So, questions from the homework number two, first thing I'm going to type in the equation. Now I got to read this carefully. It looks like time t is the time of the, I think in minutes, and d is, looks like it's the distance north of the equator, looks like it's positive, and south of the equator is negative, I think. So, how far north or south of the equator, well first of all, let's get my calculator up and running. Let's pick a good view window, clear what I have here, make sure I'm in radians, I am, and I'm going to go 5,000 cos pi over 35 times bracket x minus 12, close bracket, close bracket. I think that's right, two open brackets, two closed, yep. View window from zero to, now t is minutes. So, what I'm going to do, I'm not sure how many minutes they want. I notice 12 minutes after it's launched, I see 20 minutes here. You know what, just to hedge my bets, I'm going to go to 40 minutes and I figure if I need more than that, I'll just change it, okay. So there the window wasn't quite so obvious, Victoria, I just scanned the question for anything that had the word minutes next to it. Isn't it what absolute value? No, don't use the square brackets, they're just using square brackets as type font. First of all, absolute value would be a vertical line and a vertical line, which it's not, by the way. Yours is a straight line, oh, that's a typo, it's not, I don't think, this is what it should be, otherwise it couldn't be south of the equator, which it will be I think for one of these questions. I mean it'd be kind of nice, but that also wouldn't make sense, satellites, I'll show you a picture later on of the sunlight hitting the earth during the day and you'll see it is actually a perfect sign curve, you'll recognize it right away. Let's follow the same thing because the way the earth is tilted and on its axis and things like that, okay. Anyhow, okay, then does that answer your question? Let's keep going. I'll pick a scale of about five. Why min? Well my amplitude is 5,000, so I'm gonna go from negative 6,000 to positive 6,000 and a scale, I don't know, 500, okay. No vertical displacement, so here's the satellite. Well I haven't done one whole period, in fact pi over 35, if that's to be, I think the period is every 70 minutes, but I'll tackle that later if I need to. So how far north or south of the equator is the launch site, answered to the nearest kilometers? I think what they're saying is at time zero, because that's launch, what's our launch, how far north are we? We're launching 2,369 kilometers north of the equator at time zero, so I'll make a little note here. Time zero, 2,000, what did I say, 2,369 kilometers. Is the satellite north or south of the equator after 20 minutes? Minutes is an x value, so again I'm gonna use the trace feature. It's north of the equator. In fact it doesn't get south of the equator until I'm guessing 35 minutes in. Oh no, I got a phase shift, Mr. Dewick. Probably 35 plus 12, probably 47 minutes in. Let's see, I'm just curious, 47, am I zero high, oh, I didn't do that kind of a domain. Well, whatever, I'll figure it out later. So what did I say, north, oh what was the distance to the nearest kilometer, 20 minutes in, 3,765. When to the nearest tenth of a minute will a satellite first be 2,500 kilometers south of the equator, 2,500 kilometers, now this is a y value. Now for me to go south of the equator, that's gonna be negative 2,500, and it's a y value, so I'm gonna use y2. And I'm not sure my window's big enough to, oh it is, I was a little worried that I might not quite catch it, but I did right there. I'm looking for the intersection. Second function, calculate intersection, first curve, second curve, since it's only one answer I just hit enter for my guess. Looks like 35.333, 35 and a third minutes in, I even know that a third of a minute is exactly 20 seconds, 35 minutes and 20 seconds in if I really really wanted to be fussy. Now I want to the nearest tenth of a minute, 35.3 minutes after launch, is that okay? Any others?  Okay, I'll fix that for my other classes. That must, you know, I think that's just this addition because the kids have never mentioned that before, so it must have been, I wouldn't be surprised if they changed the font, it could even be something as simple as now they're on Windows 2000, Office 2007 or 2010 when they're publishing. I'd mention it to them. Well, yeah, Math 12 is still going next year. I'll email them. I'll get it fixed for next year. Any others? The tricky part if you have the equation is interpreting what they want you to do. Look at the units. They will always tell you what the variables mean and kind of figure things out. The trickier part is actually getting the equation. Turn the page. Next lesson, please. Lesson 10, modeling trig equations, it says. This is where they're going to tell us about the graph and they're going to ask us to find the equation. And when I do this, there are several key things I'm looking for. And usually this is the order that I look for them. We're going to jot these down. What we're looking for is the following. We're looking for, whoa, I'll talk to you later, the highest point or the maximum. So what words, top or maximum or highest or words that say, look at the highest, I do that. And I always do a small sketch. I look for the lowest point, the minimum, the bottom. If we're lucky it's the ground, in which case it's zero, but not always. Once I know the highest and the lowest, I find the middle because the middle is my vertical displacement. If I know the top and I know the bottom, I can find the center. Then I try and find one point. Now that one point will either be at the top or the bottom or the middle. If it's at the top, which graph starts out at the top? I'm going to be fussy, which cos, positive cos, which graph starts out on the bottom? Positive cos, which graph starts out in the middle, sine. That's what determines which trig function I'm going to use. And I'll phase shift over to whatever this point is if they give me an x-coordinate. Usually it's time, if they say, for example, after three seconds you're at the top, I would say, oh, I'll do t minus three, positive cos. Usually we'll use negative cos because on most of the applications at time zero, we're starting out on the bottom, in which case negative cos, no phase shift is the best. And then the last thing I read very carefully, I find the period, and b is two pi over the period. And you'll just have to read the question. They'll say it goes around every 35 seconds. That's your period. Well, let's see. Example here, warm-up number two. A sinusoidal wave shown has a maximum value of 50, top, a minimum value of 10. So the first thing I would say is this, if you know the top is 50 and the bottom is 10, what's the total distance between 10 and 50? 40, what's the amplitude? What's the middle? What's the vertical displacement? 30. Now, it says, write this where A is positive. I'm going to cross this out because there's no way I would write this where A is positive. I would say, you know what, my graph starts in the middle and goes down. If I want to keep this simple, that's going to be a negative sine graph with no phase shift. What I really need is the period. Well, here's the bottom. Here's the bottom. How long along the x-axis is that? You have to do a little bit of counting, sorry. One, two, three, four, five, six, seven. You get eight squares. What's one square worth? Sorry, four. So eight squares times four. How long is one wave? 32. And I get really lazy. I just go like this. That's B because B is 2 pi over the period. Now, if this is written, I'm good with that. I'll type it into my calculator. If this was multiple choice, what would I do in the answer? I wouldn't write 2 pi over 32. What would I write? Pi over 16. Now, they did say they wanted us to write it as a positive sign. A positive sign would start right there. It looks like 16 in. I would go positive t minus 16 in brackets. What if they wanted me to write it instead of a positive sign? What if they wanted me to write it as a positive cos? I would start right there, which looks like it's 24. t minus 24. So this is, oh, and they want me to write h of t. I'll use their variables. If you're in a rush and you don't use h and t, if you wrote y and x, we would give you full marks. But I would just be thinking bad thoughts about you and be thinking, read the question. So here's the first example. A nail is caught in the tread of a rotating tire at point N in the following sketch. And as the tire rolls, the nail goes up. The nail goes down. The nail goes up. The nail goes down. It's a beautiful sinusoidal. Remember, sinusoidal means sine or cos function. The tire has a diameter of 50 centimeters. And it rotates at 10 revolutions per minute. After 4.5 seconds, the nail touches the ground. It says, use the information to write a scale for each axis. We're going to go straight to the graph. And what we're going to do is we're going to do a sketch. We're going to write the equation. We're going to do a sketch. Now, because they gave me a sketch, I'm going to use theirs. But if I was free-handing, I would do this. What's the diameter? I want highest. How high? 50. I want lowest. How low?  0. I want middle. OK, because I can fill in a bunch of stuff already. H of t equals, what's the amplitude of this graph? 25. What's the vertical displacement of this graph? Also happens to be 25. Now, they've told me they want me to write this as a positive sine graph. It says write it as sine, where a is positive. So I'll write sine. Do I need to phase shift? Where does sine begin? In the middle and goes up if it's positive. You know what? I don't need to phase shift. It's kind of nice. Then it says it rotates at 10 revolutions per minute. After 4.5 seconds, the nail touches the ground. Both of these are giving me the period. Right here is 4.5. What fraction of a wave is that? Three quarters of a wave. So I could figure it out from there. But I'm going to use this. If it takes 60 seconds to go around 10 times, if it takes 60 seconds to rotate 10 times, how long to go around once? Think about it. 60 seconds, 10 times in 60 seconds, how long to go around once? Now, my physics 12s are going, yes, and this is the frequency 10 over 60. So the period is 60 over 10. Take the reciprocal. But I can't do that in math 12, unfortunately, because they don't necessarily know that. So I'm going to say, you know what? Yeah, the period is 6 seconds. I'm going to put 2 pi over 6 and no phase shift. C asks, how far to the nearest 10th of a centimeter is the nail above the ground after 6.5 seconds? Now that we've found the equation, we're going to go to our graphing calculators. Going to clear whatever I have. And I'm going to carefully type in this equation, 25. Sine 2 pi x over 6, close bracket, plus 25. We have to use letter x instead of letter t. No problem. Is that OK? View window. My x is time. It starts at 0. How far over do I want to go? Well, that's 4.5. You know what? I'm going to go to about, well, what's the period? How about 12? Two whole waves. There's no real right answer. Wrong answer would be like 2 seconds. That'd be silly. Let's go to 12. Let's get two whole waves. And I think I can go up by 1s doing that. What's my minimum y value? 0. What's my maximum y value? 50. I usually go to 60. I usually go a little bit higher. Scale 5s would make good sense, I think. Graph. Nail goes up. Nail goes down. Nail goes up. Nail goes down. By the way, to see if I've done this equation right, remember they told me after 4.5 seconds we're on the ground? I'm going to go trace 4.5 seconds. Am I on the ground after 4.5 seconds? I'm pretty sure I'm right. I don't think I fluked into that. Now let's answer the question in part C. This 6.5 that they're giving me, is that an x value or a y value? x, use the trace feature. Trace 6.5. How high are we off the ground? 37.5 centimeters. We're going to add a part D. When is the nail 1 centimeter off the ground? When is the nail 1 centimeter off the ground? 1 centimeter, is that an x value or a y value? That's a y value that we solved by going y2, 1. Hit graph, and we're going to find where they cross. Kind of tough to tell. I don't know what's there, though. Second function, calculate, intersection. First curve, second curve. Guess I'm going to move my cursor until I know. I think I'm safely to the left of it there. Enter, 4.2 seconds in. Sorry? One second off the ground. Well, here I should have said when is it off the ground for the first time. And that's what they'll say in the first one. I just ran out of room to write. I thought why don't I add a y value question? And I just thought this right now. So I'm next class. I'm going to teach this block D. It's not going to be 1 centimeter, because I didn't think it was that low. I didn't think it through. It's going to be like 20 centimeters, so it's a little higher. And I'll say first. Sorry. Yep, good question. Turn the page. Ferris wheel. For my ESL students, if you look up, this is a ferris wheel. In fact, this may be the ferris wheel. Let me see. That could be the Chicago one. The first ferris wheel. I got to go off on a little rant here. Let's read. The first ferris wheel ever built was created by a bridge builder by the name of George W. Ferris. We named him after him. In 1893, it was for the Chicago World's Fair, and it was spectacular. Huge. He tried to raise money, and he was turned down over and over and over for the building, because they thought there's no way you'll make money. As it turned out, it ran 24-7 the entire World's Fair complete sellout, because nobody had ever seen the like. It says this. The diameter of the wheel was approximately 76 meters, far bigger than anyone that you've ever seen. And the maximum height was approximately 80 meters. Now, 80 meters, can someone go 80 divided by three? Roughly how many stories is that? Because it's roughly three meters to one story. How many? So about 27 stories. Just shy of 30 stories, which in 1893 in Chicago was spectacular. It was the highest thing around. It had 36 carts, and each cart held approximately 60 people. Can someone go 36 times 60? How many went on this ride at once? Yeah, it had a ride capacity of what? So about 2,200 people. Huge ride capacity. My understanding is when he built it, the axle was the largest piece of steel ever constructed in history. And apparently, the entire construction took 1 third of the US eastern steel industry for the previous year. 1 third of the US eastern steel industry was working on this one ride. It was spectacular. Afterwards, sadly, it was dismantled and sold for scrap. But amazing ride. The first one ever built. For the longest time, the largest one ever built. Yeah, the one in. I think I'll allow you to Google and find out. I believe the one in London is taller, but I don't think it has the ride capacity that this one had. It says, if the wheel rotates every three minutes, draw a graph which represents the height of a cart as a function of time. It says, show three complete cycles. To you, I'm going to say, I'm just going to draw one. And do you remember what I said we were interested in? We're interested in highest, lowest, and middle. That's our first goal. So carefully read the question, what's our highest point on the y-axis?  Read the information that they gave you. Sorry, 80. I'm going to go like this, Matt. 80. What's the lowest point of the Ferris wheel? It's not zero. You have to read the question. How did you get four? Oh, they told you the diameter. See it? So if the diameter is 76, the lowest is four. What's the middle, plus four, and then divided by two? I think that's 42 of the middle. Because that already gives me a whole bunch of the equation. Certainly it tells me that my vertical displacement is 42. And it also tells me my amplitude, how far from here to here or how far from here to here. 36, 38, 38. By the way, what's half of the diameter? More specific, what's half of this diameter? 38. If you're dealing with a circle, the radius will always be your amplitude. It was on the previous question, too. 38. So we've done highest, lowest, and middle. Now I want to find one point. It says, assume that the cart is what? At time t, we're right there. There's my one point, because that tells me which trig function I'm going to use. Which trig function am I going to use? What starts up high? I'm going to go positive. Close. I have no idea what you said. Well, they said close, but they didn't say it had to be positive. In fact, I kind of don't like this. I would assume that you're at the lowest point at time 0, because that's where you get on. And that's what you're going to find for most of the Ferris wheel questions. They're going to say you're getting on at the bottom, using negative cosine. It's way easier. Which means, what's my phase shift going to be for a positive close? 0, because we're right on the y-axis. So I can over here go t. And h of t. All I need to get is the period. How long to go around once? Three minutes. Period is 2 pi over b. Sorry, b is 2 pi over the period. 2 pi over 3. I was going to go to seconds, but I did notice that in the graph, they want it in minutes. So here's what that means. Here's three minutes. We must be back there, right? What time is that right there? 1.5 minutes. That must be where I'm at the bottom. What time is that right there? Yes, you're going to have some decimals, but you're dividing by 2. It's not that yucky. Minutes, please. Can someone go 1.5 divided by 2, please? 0.75. Good God. That's when you're in the middle. What about that value there? 2.25. That's also when you're in the middle. Do you see how I divided it into four like we did last unit?  Because just for practice, here's what I'm going to ask you to do now. h of t equals, we're going to write this as a negative cos, negative cos. Let's see if we can do that. What would the amplitude be? Still 38. What will the period be? Still 2 pi over 3. What would my phase shift be for a negative cos? What would my phase shift be for a negative cos? What will I write here? I'll give you a hint. t minus 1.5. That'll phase shift me to there. Will the vertical displacement change? No, no. There is this graph as a negative cos. Same equation. Sorry, same graph, different equation. Let's write it as a positive sign or a negative sign. We'll just do one of those two, because I'm running out of room. Victoria, would you like to write it as positive or negative sign? Did you say negative sign? OK, let's do that. h of t equals negative, and I'll leave a space and put the sign. Will the amplitude change, Victoria? No. Will the vertical displacement over here change? No. Will the period change? No. The only thing that's going to change is my phase shift. So I need to find where negative sign would start. Well, negative sign starts where? In the middle and goes. Although, Ari, there's always going to be an easier one. I can do whatever trig function they want me to. When in doubt, I'll try and do a phase shift of nothing. We're going to use the blue equation, the cosine one, because it's less typing. Let's go to our calculators. Clear, clear. h of t is going to be 38 cos 2 pi x by 3 closed bracket. Now, you'll notice I didn't put brackets when I hand wrote, but I do have to on my calculator, no matter what. Plus 42. I probably should have put brackets, but if you leave gaps, it's kind of understood where sloppy when we hand write. Enter. Window. Start at 0. How long to go around once? Three seconds. But look at my next question. How many minutes are they talking about here? Five. So if I went from 0 to 3, that'd be silly, because 5 doesn't appear. I'll go from 0 to 6. Two full revolutions. Make sense? Ah. If I was really clever, what would I pick as a scale? No, I wouldn't pick one. Absolutely not one. No, I wouldn't pick 1.5. I think I'd pick, wouldn't I pick 0.75? Look at my graph. Isn't each important point every 0.75? That's what I'm going to do is my scale, because that way, if nothing else, I can glance and line up those points with the hash marks. That'll, I can eyeball it, and I'll know whether I got the right equation. Y min is 0. Y max, what's the highest we get? 80, I'll go 80, I'll go 90. And I'll go up by tens, or fives, whatever. I'll hit graph, let's see. Ferris wheel goes down, ferris wheel goes up. Ferris wheel goes down, ferris wheel goes up. That looks great. C asks, how high is the cart five minutes? OK, five minutes. Is that an x value, or is that a y value? x value, we're going to use trace, trace, x equals five. y equals, holy smokes, exactly 23. That's a fluke. Although if I was really fussy, instead of a y, I'll use the letter h equals 23. I wouldn't take marks off, but let's do it right. How many seconds after the wheel, OK, how many seconds they're asking me to find an x value? After the wheel starts rotating, does the cart first reach 10 meters and that's how I should have phrased the previous question, by the way, as well. I should have included the word first. 10 meters, is that an x value, or is that a y value? You guys missed the fact that I didn't say, because I asked you to? OK, I want this one. Second function, calculate, intersection, first curve, second curve, guess. 1.23 minutes, 1.228, I'm going to write down, because that's in minutes. And they want an answer to the nearest second. How do I change minutes into seconds? Times by 60, so I'm going to go like this. 1.228 times 60, 74 seconds in, 1 minute, 14 seconds, if you really want to be fussy. So on your test, on the written section, I'm going to give you some kind of a word problem. And you're going to have to find the equation. And then I guarantee you, for a part b, I'm going to give you an x, find a y using trace button. And for part c, I'm going to give you a y, find the x using y2, send it across.  I've fibbed to you a little bit. Now we've used our graphing calculators, and we've graphed for c, we use this trace function. The other thing I could have done is I could have gone in my non-grafting menu, I could have just put a 23, sorry, 5 right there. I could have gone 38 cos 2 pi times 5 divided by 3 plus 42. My argument there, and I think I will get 23, my argument is if I'm going to type that, why not type it as y1 so that I can see if I've typed it right by looking at the graph? It's not extra typing. OK, you do have to set up the view windows, but I think that extra five second investment is really worth it. Oh, and I could have solved this question here as well. I could have solved it by putting a 23 right here, minusing 42 from both sides, divide by 38 to get the cos by itself, replacing with an a temporarily because it is a period change. And I could have solved it by hand like we did for period change. Again, yeah, my comment is if I'm going to do that, why not just type it into there? Because I'm going to be typing all on stuff anyways along the way. It's much faster to use the calculators. So can you do these by hand? Sure. When I said you absolutely have to have your graphing calculator, I guess I technically fibbed. But the bang for your buck there is totally worth it in my mind. What's your homework? Take home quiz. Number one, number two, number three, number four. Now you're going to have to figure out when March 11th is what day of the year it is. But I think it's fairly easy to figure out because how many days are there in January? 31 plus, how many days are there in February? It says this year is a leap year. So there's going to, this year, where am I? Is a leap year. So if there's a leap year, how many days are there in February? 29. And then March 11th, I think that's the day of the year. On a test, I would tell you what day of the year it was, but for what it's worth, doable. Oh, they give you the, ugh. Oh, it's in degrees, forget it. We've left degrees behind. They're gone. Even if they bring chocolates, I'm not taking them back. What's your other homework? Well, let's go to that great big trig review, please. Were you looking for someone? Nope, okay. I'm almost done. Ladies and gentlemen, that's it. That's trig. We have gotten tricky with it. I'm probably going to do a little spiel next class, some more hints for identities because my sense from my three classes as kids are struggling, and I deliberately moved on because I thought you got tired of swallowing water. We went to a different area and we're going to come back to the pool. Don't worry about it. These are the questions that I am assigning for the review that I think are fair game for the test. So I think I've already said two, three, four, five, six, 10, 13, 14. I already said those, yes. I'm going to add 16, 17. Hey, I can now do Ferris wheels. 19, 22, I already assigned, right? 25, 26, 27, that's a nasty because that's a addition identity added to another addition identity.  Ooh, I see a Ferris wheel, 28, absolutely, 33. Now, if I look at 33, here's what I see. I see coast, coast minus sine, sine. I think that's on my sheet somewhere.  I'm impressed. It is as it turns out. No, he's smarter than he looks. 38, 40, 43, 44, 45. How will I solve 45? Okay, 46, 46 is one of those I told you about. It's an alpha plus beta, but they've used one of those four corners, which means a bunch of stuff is going to cancel and you'll get a lovely, well, I think I told you the answers are almost always positive sine, negative sine, positive coast and negative coast. Although I noticed they put a two X in there just for giggles. 47, general solution practice. 53, 55, 56, ooh, 57. 58 is an example of a nasty curveball. 61 is another solved by graphing. I think I've given you about eight of those. So I'm probably gonna now only pick the ones that look really weird for you to practice. But trig identities, we still need to practice. So 64, 66, 67, 68, 69, 68 was nasty. 73, again, look at 73, it's an addition identity. It's three pi by two, one of our corner angles, it is. Look at your answers. Are they negative sine, positive sine, negative coast and positive coast? A bunch of stuff will cancel, it'll be one of those. 74 is a decimal, I've already done that. Ooh, logs and trig, I'll use that. 76 is a quadratic trig, we need to practice those. 81, skip, skip, skip. And it's a decimal, I've done a bunch of those. 86 Ferris wheel, 87, 88, both identities. 91, 95, 98, we have reached 100. 106, 108, 115, 116, a lovely quadratic trig. Ooh, here we go, a restrictions question, 117. Skip, skip, skip, skip, skip, skip. 123, 124, arc length, amplitude, arc length, exact value, phase shift, 134. Give you an example of another mini-curve ball with an addition identity. Should be on the last page, I think, yeah. Woo-hoo, written. I like number one, I like number one, and I like number one, number one is a nice question. I like number one. And those of you that have me in physics, hopefully you've clued in by now, I'm nuts about amusement park rides. There's a very good chance that your application word problem might be a Ferris wheel. So I'll also give you 10 to try as well, 20. No, it's not all the written, but it will be. Here's the problem. What we did last unit, the written questions that I gave you last unit were, it was solving trig equations, but they were linear, they weren't squares. The written on the provincial is quadratic trig equations. In other words, this unit contains identities, which is always on the written section, quadratic trig, which is almost always on the written section, and word problems, which is occasionally on the written section. 21, now again, are you doing all of these? No. Are you looking at each of these, and if you're saying, yeah, I know how to do that, then you're fine, move on to the next one. I tried to give you way too much, I tried to give you extra practice so that if you wanna prep for the test, you can really work at this, and the test is two weeks away for you guys, basically. So you got lots of time to work on this. My goal is not that you see every curve ball, but you've seen enough of them that you have your strategies so that those one or two weird multiple choice, which will show up, you'll be like, yeah, you know what? I've seen, oh, this is exactly backwards from the one that I saw, or whatever, okay? The class is yours. That's trig.


My co-instructor and I, Malamba Nakavich, were looking at some tools and trying to figure out how we could show our students in that class who were going to be teachers very very soon how to implement new technology. So we kind of chose hypothesis at random and had an overwhelming positive outcome with that with our students. They were really excited by the tool, really excited to use it with their students as they started to teach and it actually kind of shocked us. We didn't really expect that sort of overwhelming excitement. And so having seen that with my students and then coming to the team and they're like, oh, we're piloting hypothesis Would you want to take that up? I'll say 100%. Let's see because I was really excited to see the other side of it like what it actually did with students, what the outcomes were like and did it have a positive impact on learning outcomes? So yeah, that's how I kind of got involved with getting the pilot started or getting the pilot rolling and continuing through this last year.


Ladies and gentlemen, the President of the United States, and Mrs. Reagan. You may be seated. Dr. Pat Robertson of the Christian Broadcasting Network will lead us in the invocation. Pat, it is my high honor and distinct privilege to introduce the President of the United States. Thank you very much. Please, you did that. Thank you. Thank you all very much. And thank you, Brent Gustafson. Ladies and gentlemen, the distinguished guests, thank you all very much. I had a little problem last night myself with regard to my name. I'd thought about a week ago that maybe I would persuade someone to change their name from Reagan to Reagan. But after yesterday afternoon, I thought maybe I ought to change my name to his. But you all have an expression among you that, well, first of all, you confess to being poor audiences for others. I haven't found it, though. But you also have an expression about preaching to the choir. I don't know just exactly what my address, how that fits under that today. But what a wonderful sight you are. In a few days, I'll be celebrating another birthday, which, according to some in the press, puts me on a par with Moses. That doesn't really bother me, because every year when I come here, when I look out at your warm and caring faces, I get a very special feeling, like being born again. There's something else I've been noticing. In a time when recession has gripped our land, your industry, religious broadcasting, has enjoyed phenomenal growth. Now, there may be some who are frightened by your success, but I'm not one of them. As far as I'm concerned, the growth of religious broadcasting is one of the most heartening signs in America today. When we realize that every penny of that growth is being funded voluntarily by citizens of every stripe, we see an important truth. It's something that I have been speaking of for quite some time, that the American people are hungry for your message because they are hungry for a spiritual revival in this land. When Americans reach out for values of faith, family, and caring for the needy, they're saying, we want the Word of God. We want to face the future with the Bible. Facing the future with the Bible, that's a perfect theme for your convention. You might be happy to hear that I have some good news of my own. Thursday morning at the National Prayer Breakfast, I will sign a proclamation making 1983 the year of the Bible. We're blessed to have its words of strength, comfort, and truth. I'm accused of being simplistic at times with some of the problems that confront us. But I've often wondered, within the covers of that single book, are all the answers to all the problems that face us today if we don't look for them. The grass withereth, the flower fadeeth, but the Word of our God shall stand forever. I hope Americans will read and study the Bible in 1983. It's my firm belief that the enduring values, as I say, presented in its pages have a great meaning for each of us and for our nation. The Bible can touch our hearts, order our minds, refresh our souls. Now I realize it's fashionable in some circles to believe that no one in government should order or encourage others to read the Bible. Encourage, I shouldn't have said order. That we're told that we'll violate the constitutional separation of church and state established by the founding fathers in the First Amendment. Well, it might interest those critics to know that other than the father of our country, George Washington, kissed the Bible at his inauguration, and he also said words to the effect that there could be no real morality in a society without religion. John Adams called it the best book in the world, and Ben Franklin said, the longer I live, the more convincing proofs I see of this truth, that God governs in the affairs of men. Without his concurring aid, we shall succeed in this political building no better than the builders of Tep Babel. We shall be divided by our little partial local interests. Our projects will be confounded, and we ourselves shall become a reproach, a byword, down to future ages. So when I hear the First Amendment used as a reason to keep the traditional moral values away from policymaking, I'm shocked. The First Amendment was not written to protect people and their laws from religious values. It was written to protect those values from government tyranny. I've always believed that this blessed land was set apart in a special way, that some divine plan placed this great continent here between the two oceans to be found by people from every corner of the earth. People who had a special love for freedom, the courage to uproot themselves, leave their homeland and friends to come to a strange land, and when coming here, they created something new in all the history of mankind, a country where man is not beholden to government. Government is beholden to man. Now, I have to believe that one way to promote, indeed, to preserve those traditional values we share is by permitting our children to begin their days the same way the members of the United States Congress do with prayer. The public expression of our faith in God through prayer is fundamental as a part of our American heritage and a privilege which should not be excluded from our schools. No one must be forced or pressured to take part in any religious exercise, but neither should the freest country on earth ever have permitted God to be expelled from classroom. When the Supreme Court ruled that school prayer was unconstitutional almost 21 years ago, I believe it ruled wrong. And when a lower court recently stopped Lubbock, Texas, high school students from even holding voluntary prayer meetings on the campus before or after class, it ruled wrong too. Our only hope for tomorrow is in the faces of our children. And we know Jesus said, suffer the little children to come unto me and forbid them not for such as the kingdom of God. Well, last year we tried to pass an amendment that would allow communities to determine for themselves whether voluntary prayer should be permitted in their public schools. We failed. But I want you to know something.  There are five million American children attending private schools today because of emphasis on religious values and educational standards. Their families, most of whom are less than $25,000 a year, pay private tuition and they also pay their full share of taxes to fund the public schools. We think they're entitled to relief. So I want you to know that shortly we'll be sending legislation back up to the hill and we will begin the struggle all over again to secure tuition tax credits for deserving families. There's another struggle we must wage to redress a great national wrong. We must go forward with unity of purpose and will and let us come together. Christians and Jews, let us pray together, march, lobby and mobilize every force we have so that we can end the tragic taking of unborn children's lives. Who among us can imagine the excruciating pain the unborn must feel as their lives are snuffed away and we know medically they do feel pain? I'm glad that a respect human life bill has already been introduced in Congress by Representative Henry Hyde. Not only does this bill strengthen and expand restrictions on abortion, financed by tax dollars, it also addresses the problem of infaticide. It makes clear the right of all children, including those who were born handicapped to food and appropriate medical treatment after birth and it has the full support of this administration. I know that many well-intentioned sincerely motivated people believe that the government intervention violates a woman's right of choice and they would be right if there were any proof that the unborn are not living human beings. Medical evidence indicates to the contrary and if that were not enough, how do we explain the survival of babies who are born prematurely, some very prematurely? We once believed that the heart didn't start beating until the fifth month but as medical instrumentation has improved we've learned the heart was beating long before that. Doesn't the constitutional protection of life, liberty and the pursuit of happiness extend to the unborn unless it can be proven beyond a shadow of a doubt that life does not exist in the unborn? And I believe the burden of proof is on those who would make that point. I read in the Washington Post about a young woman named Victoria.  Well, Victoria's story has a happy ending. Her baby will be born. Victoria has received assistance from a Christian couple and from Save a Life, a new Dallas group run by Jim McKee, a concerned citizen who thinks it's important to provide constructive alternatives to abortion. There's hope for America. She remains powerful and a powerful force for good and it's thanks to the conviction and commitment of people like those who are helping Victoria. They're living the meaning of the two great commandments.  Each year, government bureaucracy spend bills for problems related to drugs and alcoholism and disease. Has anyone stopped to consider that we might come closer to balancing the budget if all of us simply tried to live up to the ten commandments and the golden rule? That's what's happening with CBN and the 700 Club's Operation Blessing. They've given nearly two and a half million dollars to more than 8,500 churches and this money is then matched by the local churches and the result has been fantastic. More than 100,000 needy families helped, either through direct or in-kind contributions ranging from food and clothing to education, dental care and housework. The PTLTV network is carrying out a master plan for people that love, opening centers all across the country to provide food, clothing, furniture and job bank centers at no cost. Don't listen to those cynics, some of them here in the Capitol, who would run our country down. America's heart is strong and its heart is good. You know I mentioned drugs a moment ago and I hope you'll forgive me if I digress just long enough because I don't often get the chance to say this publicly, how proud I am of Nancy and the job she's doing helping to fight drug addiction. I do that every day for her. I know that each of you is contributing in your own way to rebuilding America and I thank you. As broadcasters you have unique opportunities and all of us as Protestants, Catholics and Jews have a special responsibility to remember our fellow believers who are being persecuted in other lands. We're all children of Abraham. We're children of the same God. You might be interested to know about a few of the changes that we're making at the Voice of America. Our transmissions of Christian and Jewish broadcasts are being expanded and improved. This year for the first time in history, the Voice of America broadcast a religious service worldwide Christmas Eve at the National Presbyterian Church in Washington D.C. Now these broadcasts are not popular with governments of totalitarian powers but make no mistake, we have a duty to broadcast. Alexander Hertz and the Russian writer warned to shrink from saying a word in defense of the oppressed is as bad as any crime. Well I pledge to you that America will stand up, speak out and defend the values we share. To those who would crush religious freedom, our message is plain. You may jail your believers, you may close their churches, confiscate their Bibles and harass their rabbis and priests, but you will never destroy the love of God and freedom that burns in their hearts. They will triumph over you. Malcolm Muggeridge, the brilliant English commentator has written, the most important happening in the world today is the resurgence of Christianity in the Soviet Union, demonstrating that the whole effort sustained over 60 years to brainwash the Russian people into accepting materialism has been a fiasco. Think of it, the most awesome military machine in history, but it is no match for that one single man, hero, strong yet tender, prince of peace. His name alone, Jesus, can lift our hearts, soothe our sorrows, heal our wounds and drive away our fears. He gave us love and forgiveness, taught us truth and left us hope, and the book of John is the promise that we all go by. It tells us that for God so loved the world, that he gave his only begotten son, that whosoever believeth in him should not perish but have everlasting life. With his message and with your conviction and commitment, we can still move mountains. We can work to reach our dreams and to make America a shining city on a hill. Before I say goodbye, I wanted to leave with you these words from an old Netherlands folk song, because they made me think of our meeting here today. We gather together to ask the Lord's blessing. We all do extol thee, thou leader triumphant, and pray that thou, still our defender, wilt be. Let thy congregation escape tribulation, thy name be ever praised. O Lord, make us free, to which I would only add, a line from another song. America, America, God shed his grace on thee. Thank you again. You may be seated. Thank you, Mr. President. As you can see, you have an enthusiastic audience here, and we hope you'll come back again to be with us. Now Ruth Armstrong, wife of our Executive Director and my wife, will make a special presentation to the First Lady. First Lady Nancy Reagan's civic work is truly laudable. Having helped get the Foster Grand Parent Program off the ground more than 15 years ago, her commitment to those in need is apparent. She has made visits to wounded Vietnam vets, senior citizens, hospitals, and schools for physically and emotionally handicapped children. Mrs. Reagan's benevolent disposition has carried over into yet another important cause, youth drug abuse, a crusader for stopping drug abuse among young Americans. Mrs. Reagan once said, drug abuse is one of the most serious problems our country faces today. We are in danger of losing our whole next generation. Today, we extend our appreciation to Mrs. Reagan for her efforts in helping to curb drug abuse. We have for you, Mrs. Reagan, this very special award, which reads, National Religious Broadcasters extends this award to Nancy Reagan for her outstanding contribution in her drug abuse programs for the youth of America. Thank you, First Lady Nancy Reagan. I'm very, very honored to receive this for many reasons, but I think that the work that you do is so marvelous and should be honored every day. So to get this award from you means a great deal to me, and I'm very appreciative. Thank you very much. Mr. President, we'd love to have you stay. We're going to go into an FCC panel, however, at this time. Thank you again.


and play with him in college. I've known Lonnie, I've known D-Wog, I've known a number of guys in here and that mentality, Ben has had that same mentality since college, that get it done no matter what. I'm gonna be dependable attitude and I know the standard that he carries himself with. So if I can emulate that on the outside, I know it'll be all right. How does that process work as far as speed, date and getting acclimated with your quarterback and developing that quick relationship? I mean sometimes it's not pretty but you have to do the work that's necessary. I have to gain the trust of not only my quarterback but everybody else on that field in order to be out there. Successful teams trust each other and on a short week you gotta build that trust quickly but that's part of the reason why you take the extra time in the classroom and you make sure that when you go out there on that field you're right. You know, I can say that from my perspective I've always thought the Titans were a physical team. I thought that they were a team that didn't let you dictate what they were gonna do. They're not gonna let the defense dictate how they run the ball. They're not gonna let the defense dictate how they throw the ball. They have a solid identity of who they are and they're gonna execute that better than you execute yours. Do you recognize there is an opportunity for you to step up and help this team in a certain situation if they need it? No, I'm just trying to take it day by day. Try to keep improving and like I say, studying and doing whatever I need to do in order to prepare myself. I mean plenty, but not many I wanna go into detail but just taking the coaching and going to working at it. That's all. I'm just trying to take it day by day, you know? You probably gotta ask this already so I apologize but just, you know, you're always prepared to be the starter each week but do your antennas go up a little bit more this week with Ryan being a little bit holler? I mean, not truly. I mean, that's where the routine comes at hand.  And you hate to see Ryan, you know, go down and have to come back but like I say, we just take it day by day and try to keep yourself prepared. How different is this first month or something when it was having to wait not knowing if you're gonna get to being about there tonight?  It's when you're not the guy, it's just being prepared to be the guy whenever your number is called.  I'm pretty confident. Damn bless. I'm just go out there and have fun and see where the tips fall. It was like 90 or 79? Yeah, yeah.  That's specifically when we're talking numbers. So they haven't been getting the fourth quarter. You guys have scored a total of three points in the fourth quarter. Yeah. I mean, do you have a feeling it's gonna come down to that? I feel like, you know, we prepare the way we supposed to prepare this week.  I think we have the players here, you know, the coaches here, you know, make things happen.  A guy like Mills obviously doesn't have great numbers, but you know, he's tough, he's tough mobile guy and he'll hang in there and try to make plays, right? Yeah, yeah. I think I played him last year. He's tough, you know, young kid, like I don't know how old he is honestly, but he's been there since I've been here a couple of times, you know. So, you know, we'll be ready for, you know, any new looks or whatever, but you know, I like him as a quarterback. And I guess the running back that like leads the league and like miss tackles. Yeah. Seems like a physical guy, kind of guy you like to go up against. Yeah. What have you seen from him on the team? Like I said earlier, I like him. I like his game, he runs hard. But I think we play, you know, some good backs already. So I think as far as the run game, you know, we'll be prepared, you know, watch the film. I'm coming to the game ready.


Welcome back to Yankees half stove. I'm Meredith Marokovits alongside Mike Ford. Mike back in Tampa. Have you been training at the facility already or are you waiting to get back to Steinbrenner field. Yeah. We've been there doing our thing. Honestly since probably November. So it's been really nice. They've had it open obviously with with all the challenges this year. It's kind of nice to have that place to go into and and just kind of work out not worry about much and just kind of be around all the guys that are here and get to be able to do that's pretty nice. So moving down here was was an easy choice because of everything that you guys went through last year. Are you essentially just used to all the protocols and the new way of doing business. Yeah. I think I think that we all kind of got pretty used to him last year. Obviously we've had some more sports start back up in basketball and football. You know obviously getting through their season. So it might be one of those things that sticks around for a little bit. But you know I think we're on the upswing with the vaccine here and see how long it takes to get out. But hopefully we get back tomorrow. We're pretty soon. How many guys are working out at the facility right now. And what does a typical day look like for you when you go there. So right now. Luke goes in every day. It's kind of dependent on the day. But we probably have anywhere from four to seven guys in the complex at any time. And you know it's great to have the training staff there strengths that staff there. So I usually get in there around 10 o'clock. Just started hitting again in January. So that adds about 30 minutes to the day. But you know for me it's a you know with it with just getting in shape and everything. I got to do a lot of cardio to get in shape. So it's about an hour on the stair master every day for me. Nice long lift of about an hour. And then you know we just you know go hit hit after that or before depending on when the coaches can be there. From a baseball perspective. Anything in particular you're working on this off season. Yeah. I mean obviously you know I didn't have the greatest year with the bet. That's where my confidence lies. And that's that's what I got to get got to get back to doing. Just kind of getting back to the 2019 form that I had and and just that confidence and build you know this year was very very strange with the stop and the start. Even in spring training and you know there's no excuse to it and and I'm not trying to make one but just to get back to being confident again in the box and and key in on those little things that I was doing in in the night in 2019 video and not doing it. Did you identify something in the video mechanical that you need to change or is it simply because of the lack of reps and crazy season that you just couldn't get in that rhythm. Well I think there's definitely a component that I found within the video. You know I have very small triggers throughout my swing that that allow my body to work the way I wanted to work throughout a swing and in some situations I wasn't getting into those trigger points. I wasn't getting fully you know into my load. It was was one of them with my hands. So just small things like that. But also you know as a guy that kind of is fighting for a position all the time.  I got to really get going. Just very small sample sizes the whole year and I think you know guys that started slow it was tough to tough to get out of those holes and it's just kind of one of those things. You talked about fighting for a position. Where do you see yourself fitting in in 2021. Yeah I mean just just like I said you know I've said in the past I'm a very confident player. I know I can contribute on this team still I know I can help us win games. Obviously we got a lot of talented players which is great for us obviously and you know Luke really really did his job last year. I mean led the major leagues and home runs. You can't really get much better than that. But for me you know it was never really competing in that job.  You know we love consistent bats but anything that I can do to help the team I'm willing to do. You were lucky enough to get opportunities and really earn opportunities in 2019 and 2020. But does any part of you wonder what's going to happen from a minor league perspective. Having missed an entire season for those guys last year. Yeah I think it's I think it's something that's probably not being talked about that much. But you know you have you have a lot of younger guys and organizations that have completely lost a year of You know development just getting used to a schedule from you know especially for a high school player to get used to just playing at night playing 140 games in 150 days. It's very different. Bus rides you have to do certain things off the field that you're not very used to. So I think that's probably one thing that they're not talking about a lot. It's just kind of the situation that happened and that was the best case you know just Lucky enough that I had made it to the big leagues where I wasn't really affected by it other than you know going to the alternate side for a little bit. But It's definitely a tough road. I've had a lot of friends that play in the minor leagues for a long time with me. Obviously you know I took a little bit longer to get up there than most people. So Yes it's definitely crazy to watch and It's sad because you see some people that you know that you know could probably do it at the next level. But it's kind of just one of those things that was just terrible time. Now I can't help but notice it seems as though you're hanging out with somebody in the background back there. Yeah. He's on the floor. Back there. Yeah. He's my he's my dog. He's he's the best two years old now. Golden. He's like 85 pounds. So he's huge. But Got this shirt. You know it's a it's a solid shirt. I'm big big golden father I guess now. But yeah he's he's great and keeps me company down here with without much family down here. So I like it. Mike as always thank you so much for the time I've been going. Thanks.


Hi there, I'm Sandy Onok, artist and paper crafter here on YouTube and today I'm going to color some watercolor bokeh cherry blossoms with a stamp set from Technique Tuesday. This stamp set has a little branch of them and if you're going to float this in the middle of your card then you might want to block off that edge when you start doing your stamping and mask that off a little bit. I'm doing this video because I did it recently with Mondo Secura in Copic Marker and I wanted to try it in watercolor since I have another set of cherry blossom stamps so I will link you at the end to the Copic video so you can go see that one and see how it differs from this one. I tested out a little bit of my red and pink colors and I decided instead of using the quinacridone pink at the bottom I wanted to use the quinacridone coral. I'm only going to use two watercolors throughout this whole thing. It's going to be the quinacridone coral and some sepia and I keep it pretty simple and straightforward but I'm going to use a lot of the same principles from the Copic one because I wanted to create that same kind of deep dark rich background. In order to stamp them, I've stamped them on watercolor paper using some, let's see this was distress picked raspberry ink and when I put it in my misty so I could stamp the branch three times to make my little tree branches here, I pounced the ink on using my my little ink pouncer thing, that little ranger thing with the little foam pads on it, I will link them in the description down below. I didn't think to film that portion when I was doing this because I've done it a couple times before but I wanted to let you know that that's how I got that light pink so you can do that with any of your ink colors that are distress inks because they'll work really well with your watercolors and with your Copics as well. You can make yourself some very very pale inks so that you don't have a big heavy black outline all the time when you're doing your coloring. So I am taking the paint and I'm just painting around the flowers first. That's my first step in this and as I've gone around I've tried to work quickly. This is sped up twice but I've tried to work quickly because I don't want that leading edge to dry. Low-eating edge is the last part that I've put down. I want to keep it wet so that I don't get a hard edge on that leading edge. And now I've mixed it with some of the sepia. There's no science to how much I'm mixing here. I'm just going to do what's working visually and mix paint as I go and I'm not going to put it down absolutely everywhere but I do need to fill in in some of the places in between with some lighter color if I want it to be smooth across the whole thing. In the last bouquet thing that I did I noticed that when I had some really strong contrast was when the flowers really popped forward. So that's what I'm looking for here is to create some real strong contrast with the background. There's that middle area that's got that hard edge now so watch what happens in a few minutes when I go back and add a little bit of brushwork to it and a little bit of paint because I'm trying again to keep those leading edges wet and sort of trying to decide whether or not I want them soft or hard. You may decide you want a hard edge but I wanted it to be all soft edges everywhere in the background. Some of it is still wet from the first painting so this actually did happen really quickly. The whole card itself took about 30 minutes including the dry time in between when I was waiting for the background to dry a little bit in order to put the flowers in.  I'm using a number eight brush because I've got all these little fussy bits right around the flowers but if you use a smaller brush or you use a different brand than these silver brushes you may not have enough water or paint being pushed out onto the paper to get this really nice soft blending. So that's one of the reasons why I always recommend the silver brushes not just because I want you to spend money. I wouldn't do that to you but I want you to have enough color coming off of your brush that you actually have some chance at success here. So I'm going to start my first pass at the flowers and what I'm trying to do is create just the centers of them a little bit and break a few of those edges and let a little bit of that background color work into a few spots. Don't do it everywhere or you'll lose the outline of your flowers entirely but just put some of that color inside the center of the flower because that's a place where it's going to be darkest and drop that color way deep into the center of the flower. Notice that it's very light because these are going to be whitish, light pinkish flowers so I'm not letting my color be really heavy quite yet because I'm going to add more in the next layer after this is all dry but I'm trying to create something where it starts to feel like it's part of that original painting and it doesn't feel like these are glued on top because right now some of them do look like they're just cut out on top of the surface and I want them to feel like they're part of the painting itself. I'm adding just a little bit of color in there and on some of them I'm letting them wash out into the background entirely that one at the top kind of bled in nicely which was great and now I'm going to go in with just a little bit more I'm going to make a few more of the petals bleed into the background and just soften them out a little bit more just kind of push them into the background because what's going to really make these look like they're in the sunshine is leaving some super white tips on that far right hand side and then I decided I was going to be bold and try to start with my my stems my branches and I realized this was all too wet to continue going any further so I'm going to just let that much be dark and then I'll come back when it's dry and just let it air dry. I didn't want to push it too much with heat setting it but you can see how much the color lightens that just is natural that's just what happens to watercolor and then I mixed some thicker paint same two colors still the quinacridone rose with the sepia and then I'm going to paint the inside of the flowers these flowers have you know a whole bunch of the little what are they called the statement the little things that have little things on the edges of them and so I'm going to put a bunch of them in there and now I'm getting a little of the hard edges I can go in with if it's too hard I can go in with a damp brush and kind of soften some of that out but I want to allow some of that detail to sparkle forward now because these are these are the things that are in the foreground and I want some of that detail in the foreground to start popping out so I'm going to make all of my branches now a nice really rich chocolate brown sepia color and create some extra branches outside of it as well and just using my brush to create them they're not in the stamp and it's okay you can add to the stamp it's legal nobody's going to shoot you for doing that so now I've got my branches in there and you can see that things are starting to pop it's starting to really create that difference between the background and the foreground because I've got all that soft mushy in the background if I had hard edges on some of those background shapes the foreground ones wouldn't pop out nearly as much and now when I add some really dark into the cherry blossoms themselves it's making a huge difference as well and giving them that depth and roundness and volume adding a little bit more of that brown in there too because I'm really liking the super deep contrast between the the lighter color and the darker color and on this one I'm using the dark brown color to make my little dots for all the other little bits in the flowers if you were doing this in Copic marker what I had done was used green because they actually are green but here I didn't want to introduce another color I wanted this whole thing to feel like it was all very unified and depending on what cherry blossom photos you're looking at you may find somewhere they look darker or they look a different kind of color I don't know if it's a different type of cherry blossom flower or if it's just the nature of what kind of lighting is is showing on them and that sort of thing I did decide I wanted another branch down here at the bottom because it felt like I was having the same repeat flower and I wanted to make sure this one down at the bottom didn't feel like a repeat and I also decided I was going to knock some more of the petals of flowers back and look how beautiful it dried isn't that gorgeous I was really excited by this and the the real color in real life actually is better than the video color so you can see it is a little bit richer even though it's dried back from what it was originally when I was looking at it and painting it myself I wish video lighting was the same as good studio photography lighting so I hope this was helpful and that you'll be able to try some bokeh cherry blossoms yourself and on the screen is the other video if you want to watch it in Copic marker and I'll see you guys later take care and have a great day supplies are all in the description


Today we're going to talk about sweets, not sweet foods necessarily but actually the sweet sensation in your mouth and what it does to your body. Either njroot22.com with another low carb keto carnivore vlog and today we're going to talk about sweets and this is my experience, this is anecdotal, it's nothing I read, there's no studies about it, it's about the feeling of hunger, appetite, food and sweets in particular. We've been low carb for a long time and it's been a long journey, we haven't made, we're not fitness freaks, we're just losing weight or staying steady for a very very long time and I'm down to my last 20 pounds basically, I'm guessing in a year I will be at my goal weight but I had a little hiccup over the last couple weeks, I haven't gained any weight but I have definitely been, I haven't lost any despite it being summer and I'm a lot more active than I was during the winter. It's with the sweet sensation and a couple weeks ago we reviewed the rebel ice cream which is a full fat ice cream that has pretty much zero sugar and minimal carbs between like five and eight grams of carbs per pint, you can eat the entire pint of ice cream and there's really no blood sugar level raising at all, however it's very sweet, ice cream, sweet tasting, there's erythritol and monk fruit in it and for what we know now I guess science is telling us that this sweetener does not raise your blood sugar level and I don't think it does because you don't gain weight and you're not, I don't think you can get knocked out of ketosis if you are in it and you have a few scoops of this low carb ice cream, however it's the sweet sensation in general, now I think my conclusion is that I'm never going to, I don't want to put anything sweet in my mouth and that includes even the low glycemic index fruits like strawberries, blueberries or blackberries because something happens that I've noticed, now I didn't eat anything sweet let's say for six straight months and I felt fine every single day even with drinking alcohol, I felt fine, I'm not drinking alcohol now this is some just iced tea, one of my favorite drinks, brewed iced tea, anyway I never felt peckish, I never went to the closet to snack, my hunger came about slowly and when I got satiated eating meat I never got bloated or felt funny or the hunger was a non-issue, it was a distant thought, I never had a problem and since I started dabbling with this low carb ice cream something happened to me and it's specifically regarding my hunger, I find myself feeling hungry and I think putting the sweet sensation in your mouth and eating it triggers some sort of response in your body even though the blood may not be getting the sugar level, I think it's triggering some sort of response in my body, some hormonal response, I don't know maybe somebody who is watching this does know but I think just the sensation, my body, it tastes sweet to my tongue so my body thinks it's sweet obviously if I say it tastes sweet and putting that sweetness in my mouth I think made me want to eat, like the last couple days I was snacking non-stop, I mean they were all low carb snacks, I would have a piece of cheese, I would have a strip of bacon but I was going through the refrigerator a lot more and I was thinking about and I felt the hunger and the only correlation I can make is that I was having sweet foods and the same thing with ice cream, I kept going back for it, I'd eat a little bit and I'd want a little more and a little more so I don't like that feeling because I felt almost like compared to how I felt for let's say the last six months I felt a little bit out of control, I didn't like that feeling, feeling hungry sucks honestly unless you work like there's different kinds of hunger, like if I bust my ass for eight hours doing landscaping or whatever work I do around here, the next morning I might be hungry and that's my body telling me, I can tell the difference, my body says feed me I need fuel, I need to rebuild and so on but the post-sweet eating hunger is way different, it's mindless, I can't explain it and the only thing I can suggest is that when the sweets enter my mouth it sends some sort of response to the body and it makes it want to eat non-stop so I have one more pint of this rebel ice cream left and I'm going to eat it, it's like my last hit as a druggy before I go into rehab, I'm not going to eat anything sweet for the rest of the summer, nothing, nothing, I was at the store and this hunger thing made me buy some dark chocolate covered almonds for two dollars over at TJ Maxx and I don't like it, I don't want to have that temptation anymore so after this pint of ice cream is gone we're done and we're not even going to eat any fruit, nothing sweet for the rest of the summer or the summer hasn't started yet, maybe in a week or so the summer will start or maybe it's summer now by the time I publish this but the sweets do something, the sweet tastes do something to your body, try yourself if you've been like keto, eat some of this zero carb ice cream or low carb ice cream and try it, you'll see it changes your chemical composition of something in your body and it's not good so avoid all sweets.


And the producer of radio's outstanding theatre of thrills, the master of mystery and adventure, William M. Robson.  Three-skeleton key, starring Vincent Price. Oh yes, I realize superlatives tend to lose their significance by overuse. How many times have you even promised that a story would be the fight for the world? The story would be the funniest or the most dramatic or the most exciting, only to find that it failed to live up to its advertising. The story you are about to hear is an exception. It is unconditionally guaranteed to chill your blood unless you happen to love rats. We begin now with Mr. Vincent Price in Three-Skeleton Key, a play well calculated to keep you in suspense. Picture this place. A grey tapering cylinder welded by iron rods and concrete to the key itself. A bare black rock, 150 feet long, maybe 40 wide. That's it, low tide. And high tide, just the light rising 110 feet straight up out of the ocean. And all about it, the churning water, grey-green, scum-bappled, warm-as-soup. And swarming with gigantic, bap-like devilfish, great violet schools of Portuguese man-a-war. And yes, sharks, the big ones, the 15-footers. And as if this wasn't enough, there was a hot, dank, rotten-smelling wind that came at us day and night off the jungle swamps of the mainland. A wind that smelled like death. Set in the base of the light was a watertight bronze door. Then you went and up, yes, up and up and round and round, past the tanks of oil and the coils of rope, cases of wicks, racks of lanterns, sacks of spuds and cartons and cans and up and up and up, round and round. Over the light store room was the food store room, and over the food store room was the bunk room where the three of us slept. And over the bunk room was the living and cooking room. And over the living and cooking room was the light.  And at night you'd lie there on the stone deck of the gallery with her revolving smoothly and quietly over your head, easing her bright white eye, 360 degrees around the horizon. You'd lie there watching to see that the feeders kept working, that everything ran right. And it wouldn't be bad. The other two fellows snoring in their sacks two levels down.  And it wouldn't be bad. About those other two, Louie and Auguste. What a pair.  And a pair of arms that I tell you, those arms were as big around as my legs.  A silent fellow and although I spent my first two weeks trying to strike up a real conversation, the most I could ever get out of it. I took up this profession because I don't like people. They talk too much. It's quiet work, light tending. Let's keep it that way. Understand, you were getting to be as bad as Auguste. I thought maybe that was Louie. And when he accused me of becoming like Auguste, I quieted it down. Because Auguste was the talkingest man I've ever met. The talkingest and the ugliest. He was hunchbacked, stood four feet high, had red hair and big blue eyes. It seems he'd been an actor in Paris. Played over 200 different productions, dear boy, at the Grand Guignol. Oh, but it was monstrous, horrible. The way we used to scare the audience. I was hated. They used to throw things and hiss and bare their teeth at me. Finally, it got too bad. I couldn't stand it any longer. Though, I gave up the theatre. My nerves, you understand. Yes, I gave it up completely. I really did. I couldn't stand it any longer. I started one morning at 2.30. I was on watch, lying on the cool stone deck, pulling on my pipe, staring out at the blackness, the phosphorescent comers and the big yellow stars. When out of the corner of my eye, I noticed something show up for a second. Something the light had touched far off. I waited for her to come around again and when she did, there it was.  You must understand, our light was where it was for a very good reason. Dangerous submerged reefs surrounded us and ships kept clear, but this one, this sailing vessel, was coming straight on. I went over to the gallery door and yelled, Lori! Lori! I had the glasses out now. Couldn't read her name, but I could see her quite plainly. All sails set, the foam creaming away under her bow, her beautiful lines of dutch, if I guessed it. But why didn't she turn? Every time it passed, our light hit her with a glare of day. Ship, where? Nor-Nor West, the light will touch her in a moment. Can't they see? Look at her. She just keeps coming on. Square heads. What is it? What is it? Watch Nor-Nor West. I know, I know what it is. What? The Dutchman, the flying Dutchman. She's derelict. That's it. The band and the crew left her for some reason or other, but instead of sinking, she's gone on, running before every wind. She'll not run long, not with these reefs to break her up. A beautiful ship. Now, why would men leave a beautiful ship like that? We watched her the rest of those black hours, flying and rocking pushed and pulled by every stray wind, every freak current. Watched her until the dawn came, till the sea turned from black to a pearly gray. And on she came again, heading for us. We all had our glasses trained on her now. August, you can kill the light. Right, Chief. She doesn't look so good by daylight. Do you think she'll ground this time? I say, do you think she'll ground this time? This is impossible. Absolutely impossible. All right. Here, take my glasses. They're stronger than yours. All right. What is it? Okay, so then, my breath froze in my throat. The decks were swarming with a dark brown carpet that looked like a gigantic fungus, but undulating. The glass and yards, the guys and all were hundreds, no thousands, no... I don't know an inestimable number of tremendous rats. See them? Yes, I see them.  Now we know. What are you two doing here? Give me a look. Yes, yes, give him the glasses. Take a good look, chatterbox. Give you something to talk about. She's still heading for us. Look, if she's going to turn, she better turn soon. I suppose she doesn't. You mean suppose she piles up on the key? It's low tide. Yes, yes, it is. Well, where's all the conversation? Oggies? No! No! She's still coming on. Go away! Go away! Turn, will you turn? I say, I pray you turn. Rats, look! On the water, like a carpet. Swimming. Sure, they're swimming. Those are ship rats. They're swimming for the rocks? Door! Below. It's open. Yes, come on. You tell me when. Racing down the stone stairs, taking them three and four at a time. Scared! You can bet we were scared. Oggies, you get the windows. Maybe they can climb. We don't know. Right, chief, but hurry, hurry! See them? No. No. Oh, yes, I do, yes. I'll put the other end of the rock. Look at them! Maybe! They smell us! Here they come! Close the door! I can't! It's stuck! Oh, here! Let me... You move! Maybe... You made it. Holy! That was close. One about him. Look, there! We'll get him. Watch it! He's kicking! Right!  He's as big as a tomcat. Bigger. His eyes were wild and mad, his teeth long and sharp and yellow. He went for a starving ravenous scene. And we fought him. We fought that one rat all over the room. It was whole. Believe me, I do not exaggerate. It was like fighting a panther. Got him! We'd better get a loft. We ran up the winding staircase. We passed the tiny windows of the various levels. And at every one, every one was a thick, wriggling, screaming curtain of brown fur. I was ahead of Louis, and I dreaded each successive level. Suppose they had found a way in. Look at them! Will you look at them? It's a nightmare. Will you look at them? The air of the gowry was thick and fetid with the stink of them. The light was dim brown. And filtered through the crawling mass that swarmed over the glass. All about us. We could not see the sky. Nothing. Nothing but them. Their red eyes, their claws, their wriggling hairy snouts and their teeth. The rats. They screamed and howled and threw themselves against the glass. They were starving. And we three, we stood quietly, very, very quietly. In the center of the glass room under our beautiful light. What can we do? What can we do, Chief? Take it easy, Yogis. Take it easy. It won't do any good. It won't do any good to stand here and shake. That's right. Go away. Go away. Do you hear me? Go away this instead. They won't go away. Not until... Finish it, Chief. Not until what? Not until they've been fed. You can take just so much horror and then you get used to it. And they were interesting to watch, you know. They couldn't understand the glass. They could see us and they could rush at us. But that thin invisible barrier held them off. Stop them. And time to time we caught a glimpse of the rocks below. More rats down there. Swarming brown velvet in the bright tropical sunlight. Then the tide began to rise. If only it had drowned some of them. If rats don't drown, you can't drown one of them. Look, they're all climbing up the tower. Yeah. This bunch around us is getting thicker. Say what's the time, huh? Quarter of six. You've got first watch. That's right. I will. I will. Come along, old goose. It was getting dark. One side of the room was lit a soft filtered red sun set through the rats. Very pretty. I set the wakes, checked my fuel, and then lit the lamp. Caught them. Lit them in their gigantic wriggling web of pale hairless bellies, twitching red tails, bright eyes. And then I started the rotary motor. The light drove them mad. As she swung slowly and smoothly about, she blinded them in the fierce stabbing bar of light, moving continually, about ever turning, ever touching, ever moving around and around, and they twitching and shuddering, eyes flaming when they were struck by the light. Bright light moving and behind on the dark side of the room, so close, so close. I did not turn my back, which cannot help turning your back when you were in a room made of glass. On the dark side of the room, you could not see them, but only their eyes, thousands of points of blank red light, blinking and twinkling like the stars of hell. They relieved me at ten. But as you may imagine, I didn't get much sleep that night. And when I came up into the gallery early the next morning, there stood August. He was bowing to the rats, waving his arms and so helped me, making a speech. My dear audience, I am going to play once again that magnificent role which made me the toast of the Paris Theatre. Pralate, the evil genius of the medieval underworld. I am he who did guide the dark soul of the Marachal into the neighbor paths. Do not be frightened, little children. I will not hurt you much. He kept turning. I stood staring at him. Horror struck, but he didn't notice me. The man had gone mad. He kept turning, telling his stories to all the rats, leaving not one out. August! August! Another one, a late comer. He'd take a seat on the aisle, dear, but... Stop it! Stop it! He didn't stop. He went on bowing and scraping to the rats, his big blue eyes rolling and winking, his wild red hair waving about him. He grabbed him by his arm and slapped his face.  He looked as though we were about to cry. Go below, August. Go on. Very well, then. Later, my dear audience, later! Match of age today! Sure, he was crazy. But I guess we all were. A few hours later, he came back up and caught Louie and me teasing the rats. Yes! Sounds horrible. It was fun. We would get right up against the glass and make faces at them. It drove them crazy. They would scratch away, trying to get in our eyes. Louie was even cuter about it. He pulled a piece of bread out of his pocket and pressed it against the glass. The rats would scramble into a solid ball, fighting each other, clustering like grapes. From time to time, a whole knot of them would slip and fall 110 feet to the surf below. Look! Look at the sharks! No, those sharks are our friends. Here, here. I'll get another bunch. I'll get another bunch together. Here, my dear. That's it.  There they go! August joined into a very ingenious August. He learned that if he spread eagle himself against the glass, they'd bunch and bundle against his figure. Then he'd leap back. Look! My portrait in rats! It went on all day. And then I was lying in bed. It was about midnight. I was very tired and I was just beginning to fall off to sleep when I became conscious of a new sound. Couldn't figure it at first. I got up, lit the lamp and went to the window. Even as I looked at it, I saw one of the pains begin to sag in. They had eaten the wood away. Louie! Louie, come quick! They found a way in. I held the glass with my hand. Now they were all going crazy and assured of the success of this maneuver, they were all nibbling away at the wood. Louie ran below and then returned with a large sheet of tin. They'd spread it against the window and hammered it into place. Even as we did so, I felt the heavy bodies thudding against the other side as the window gave way. That ought to hold. If it doesn't, we're done. That's caddy tin. No, no, they can't. What? What was that? I don't know. It came from below. The storeroom window. Up the stairs. Two of them, caddy. Go after them. We didn't have to go after them. They came at us. I let one side and grabbed a marlin spike, swung and smashed one in midair. I whirled to see Louie, but the other it had ripped his handle and the blood was pouring all over the place. He held his handle off and kicked at the snarling rat. I stepped and swung and got it. My hand! He's got my hand. That's the both of them, Louie. I'll get you something to tie that up. Blood, look at it. It's my blood. I'm bleeding. Don't worry about it, Louie. I'll wind this kerchief around it. It'll be okay. It's not bad. Just the flesh. My blood. Then I became conscious of a new sound. They were gnawing their way through the wooden trapdoor. I watched the planks fascinated and even as I did it, began to give way. A bristling, whiskery snout shoved through. Louie, Louie, we've got to go up. This level was the living quarters in KitchenEight's land. The flat there, too, but it too was wood. Oh, my blood. What are we going to do? I don't know. They'll be through this one in a moment. The gallery. The trapdoor in the gallery is metal. Good. Come on. We made it. We made it. We lay across the trap exhausted while below us the rats took over the entire tower. I could hear them howling and fighting over our food supply, our water, our leather, and all about us, the others screamed and glared in at us, swayed in a tangled mess hypnotized by the ever-turning light. By morning the air in the little room was horrible. To now we'd been getting air from the tower below. Now that was sealed off and so was all our food and water. We lay exhausted and panting, waiting, waiting. The hours crawled on. I was almost dozing from fatigue when I saw a sight that brought me too fast. Would you like to come in, my beauties? Will you?  Our ghost was standing by the glass and in one hand he held a big wrench and was tapping the glass gently. Not quite hard enough to break it. I used myself to my feet and slowly very slowly I tipped out towards you. All I have to do is just a little harder and harder. I found a coil of wire in the tool kit and I trust him up, fastened him to a stanchion in the center of the room. Louie was of no help.  So there I was a lunatic and a coward for company and all about watching our little drama the rats. The day dragged by. The supply boat wasn't due for another twelve days. I don't know what they could have done if they had come and we had only one way of summoning them. That was to shoot off distress rockets, but the rockets were four floors below and even if they'd been right there in the gallery I couldn't have opened the window to fire them. That night I tended the light but its flame was devouring our oxygen. The following day we lay thirst tormented, starving waiting waiting The following night I again tended the light but the small supply of spare wicking we kept in the gallery had become exhausted and quite suddenly at about midnight the light went out. There was nothing I could do. Wicks were stored three levels below nothing I could do. From time to time I'd strike a match to see the clock and when I did you'd lit up the million red eyes about us all about us watching, waiting below it had grown quiet they'd cleaned us out and now they too were waiting all waiting and then the rats quite suddenly were silent and then I heard it and then I saw the sky and the stars the rats were gone I went to the glass out there on the water a small freighter, a banana about showing a few lights came softly and innocently as the light was out they didn't know I wanted to open the windows to call out to them to warn them somehow but but I was afraid what if the rats were hiding from me, tricking me so I waited she grounded very softly on a reef not 200 yards from the key grounded so gently that the man playing the cornet was he a passenger a crewman off-watch, didn't even stop playing they tried washing her back off I could have told them to save their fuel the tide was rising would have floated her free so I waited well that's all that's the story the sun came up and there wasn't a rat on the whole key every last one of that terrible army had deserted us gone back to sea on their new ship August in St. Asylum he never recovered Louis, they took him into Cayenne where he died of blood poisoning from his bite and life on three skeleton key isn't bad these days but sometimes when I see a strange vessel approaching I get a little nervous somewhere on the seas there's a little banana boat without a crew that is without a human crew which Vincent Price starred in three skeleton key with John Daener and Ben Wright Suspenders were directed in Hollywood by William M. Robeson three skeleton key was adapted by James Poe from the story by George G. Tuduz, Leith Stevens composed and conducted the original score sound patterned by Cliff Thorsness Gus Bays and Ray Kemper George Walsh speaking Suspense is presented by the United States Armed Forces Radio and Television Service