Win it. Come on, Miss Nance. I'll make you a nice cup of tea. Come on. Look at me, Morgan. If anybody has stood at the crossroads, you are now. It is no good. I am going to marry her. I'm going to speak to you very simply. I want you to change, suddenly, from a boy to a man. I understand this is a great shock to you, but I want you to throw off this passionate obstinacy to do the right thing. Did you ever promise your marriage? No, never. Did you even tell her that you loved her? No, no. Don't you know that she has her own plans and she doesn't want the child? I am willing to look after it if you behave as I want you to behave. If you marry her, you know what will happen, don't you? You will go back to the mine. In a year, she will have left you both. You will be drinking again, and this time, you will not stop. That does not alter the fact that I have a duty to them both. You mention the word duty, do you?  You mean a duty to you? No. A year ago, I might have said a duty to me, yes. But that night, you showed your teeth. You gave me a lot to think about, you know.  I turned sorry for myself and taunted you within gratitude. I was a fool not to realize that the debt of gratitude is the most humiliating debt of all. That a little show of affection would have wiped it out. I offer you that affection today. Why are you seeing this to me now? Because as the moments are passing, and I am going to get my way, I know that I am never going to see you again. Never again? But why? If you're not to marry her, it would be madness for you to come and contact with the child. So if I am adopting the child, you can never come to see me. It's common sense. You've been given the push over the war you asked for. But you... you will be staying here. How can I never come back after everything you have done for me? Every morning, when I take my walk, up there where the valley suddenly drops share, you know the place. Yes. I have found myself thinking of you, working for this scholarship, and winning it. And I have experienced the feeling of... of complete happiness. I shall experience it again. No Morgan Evans, you have no duty to me. Your only duty is to the world. The world? Now that you're going, there's no harm in telling you something. I don't think you quite realize what your future can become if you give it a chance. You could become a great man of your country. If a light come into the mind, you said, remember? Yes. Make that light come into the mind and someday free these children. And you could be more, much more. You could be a man for a future nation to be proud of. Perhaps I'm mad. I don't know. It's up to you. Is it all right to ring the bell with my heart to say holiday day tomorrow? Yes, ring the bell, Mr. Jones. I think that's all, Morgan. I do not know what to say. I have been so much time in this room. The lessons are over. I... I shall always remember. Will you? Well, I'm glad you think you will. Please, Miss Morfett. Yes, Miss Morfett. The band is out and they say Morgan got to come to town hall. Nothing to loathe. Oh, jeez, ma'am, jeez. They never forgive you. Goodbye, Morgan. I cannot talk. Mr. Jones says, is he to say school day after tomorrow, nine o'clock, same as usual? Yes. Here's Libby Collins with a summer vacation hint. Not about where to go, but what to take, Jones. You know, Lorraine Day travels a lot. Keeping up with her baseball manager, husband, Leo D'Rosier, and her Hollywood activities. So she's learned how to look glamorous while living out of a suitcase. Her favorite negligee for traveling is deep blue nylon with a net yoke edged with lace. It packs easily and never needs ironing. A wonderful traveler. Especially if it's traveling companion and it's luxe weight. Oh, Lorraine insists on luxe care for all her lingerie. Silk and rayon as well as nylon. And that's smart because there's no safer care for subtle colors and delicate fabrics. Actual washing tests prove that luxe flakes care keeps pretty slips in 90s new looking three times as long. It's foolish to take chances with pretty things. Wrong washing methods can fade colors so quickly. Wherever Lorraine goes, luxe flakes go too. Why not take Lorraine Day's tip when you travel this summer? Travel light with nylon lingerie and give it luxe flakes care. At the end of your trip, your lingerie will look as lovely as ever. Get a box of luxe flakes tomorrow. Wherever you are, all your nice washables can have that lovely luxe look. And now, here's Mr. Keely with our stars. Our audience is waiting to congratulate our stars on a superb performance and here they are. Olivia DeHavilland and Richard Bassard. I set a record that will stand for a long time in Hollywood. She has received no less than 31 different awards as an outstanding actress. Each one of them has had a special thrill of its own, Bill. And I'm grateful to all those who've helped me to win them. I understand the last award came from Brazil from the Brazilian motion picture critics. It's terrific. Well, Dick, Olivia has received national awards and international awards. And I wouldn't be a bit surprised to hear any minute of one from Mars. Perhaps a loving cup on a flying saucer. That would be entirely too thrilling, Bill. Do you have any plans for a new picture soon, Mr. Havilland? Well, my immediate plan is concerned the most wonderful production I know of. My baby. He's going to be christened soon. Well, are we invited? He certainly are. He can come to San Antonio, Texas. That's where my husband was born and where Ben will be christened. Well, Olivia, I'd love to. But I'm afraid I'll be here in New Mexico working on a picture for quite a while. We still haven't heard about your picture plans, Mr. Havilland. But I think it's always good to have a change of pace. And so I'm looking for a modern love story to do next. Now, I'm sure your fans will enjoy that, Olivia. And now I'll give you, too, a little award of ours. There are some lux flakes in the wings for you to take home. Many thanks. I had instructions not to miss the lux flakes. But what about next week, Mr. Keely? What have you planned?  It's Warner Brothers' great-life hit, John Loves Mary. And we'll have the original stars who made such a charming team, Ronald Reagan and Patricia Neal. Be sure to be listening next week for this grand entertainment. I know everyone will be listening and enjoy it. Good night. Good night, I will be listening. There's no more glamorous brunette on the screen than gorgeous Hedy Lamar. One of her greatest charms is her creamy lux complexion, always so fresh and appealing. Hedy Lamar never neglects her active lather facials with gentle lux toilet soap. It's a quick, easy care, but it certainly works for me, she says. Leaves my skin just right for camera close-ups. Hedy Lamar's complexion care will work for you too. Tests by skin specialists prove that in three out of four cases, skin grew lovelier in a short time with daily lux soap care. Why not put this fragrant white beauty soap on your shopping list tomorrow? Find out for yourself why nine out of 10 screen stars use lux toilet soap. Bonnet, the makers of Lux Flakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theater presents Ronald Reagan and Patricia Neal in John Love's Mary. This is William Keely bidding you good night. Currently starring in the Paramount production, The Heiress. Richard Bayshart appeared through the courtesy of 20th Century Fox, producers of Night in the City, starring Gene Terny and Richard Whitmer. Heard in our cast tonight were Rosalind Yvonne as Mrs. Wattie, Rhoda Williams as Bessie, and Herbert Butterfield, Ruth Parrott, Nelson Welch and Clark Gordon. Our play was adapted by SH Barnett and our music was directed by Laura Silvers. This is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear John Love's Mary starring Ronald Reagan and Patricia Neal. Stay tuned for my friend Irma, which follows over these same stations. This is CBS, The Columbia Broadcasting System.


for the introduction. I'm not feeling very well today, so I'm sorry if you can't hear me very well. I'm Tai from Google Security, and I'm here to present to you Project Reachable. So at Google, I have 15 minutes, so I will talk very quickly so that we have some minutes for the question and answer. At Google, we use Google in many, many products, and I think this image captures how we do product crypto at Google very well. So most of the time, a product team wants to do some, want to implement some security or privacy features, and they come to us and ask us to develop that feature for them. So what we do is we look at the feature. We develop a protocol for SAM, or if they want to do anti-encryption, or they want to do storage encryption, or they want just to want to size some URLs. Then we design and implement this protocol for them, and the protocol are usually built on top of internal robust APIs that we develop in-house. These APIs basically implement the common crypto operation, like authentication encryption, signature, or hybrid encryption. And these APIs, in turn, abuse based on third-party open-source crypto libraries like OpenSSL, OpenJDK, Pysicacho. I named these libraries just because we use them. It's not because they are better or worse than all the libraries. The problem is we usually find that these libraries usually have a lot of bugs, and these bugs happen for a long time, and they repeat themselves very frequently. Like there are bugs that should be fixed 10 or 14 years ago, 15 years ago, but somehow they are not. And when we look at the libraries, we were very surprised. And another problem is we find out that it's very hard to write good crypto implementation guidelines for smart, even smart software engineers. They don't have the necessary background to basically implement crypto correctly. And getting crypto correctly requires digesting their case worth of academic papers. And of course, we, security engineer, can review the libraries manually ourselves. But that is not scalable because there are lots of libraries out there. Another major problem we have is we find out that sometimes we file a bug. We fix them in our internal copy, and then we report it upstream, get them fixed in upstream. And then only to see them coming back when we upgrade our internal version to a new version of the external library. And regression like that really, really hurt because we can't just go back and review every single changes through the libraries. So there should be a better approach. And with those observations, we recognize that basically software engineers, they prevent and fix bugs by using unit testing. And we think that most many crypto issues can basically resolve by the same means. So these observations have prompted us to develop project wage proof, which is basically a set of open source unit tests that the test check the crypto libraries for known problems or some expected behavior. And so far, we have more than 80 unit tests. And when we run the test against the libraries that we use, we file like more than 40 bugs. We have tests for electrical crypto as a Diffie-Hulman authentication encryption or a big integer re-method. Most of the tests are defense in depth. Basically, we want to make sure that the libraries expect in the right way. Sometimes we don't check rather than just checking for explorability. We just want to make sure that, for example, default values are reasonable. For example, today when you run the test, the test we consider is not OK for a library to generate us a key with a default value of 10, 24 bits or using a digital signature with using someone as default. And there are many, many more tests where we check that the library actually are not vulnerable to, for example, timing side channel. We also release out of the box test runners for the libraries that we use, like Pasiccasual, Spongycasual, and OpenJDK. Our goal is to make it very easy for the user to run a command line and to be able to test the latest version or some particular version of the libraries that we support. So any questions so far? So in the next two slides, I will show you some of the cool bugs that we found. The first one is the key recovery in OpenJDK's DSA's implementation. So I think this bug was fixed in April last year. The problem here is the DSA implementation actually allows, if you look at the red line, the sign object is used with a private key with 2048 bits. The problem is if you initialize the signature object like this, OpenJDK will always generate the nodes using 160 bits only. That means the nodes is heavily biased. That means you can easily recover using latex techniques the private key just by observing three to five signatures. And this is a critical problem because DSA is still used a lot in many other places. Any questions about this bug? The second bug is also a key recovery in Pasiccasual, elliptical, Diffie Hermann. The C in the last C stands for co-factor. Basically, when they compute a shared secret, they multiply with the co-factor. And if you look at the red line, the way they compute the shared secret is they take the private key, which is key.getD, which is the private key of the receiver. And they reduce the order of the public key, which is under the attacker control. That means we can change the attacker. The X509 standard allows the attacker to change the order of the public key. So we can change the order of the public key and to binary search for the private key because we can tell whether the private key is larger than the order. And then we can reduce the change the order to finally nail down the range of the private key. And it just took, I don't know, a few requests, like maybe 100 requests to recover the private key. So these are the two, I think, coolest bugs that we found. But there are so many, many other bugs. You can look at our project on GitHub. And I think in last week, Pasiccasual just released the latest version. And they fixed, like, eight or nine bugs that we found and reported to them. So working on Way to Proof allows us to basically to understand what text, like, how a good Ripple library should look like. And one of the things that we've observed is there are not a lot of good Ripple libraries out there. For example, we have Ripple libraries that ask users for Ripple input. Like, if you want to encrypt something, you have to pass in a random number generator. And it's impossible to test those libraries because even though if we test the library, the user can easily screw up by passing in an in SQL random number generator. We also find out that most of the libraries out there don't actually allow user to switch the algorithms easily. So if you switch the algorithm, you have to start from scratch. And the cybertext encrypted with the old algorithms won't be compatible with the new software. Another property that we want to see in Ripple libraries is it should be easy to look at the code and understand right away the cryptocurrencies guaranteed by the libraries. Like for a Ripple, if you are using authenticated encryption, and it should be very easy to look at the code and understand right away without having to navigate the whole structure of the libraries to go down the obstruction layer to understand what's in the properties guaranteed by the library. Another problem that we saw is we would like to have to see the crypto community to develop a common crypto interfaces for C++, Python, Go, or JavaScript. We have something for Java, which is the Java photography architecture. But we don't have anything for these languages. And it's very hard for us to write tests without having a common crypto interfaces. We actually, right now what we do is we try to translate most of our unit tests into text vectors, into raw text vectors so that people can easily port them to all the languages or platforms. But it would be nice to have one single set of just to write the test once, and we can run it everywhere. Here's a few useful links that you can look up on the source code documentation have been released on GitHub. We also have a mailing list where we take request support. If you want to test something, or if you want to run the test against some particular libraries that we don't support, please email us. And we will take a look and see if we can support you. The mailing list also is the place where we discuss the new updates the major test that we are going to release in the next few months. So we are actively working on adding more tests. And not only for primitives, we also want to test like protocols like SSL or JSON web encryption. We look at those libraries and we have our last problems. And those libraries are getting very, very popular these days. So we want to make sure that we can test them and making sure that we can help the developers to fix the issue. Most of the tests that we release, we have been working with Pizzicacho, OpenJDK to integrate these tests into their CI system so that they can avoid regression. I think that's it for my presentation. This is the people working on the library or the project. All of us are from Google security team. But we welcome external contribution. I think so far, we have got at least a few PR requests from external people. So please keep it coming. Keep them, like, send us anything that you want to improve in the project. Yeah, that's it. Thank you. I think we still have five minutes for questions and answer. If you have any comments or anything that you want to test. And I want to have a commercial break. My team is hiring. And if you're really interested in building and breaking crypto using products that use my billions of people, please come and talk to me or send your resume to my email address. Thank you. OK, so we do have some time for questions. And I see somebody at the mic, so we'll take it away. Hello, interesting talk. I'm Yaoqi from National University of Singapore. So one quick question. So suppose the open source library, like OpenSSL, fix a bug with some patches. How long does Google take to update the software on the user's client side? You mean, like, how long we update the internal copy? No, not internal copy. Like, deliver the software to all the client side users. I'm not sure I'm the right person to answer this question. I think probably Adam and Emilia are the right person to answer this question. But basically, I think we try to push the updates to the client user, like to our user, before we release the information on the vulnerabilities or the bugs. So if you see a vulnerability, relays, or adversary, usually the bugs have been fixed in the user machines already. I see. So there is a very short window for the attacker to attack your software? I'm not sure it's the case, because sometimes the time it takes for, like, it takes a very short amount of time to fix the vulnerability. But the time it takes from the people who find the vulnerability to report it to us, maybe during that window, somebody else have got, like, their hands on the knowledge of the vulnerability. But it should be very, very quickly. And the windows, and we do our best to make sure that the window is very small, like, maybe a few days. Thank you. Thanks very much for doing this work, because it looks really interesting. Thank you. I had a question about, you had a bullet point there about switching algorithms by applications. And I'm wondering if you can kind of expand on that a little bit and talk about what exactly the problem is that you're trying to solve with that and what that exactly means. Yeah, it's just an observation. Like, when we look at the crypto libraries, you know, Ubisoft crypto libraries, we found out that, like, most libraries don't allow users to switch the algorithms easily.  You can't change the cybertext anymore. And now you find out that, oh, the algorithm that you are using may not be very strong, and you want to switch to something else. The problem is, when you want to do that, most of the time, you can't decrypt the old cybertext anymore. And that's a big problem, right? Because you want to be able to be able to still, like, decrypt your own cybertext, your current cybertext, without having to, you know, to, I don't know, like, to completely rewrite your application. So most of the time, I think it boils down to, basically, you have to making sure that the cybertext contains some metadata about a key that you use to encrypt, you know, to generate the cybertext. And there are some, like, techniques that you can use to, like, very simple idea, like, you can embed a key ID or something into the cybertext. But some standards actually, instead of embedding a key ID, they do, like, things like, they embed a key ID, as well as some unwritten parameters about the, like, that are used to generate the cybertext, like, key ID, unwritten, and, like, for example, if you look at JSON web encryption standards, they have key ID, the unwritten that we use, and then some other parameters. And I think that is wrong, because you shouldn't do that, because you just specify the key ID. And the key ID should be bound to all of those properties. So when you look at the key ID, you have all the information in your configuration to, like, decrypt or verify the cybertext. Right, so basically what you're saying there is that, you know, because most crypto designers, protocols, and APIs are looking to prevent downgrade attacks, for example, so they actually limit options deliberately. So it sounds to me like you're talking about techniques that both avoid these kind of attacks. But it also provides this ability to switch algorithms. Okay, thank you. Okay, is that a quick question? Yes. Okay. So on slide two, I noticed something very interesting. The APIs are providing to developers, implement very basic things like encrypting, authenticating encryption, and yet you use libraries written for these purposes, and apparently the APIs aren't suitable at all. Sorry? Apparently the APIs those libraries provide can't be exposed for this purpose. So what's the benefit from using those libraries? Why should there be a plurality of libraries that all don't work instead of one that does work and provides the right algorithm so you don't make this mistake of using the wrong algorithm? With an API, it's easy to use. So if you look at crypto libraries, there are, I think, several levels. Like low-level libraries like OpenSSL, OpenTDK, BicyCuture, they provide us the primitives, like AES, Ellipticuff, Diffie-Hellman, all of those primitives. But if we let the programmers to use those libraries directly, usually they use wrong. So what we want to do is we want to give them a kind of a mid-level library that abstract away the common crypto operation that we see that are deployed in many, many use cases. So in those applications, those common crypto operations, usually it's just four operations, like authentication encryption, MAC, hybrid encryption, and digital signature. There are other things like deterministic encryption, but they are less popular than those four primitives. So what we do is we develop those, you know, primitives out of those interface and provide our programmers, our developers, those interface. Of course, we don't let them to use those interface directly either. In order to use them, they have to talk to us because most of the time, we want to make sure that they use the right primitive for the right application. So does that answer your question? Thank you. We're already running slightly pain times, Rich. So I suggest any further questions we take them to the break. Well, let's thank Tai one more time. Thank you, Tai. Thank you.


Hi everybody. My name is Jason Klein. I'm the director of P20 initiatives at Northern Illinois University and we're very excited to bring you back another episode of Career Pathways Virtual Trailheads. Today we're going to be talking about a career that we're all pretty familiar with because we hear it on the radio or see it on TV but we're going to dig into the world of not just a journalist but a journalist who's involved in television or radio, specifically in this case. And what's really exciting is we're going to, this is another two for one episode. We're going to really hear about two careers because our journalist today has had a workplace journey that took her from studying journalism in college to pursuing another career, being very successful with it and now back into journalism. So let's start with introductions. Jumoke? Hello everyone. Happy New Year. My name is Adi Jumoke. I'm an international student here at Northern Illinois University. I'm originally from Nigeria and I'm working on my master's degree in public health and I'm really excited to have you born on this series today. Over to you, Yvonne. Hi. So hi everyone. My name is Yvonne Booth. I am a reporter at Northern Illinois University for NPR. I am excited to talk to you guys today because I've always wanted to be a journalist but I had a long career doing something else. So I hope that you guys can learn from this today. And the full disclosure part of this, not that any of our students who are going to watch this care, but given that we're talking to a journalist, we want to be very transparent about disclosures. WNIJ and our office and the Illinois P2I network are part of the same portion of Northern Illinois University. We're part of the outreach engagement and regional development division department at Northern Illinois University. So with that said, Jumoke, take it away. Awesome. So Yvonne, just walk us through how you started your career as a journalist. What high school did you go to? How did that transition happen? All right. So when I was in high school, I thought I wanted to be an engineer. So I had my eyes set on Milwaukee School of Engineering and then I took pre-calculus and I was like, nope, this isn't for me.  You know, I'm in my senior year and I don't know what I want to study now. So he said, you know, you're really good at telling stories. Why don't you do journalism? So I'm like, oh, that's a good idea.   She's gonna tell. So I went away to school, but then I came back. I ended up going to Chicago State and I majored in speech communication. So there I learned about radio production, TV production. We did commercials, everything in regards to TV and radio broadcast. And after I graduated in 97, early 97, January of 97, I ended up working for what was called Ameritech back then. Now Ameritech, I don't know. A lot of people may not have heard of it, but we were around and I started in the paging department where I was customer service for people pagers where, you know, they would call and say, my page is not working and I would have to do technical things to make sure that they pagers started working. But as I was at Ameritech, I started getting promotions and doing very well. I went to the cellular department and then I went to a department called Resource Planning. And somebody hear the term workforce management, so those can be used interchangeably. So I went into that department, but I still wanted to do journalism. So I ended up doing an internship for AT&T Cable where I was like a journalist for this show called Hometown Edition. So I would go out and do local stories and I would have a cameraman with me. But at the same time, I felt like I needed to increase my skills in regards to more so of the print part. So I went back to school. I went to Roosevelt University around to 1999 and I studied journalism for my master. So I did that. Thankfully, my job paid for it because they had very good benefits. So that is one thing that I have to say. Don't discard doing something that you really don't think that that's what you want to do for the rest of your career, but there could be benefits in that. So they were able to pay for my master's degree. So I got my master's degree, but then I found myself stuck. So I worked for Returnees to Verizon and I worked for Verizon for 22 years. And in that position at workforce planning, I became a supervisor and I did that for almost 15 years. But I would always feel like I want to do journalism. I want to do journalism. I did another intern at the Beacon News in Aurora. And one of the things I used to tell myself when I was in my career is, you know, this is not what I want to do, but who knows? Maybe I'm picking up some skills that I can use when I transition into my career. So that kind of kept me going. I kept feeling like that I was doing something that was meaningful. I did a lot of customer service. I had a team. So, you know, I was the leader. I had to facilitate meetings, talk to people. I had to do interviews. I had to hire people. So there are a lot of things that I did in that position that I did love. And I took a little bits and pieces out of that to say, okay, I'm not a journalist now, but I'm still talking to people. I'm still doing interviews. I'm still working with the team and making a difference. And then in 2018, we got this email, and it said that the company was letting people leave the company, but they were going to get a severance package that was much different from the normal severance package. And it's funny, I was on the phone with two of my direct reports when the email came out. And we were talking about it, and I said, what are you guys talking about? They were like, looking at your emails. I looked at my email, and I saw it in my voice. The pitch in my voice just went up, and they're like, you can't leave us. Because I looked at that and I was like, this is my perfect chance. Because, you know, working for Verizon and being a supervisor, I started making decent money. So it was hard to just stop working. You know, I had a family, I had bills, and I'm like, if I were to transition to journalism, I know I'm going to take a pay cut, especially starting now. So I was trying to figure out how can I do this? You know, I tried to do some things on the side, but you know, with the family, I could not really fulfill whatever itch I had for doing journalism. So once they offered that, I put my name in the pot, and I was picked. So that allowed me to leave Verizon and transition into being a journalist. Sounds like a very interesting story. Along the line, you mentioned that you did an internship. You actually did two internships, and then you said that the internships helped you understand what skills you need to develop further. And I think that's really important because a lot of students have opportunities to do internships, and for some students, they just think, oh, I really need to get a paid internship, you know, and just make some extra money over the summer. But students need to understand that the main purpose of doing an internship is to help you build skills and to understand what skills you need to develop for that. So thank you so much for mentioning that. So currently in your job title, your current job, could you tell us about the organization you work with currently and what you do with this organization? So I work for WNIJ radio, a part of Northern Illinois University, and I am an art, culture, and spiritual expression reporter. So my beat, I work with the community, a lot of artists in Aurora, Rockford, even the DeKalb area. I talk to faith leaders. I've done stories like over, like when it started getting cold, I did a story with a couple of churches. One was in Elgin, one was in Rockford in regards to how they're still being creative and bringing the gospel to their parishioners outside of Zoom. So they were doing parking lot service. A couple of them were doing it over the summer. So I wanted to know, okay, what are you guys going to do now that is getting cold?  And so I learned that some of them were still going to do parking lot service during the winter. So I do those types of stories. I do a lot of stories about maybe murals that are going up. There was a mural and Aurora that was going to take place, and then there was some controversy around it. So I had to talk to both sides to tell that story. And I also did a follow-up story on that because the whole art community came together, whether they were against how the mural came about or who was picked, how they were picked for the mural, they still came together at the end and worked together. So more artsy type stories and things like that. And once in a while, I will delve into something different if needed. Wow, it sounds like your job also has you working as a mediator, which is interesting. So I mean, you've talked about how you work with community. And so I'm assuming that a typical day for you would be going out into the community and getting stories. So if you could just walk us through a typical day now that the whole world is in a pandemic and before the pandemic kicked in, what would your typical day or week look like? Okay, so before the pandemic, I was in a full-time reporter at WNIJ. When I started at WNIJ, I started as a volunteer. So I know you talked about internships, how important they are. But sometimes volunteering is just as important. So I started as a volunteer. When I left Verizon, it had been 20-something years since I've been in school. So I started applying for journalism jobs, but nothing. And I didn't want to get discouraged. I made a decision to invest in myself and take some of the funds that I guess got from my severance and I went back to school. So I went to Illinois Media School. There's a campus in Lombard, one in Chicago and across a few other states. So I went there. It was an eight-month program where I learned hands-on training again, but it was the updated technology. So video editing, audio editing, skills in regards to telling the story and putting it together. So I took classes for eight months there. And thankfully, it was before the pandemic, so I was able to do hands-on. So I think that's what helped me get into WNIJ, just having those skills and building those again. When I started WNIJ as a volunteer, I volunteer for something called NIRIS and that's where we have visually impaired people who are not hearing a peer, who I'm saying it right the first time, visually impaired people who aren't able to read actually able to read the newspaper or anything. What I did, I read the Chicago Tribune and not the whole newspaper, but certain stories for about an hour so that those people can listen to those stories. So I did that and around November, I was brought on as a part-time producer and I attended what's called Radio 101 because my whole goal for WNIJ at first was just to get an internship to fulfill the hours for Illinois Media School. There were things that we can do to fulfill our hours, but I was looking for internship. And I think I wasn't even an intern for a week before I came on part-time. And during my part-time stint, I worked as a producer. So on Mondays and Fridays, I would go to the radio station and I would help with the show called All Things Considered. I would help the anchor with that in regards to stories, pulling like bylines and things that we might want to read over the air, getting the stories together. And I was able to do some reporting. So if there was an event that was happening that I wanted to cover, and I didn't have a beat at this time, that I would go out if I had the chance to do that and then I would come home, come back to the station and I would produce it and do the story. So I was doing double work and then the pandemic hit. And so my producing duties ended. And I went more so just doing reporting from March to June. But before that, I was going out, when you say a typical day, I was going out doing stories. One of the stories I remember doing early on was a story in Rockford for there was a homeless shelter that hosts what's called, they were remembering our friends, where they honor homeless people who passed away that year. So I was able to go do that, get audio for that and put that together. So I did this all in my part time producing role. Now when the pandemic hit in March, we were stuck at home. So we had to kind of play it by ear. And I ended up doing more reporting stories. So that's when I felt like the pressure was on because I use the internet, I use Facebook. I use the people that I've talked to in the past to come up with story ideas. So I spent a lot of time searching for story ideas just using the internet and making that phone call. And one thing I want to say about transitioning from customer service, it was so easy for me to pick up the phone and say, Hey, my name is Yvonne Booze. I work for WNIJ and make those connections with those with some of my sources because I was used to customer service. I was used to talking to different people. So I want to jump in and just mention one thing because it's so interesting to hear you say that just last night. I saw on Twitter just a random tweet from someone. I don't even remember who it was, but saying no one should run for office without having worked in either the hospitality sector or in retail or in customer service because that's so much of the job of being an effective. I'm not going to even say politician. I'm going to say office holder. That ran true to me as a school administrator. That's a huge part of that job. And then it's really interesting hearing you say this because there's been two other things. A meeting I was in for a job search for someone today where we talked about those same set of skills. And then early this morning walking the dog, I heard a photographer on a podcast talk about what an important set of skills that is for him as a photographer to be able to approach people. And so I just want to highlight that because obviously for our students watching, you know, we've moved away from using the phone in the way we've traditionally used the phone, not just because of the pandemic. I mean, we had moved away from that because of text messaging, for example, and other text-based forms of communication. And so I'm wanting to call out that skill because in the workplace that remains an incredibly important skill across multiple careers. And so something certainly for our adolescents, young people, to all be thinking about honing as they move through school and work experience and so forth. Yeah. So, you know, from that, I was able to build my source list. So also during a typical day, I'll go on Facebook and I'll look at some of their Facebook pages and see what they have gone on. Also, we get press releases about things that are going on. But a lot of times I'll just send an email to say, hey, especially if I talked to them last year, I'll just refresh their memory and say, hey, I worked on you with this story. I see this is going on. What do you have? Do you have time to talk to me or chat with me? Or, you know, at the beginning of the year, I reached out to a couple of people. I didn't have a story idea. I just wanted to follow up and say, hey, it's the new year. I'm still an art and culture and spiritual expression reporter. I just wanted to say hello. And a lot of times they'll come back and say hello. But you know what, Yvonne, we have XYZ going on. So that has really helped me excel in being a reporter, being a reporter, just being able to communicate with my sources and just feel natural about that. And knowing when do I pick up the phone and call them? Or when do I send an email? Because there are some times where I don't think an email will do. I may have to call them and give them a little more background about myself or a little more background about my idea or the story that I'm working on. And a lot of times my sources will give me other sources. They'll say, you know what, did you try talking to this person? How about talking to this person? And it just helps my story become whole. Well, I think that this is just amazing. Because currently I'm working on my internship with Prevent Blindness. And a big part of my internship involves talking to groups about their high health. And I have to approach this group. So as you were speaking about, you know, picking up the phone and sending emails, I was just there thinking, oh, these ideas that I could use to get participants or groups for my internship. So thank you so much for talking about this. While we're talking about skills, I was just thinking, I know you mentioned communication skills, which is really essential. I was just thinking, what other kind of skills would you need to be successful as a reporter? Listening skills. You really have to pay attention. And I learned that early on during my first internship, I remember there was a time where I was so focused on my questions. Like, you know, I need to make sure I asked this question. And I would miss out some important things they were saying to me. Or I would miss out on asking that follow up question because I wasn't listening. I was like, I just, okay, I ask a question and then they're saying something and I'm like, okay, what's my next question? Let me make sure I get it. So that is very important to slow down and listen. A lot of times they'll answer your question, your next question, before you even ask it. So it is redundant if they tell you something and then you ask the question again. That's kind of embarrassing. So listening is something that you need, I think also organization. Because at Verizon, I use a lot of spreadsheets. I did scheduling for the customer service reps and training and scheduling them for training and making sure that I kept track of certain things. So I've taken that and I use that as a reporter. I have a spreadsheet with all my contacts. I have a tap for my pitches that I'm working on. I have a tap for like personal information. It just keeps me organized to make sure that I'm staying on track of things. And also another thing, I don't know if I can call it a skill, but being in the corporate role, I gave a lot of feedback and I got a lot of feedback. But that's very important as a journalist to be able to receive that feedback, whether it's your writing, whether it's how you are telling your stories, whether it's feedback from your sources. You have to be open to that so that you can become a better journalist. So those are things that I took or brought with me from the corporate role and to this position that I didn't even think I needed. Sounds really good and I completely agree with you that for most people and even this includes myself, you know, I'm still pretty much new to doing this and I've learned that I have to listen because like you said, a lot of the questions you have written down like I do, people tend to answer them in the middle of other conversations. So yes, thank you so much for mentioning that. It sounds like you've really come a long way in getting your job as a reporter, because you've known from very beginning, this is what you want to do and you've put in a lot of work, you've put in a lot of internship and all.   I love just talking to people and meeting new people. That's number one, but also the writing. I am a poet, I write poetry. So to be able to listen to someone and listen to their story and sit there and figure out, okay, how do, what am I going to say to get our audience to say, why am I reading the story? Why am I listening to the story? To be able to play around with some elements that I use in poetry, whether it's a metaphor, like for example, I did a story about a chef early on in the pandemic who used to go to people's houses and prepare meals for them. But then the pandemic hit, he couldn't do that. So he came up with, he rented out like a kitchen where he was still able to meal prep for people and just drop it off. So my headline read something like chef still has a full plate during the pandemic. So it brings me joy to be able to play around with words and things like that when I'm telling my stories, especially for the fun stories and in the headlines for those stories. So the writing, I also enjoy that. And also this is something that I didn't know was going to take place. But I also get to curate a segment called poetically yours. So that's near and dear to my heart where I have worked with poets across Northern Illinois and even a poet from California reached out and we aired one of her poems where they'll send me poetry and I'll take it and I will produce it, put a little music behind it and we air that every Friday. So that's one thing that I never thought I would be able to do as a journalist. Well, so this one is big. What's that one thing you don't like about your job? Bad audio. You know, there's software that allows you to work your magic editing software and things like that. But there are some things you just can't fix. So it's very important, like if I go out and cover a story that's outside, it's very important that I remember to put on my windshield because especially when the weather is windy, I'm asking people questions and they have a good bite or, you know, they say something that I think the listeners need to hear, but there's in the background that is very hard to clean out. So it's very important even during Zoom interviews that I do, I have to listen to the background to see what's going on because there are some times where even in a Zoom video, there's some type of noise that every time they talk you hear that noise and you can't edit around that. So I've been able to say, hey, wait a minute, I'm hearing something weird. It actually happened last week. I said, something's wrong. I'm hearing some type of background noise or something. So the person I was interviewing said, you know what, let me try my other computer. And he did that and it went away. So learning just to listen to that, just to make sure that you get quality found and even with the poetically yours, they record their poems for me and a lot of times they're using their cell phone. And so I try to give them tips and I say, you know, going your closet with the clothes, close the door, because it's very hard to air something that has background noise in it. So that's what I hate the most, background noise that I cannot fix. So a pro tip for our students watching because we know that video is king today, right? Whether it's TikTok or YouTube and that is the case. But one of the things that if you listen to people who produce any kind of video, audio is the most important part of video. You can only do so much with audio in post production.  The most recent episode, I shouldn't be admitting to this, but of the office ladies podcast that I listened to over the weekend. And remember that was being filmed with cameras and boom mics floating around. But they went off on a whole tangent about all of the audio setup to capture that because they weren't producing it like a traditional TV show. And so that is a great tip for our students who even want to produce videos for fun. If we can't understand or hear what you're saying, you can't go viral guys. So there it is. So talking about students, if you were to hire an intern, what particular things would you be looking at? And I'm sure to the skills and technical know how what other things would you be looking at before you hire this person? I would want to make first, first and foremost make sure that that person is a person of integrity because I believe as a journalist, you have to have a high level of integrity. Your sources, sometimes they get comfortable with you and sometimes they tell you things that they didn't even think about because they're comfortable with you and they're talking to you and being able to make a sound judgment of is that something that I need to share? Is that going to help my story? Or is this just information that they're telling me because hey, they're talking to me? The other thing is a person that's hungry for knowledge because I think that's one of the things that I always want to learn something. I love YouTube and sometimes I'll go look at different videos and I'll be looking at one and I'll say to myself, I'm not learning anything and I'll click off. So someone who yearns for knowledge, someone who is able to take feedback, someone who isn't going to get discouraged when they're being told, hey, I think you need to work on your intro a little better. Or I think that you might want to come up with a different angle for that story. Someone who's able to listen to that and let that motivate them to do better. Thank you for sharing. My final question for you today is how's your job as a reporter? How do you think it contributes to making the world a better place? I think my job as a reporter makes the world a better place because there are people that are going through things and sometimes they think they're along. But when you tell those stories and they hear things like, for example, I did a story about a videographer who of course was impacted by the pandemic and some of the things that he did to pivot. You may have someone out there that's like, well, now I might have to change careers, but when they hear those stories and inspires them and say, hey, I can do this, it helps people know that they're not along. Even with the poetically yours, one of the ports came and they said many of them because I did poetically yours, a couple of people heard that and I was able to get some pay gigs just because I aired my poem on poetically yours. So I think being a journalist enriches lives because you're telling stories that people don't always hear. And that's one of my goals is to make sure I'm finding those stories and sharing those stories with our listener audience. I cannot agree more because talk about developing countries and all the stories that you see. Journalism and reporting and media, social media in general has just gone a long way in telling stories that people cannot go to. I'm here in America. I don't necessarily know what's going on in Nigeria, but a reporter can get on TV or get on the radio and tell me a detail. That's what you said. Integrity is really important. Tell me a detailed summary of what's going on. And I feel like, yes, I am pretty informed. And so I do agree with you. Thank you so much, Yvonne. And then I was going to add the sound of the stories. I just wanted to share. I originally always wanted to do television. I thought I was going to be an anchor woman. And when I left Illinois Media School and I started doing the work at the radio, I started thinking, oh my god, I love radio because of the sound. Just the excitement of having someone say something. And as they're talking, you're thinking to your mind, oh my god, that's a good bite. I can't wait to use that. Or if there's music involved, or if I go to an event and there's different background sound, getting excited about being able to incorporate that into my story. So like you said, you want to be able to take that person to the actual location based on the story that you're doing. Yeah, two quick final thoughts for me. One is, as we record this, I mean, the importance of journalists, of all kinds of journalists, is, hopefully has never been more obvious to everybody. I know I'm listening to you talk and thinking about my years as an eighth grade teacher many years ago and how we approached the requirement to teach the Constitution as a really hands-on engaging study of American government. And as part of that, we had a multi-week simulation of the entire government. Every student got a role. You never knew what was going to happen. We had all three branches represented. And as that evolved year after year, one of the things we added in was they also had to, at different points, while they still maintain their daytime role as a representative or a Supreme Court justice or in the executive branch, they also had to become members of that fourth branch of government and write media stories about what was happening in the simulation, write newspaper stories at that time. I mean, this was in the 1990s. And so that really, I think, speaks to the power of your work and the importance maybe instead of the power, but is we cannot have the kind of government that we aspire to have. And as we hear about different politicians and leaders talk about what we aspire to be as a country, I'll leave that as an open-ended question for people watching this. I know what I want for our students who are watching this and for all of our students. And having reporters with integrity out there is, and then all of these other skills to actually get the work done and done well, really, really critical. So having you with us today is a real pleasure. And one of the things I think we're going to do for our students who are watching this, if you're not familiar with public radio and what it has to offer, we have a number of public radio stations throughout Illinois. To varying degrees, they also will buy programs nationally from national public radio and other organizations like PRI International. And I think what we'll do is both in the YouTube description and maybe at the end of the blog post, we will put links to our public radio stations, many of which maybe all of which I will find that I don't even know that. But as we write this up, Jo Moche and I will figure that out are associated with educational institutions in Illinois. I mean, certainly I know that's the case at Northern Illinois University and Illinois State University and WBEZ originally in Chicago is originally connected to the Chicago Public Schools. And so we will link to those and then you can learn more about what public radio is about even though that wasn't really the point of today. It's a neat little thing because as Yvonne talks about the sounds, that's really unique to public radio. And now today, there are lots of podcasts that are kind of emulating that type of production, audio production. Yeah. And when you talk about education, I just wanted to say that we do have our Teacher's Lounge podcast that my peer does. So they could check that out if they go to our website as well. Yep, particularly important for our teachers who are watching this either with or in advance of showing their students. So, well, this was awesome. Thank you so much, Yvonne. Really, really appreciate having you today. And congratulations on all of your success both in the telecommunications industry previously and today in your career as a journalist. Yeah. And I want to add one more thing. One more thing I want to tell the students, don't give up on your dreams. Even if it means that you're out there volunteering, make time for your passion. I see a lot of people who aren't able to get a job in journalism. I was blessed to get a job in journalism and not have to move to a different state. But I know people who regardless if they have a job or not, they're using technology. They're doing like a weekly show where they're bringing guests on and doing interviews or they're going out there. And I did this a couple of times just doing stories. Even though it wasn't something that was going to air, I was able to write the story and put a Facebook post up about it. So continue to work on your craft. Don't give up. I understand that we all have to eat. We all have to make a living. But you can still find a way to carve time out of your day to work on your passion. Great advice. Well, thank you again so much. It's been a real pleasure today. Thank you for having me today. Thank you. I really do enjoy speaking with you. You guys as well.


Gold. Gold contract up $5.40 trading at $19.93 an ounce. We had silver up 8 cents, $22.87 an ounce, light sweet crude up $2.82.41 a barrel, notes and bonds. A 10-year note up 19 ticks, trading $107.15. The 30 apple full 2 points plus 6 ticks at $112.20 and $king dollar. $king dollar down $742 ticks, trading $106.142, Euro $106, yen $150, British pound $122 to $1 at U.S. dollar. Get over and take a look at the S&Ps folks, bottom line is that you had higher price, you moved with conviction, meaning that you're bottom line, you had the wide price spread out here. We come in with $87 million, so we get the volume behind the move, we're at the $4.30 right now, $4.33 is the next step to get the S&P inside the higher range. We jumped inside one range yesterday, next range is going to be the $4.33. We go into the end of the X100 and then you know apple is going to be coming out at $4.15 with the numbers which are going to affect the S&P and the Q's. We look at the Q's, the bottom line inside the Q's is that you get $53 million which has traded, that never even broke the $200 and it's already in the higher range. So the Q's are on the way up, this number here with the $387 actually, we're $363. Now it's going to be intriguing when apple comes out, keep this in mind, okay? You see this gap here? So we get a nice gap inside the marketplace, okay? So how apple performs tonight is going to make a difference. And you know if you're not long yet, the bottom line you just might have a shot to get long if apple basically you know gives it up on price, you know? Because even when apple giving it up on price, yeah you get a quick pullback but that's all you're going to have is a quick pullback. We're going to take a look at the dollar because the dollar, well, notes and bonds are rule in the market too but let's get the dollar because they only get 45 seconds left here. So if you take a look at the dollar, what you're going to see with the dollar, you're building cars for lower price, we're $106, $144. The number to keep your eye on is going to be the $104.699. I expect we're going to get down there. As we get down there, this is where you're going to put a couple indicators together. When you get down there, it's going to be one of those deals that you know, you take a look at it and say, okay, is this we're going to bounce? Is this we're going to have a little counter-trend bounce? What's going to happen there? Have a great night folks, have a safe night. Don't forget about it, I'm Mr. Tim Ward. You want to understand those ratios? Next Tuesday, go sign up right now. Have a great one folks, have a safe one.


Hi, I'm Sarah Krebs, an exercise physiologist and in Michigan Health's Medical Weight Management Program Coordinator. As we enter the long days of winter, it's important to keep exercising your routine. It helps you to feel good about yourself, reduce stress, and can even improve signs of depression. Regular aerobic activity can help decrease your risk for high blood pressure, diabetes, and heart disease. Aerobic exercise is anything that uses large muscle groups and keeps your heart rate up for a long time. Examples of aerobic activity include brisk walking, jogging, swimming, cross-country skiing. These are all things that can help you maintain a healthy weight long term and also help strengthen your heart. If you can sing while you exercise, you're probably working at too low of a level. If you can't talk at all, you're probably working at too high of a level. You want to aim for a spot right in the middle where you can have a comfortable conversation. No matter what activity you're doing, the way to get the best benefit is to aim to exercise in your target heart rate zone. For most people, their target heart rate zone is 60-85% of their maximum heart rate. In order to figure your maximum heart rate, you take 220 minus your age. Aim to start slowly so that you can stick with it. Set small goals that you know you can achieve. If you're not used to walking, start with a small 10-minute walk and then work up to something that you feel comfortable with. The most important tip I can give you is to find an activity that you really enjoy so that you can stick with it. Mid-Michigan Health.