Think Tech Hawaii on this Monday. This show is the state of the state of Hawaii. And we're on every Monday. And I'm your host, Stephanie Dalton. Every two weeks, this show covers state news, events and issues affecting Hawaii, like business governing, economics, law, executive emergency orders, education, among many other topics. Today's show takes a look at education in the state and an approach to teaching that came from a local speech practice here and became a powerful strategy and live-in-teacher teaching wherever it's used. Our guest is Dr. Ronald Gallimore, emeritus UCLA and formerly UH Manoa professor. Who studied Hawaiian families on the Leeward coast of Oahu in the late 60s. The study found Hawaiian youngsters had home experience and potential to be much more successful in the school for the program developed from the study was therefore devoted to improving school, student school performance. Many approaches were used, eventually including allowing students to use what we call talk story, their own language in lessons. In Hawaii, casual conversation is frequently in the form of talk story. And Hawaii's local talk or talk story actually dates from before Hawaii's statehood, often considered more as a dialect or pigeon or a Hawaiian creole. Our guest, Dr. Gallimore worked with Hawaii's teachers to develop talk story into a useful teaching technique with the effects of improving school performance. And it was labeled the instructional conversation. So welcome back, Dr. Gallimore. Ron, thank you for coming back to talk story about teaching instructional conversation. Thank you, Stephanie. And with this, Dr. Gallimore is pretty formal. Couldn't you remember that you've called me Ron for a decade? I know you continue to professionally develop your colleagues and teachers in the use of instructional conversation. And of course, our endless talks about it, but when you originally went out to the leeward coast, you must have encountered it there. Were you using, did you encounter it there and notice it? And then did you have to use it to work in the community you studied, just as a matter of a little background? Well, I spent two years living on the Wai'anae coast. And much of that time I spent on the Nanakuli homestead with families or in the schools, working with teachers and making observations. But while I noticed there was a characteristic way people conversed, I have to tell you, I was pretty naive when it came to that kind of conversational analysis. And it was Steve Boggs and some of the students that he worked with that actually did the original work on the talk story. And he, Steve actually eventually published the book. And then there were many people at the Kamehameha lab school where we all worked together for many years. Kathy Al, among others, Violet Mays who left a project pretty early. Richard Day, who was a linguist from the University of Hawaii. So the credit for identifying talk story and giving it its academic foundation research-wise really belongs to others. I just benefited from being around some very smart and perceptive people. And so, yes, we did notice it. I did see it, but I didn't really know what to call it until later. But eventually it played a big role in the work we did, all we did together. Well, I think that you had to, with the communication work that you did and you certainly were able to manage it so that it's not like encountering a foreign language. It is understandable. And it is possible to move into conversation with that. And even though not being proficient with that, it can still enjoy it. Would you agree with me on- Absolutely. I mean, the local dialect is a communication tool. And it works very well. I mean, anybody who wants to demean Pigeon, Creole, whatever it's referred to, it's a mistake. It is an effective communication tool, but it's a separate from standard English. And it's important to realize that you can be, you can speak both very well. In fact, some of the most able people in Hawaii then, and I'm sure now, can switch codes. They can switch from standard English back to the local dialect. And in fact, I'm originally from Tucson, Arizona. And believe it or not, there's a local dialect in Tucson, Arizona. And when I go back there, I find myself lapsing back into pronouncing words in a certain way that I grew up with. So it's just that Pigeon and a dialect in Hawaii, Hawaii English sometimes is called.  It's much more enjoyable if you are proficient in it. But for teachers to be expected to hear that and understand it and work with it is not an insurmountable task. So I just kind of wanted to get it at that level of understanding what it is and it doesn't require language learning. There are other things about it that it requires. Although honestly, when I first got to the wine I coasted in Nanakuli, right straight off the airplane from California, it did take me a while to develop the ear. And but you're right, it didn't, I knew what people were trying to tell me but I didn't pick up all the little nuances and the subtleties that took a little while. You have to use it to get good with it. And enjoy it because it's a lot of fun which is another real positive aspect of it because it can really enliven the conversation as we said here. But I did find that I was teaching in high school at about that time here in Hawaii. And I just realized that the state education frameworks where they have the policies of the department about how and what you teach, they actually were about promoting the use of standard English in the classroom. So I don't think that was unusual. I think the state was not unusual in promoting standard English use in the classroom. Perhaps they still do, but it's just that it was a written policy and they encouraged the use of standard. Well, I found when I was living out in the Leeward Coast, this is in the 60s, many of the native Hawaiian families living on the homestead wanted their students or their children to learn standard English. They just didn't, but they didn't want them to stop being able to communicate when they went home in the morning with the dialect. And that's the same thing we find on the mainland, many immigrants from Latin America and Mexico whose children come to school speaking Spanish. We found in our longitudinal studies in Southern California that the family celebrated the fact that their students came home with good grades in standard American English. They wanted them to be fluent in English, but they didn't want them to lose their Spanish. Right, but that is one thing. And this kind of thing is not, it is at the dialect level as it approaches being a language, but I wanted to know what did teaching, what did you first, what was your first impression of this idea of teaching with talk story and actually bringing that into the classroom with students such as the needy students that we have here who might've only had that one code, only had the Hawaiian pigeon code with the talk story in it. And if you're into school, then you're thinking like the state, let's get them on to standard English. But so what were you thinking as a person working in the school where the program was trying like crazy to get these kids to meet their potential, show their potential in the school work? Before we started the Kamehameha Lab School in 1971, what I saw in the public schools was a struggle you know, the teachers were very conscientiously trying to encourage the students to talk in standard English, but the students didn't have much background out in Nana Ikopono school at the time. So it was like a struggle, right? And so I noticed that a lot of time was spent in criticism and correcting. So the instructional time got taken up with some distracting and digressive talk about how to correctly say words. So the new learning kinda got put in the background. And that turned out to be one of the important observations that Steve and his graduate students and eventually when we opened the lab school, the staff there, I don't wanna take any credit for this because they're the ones, Kathy Al, Kathy Jordan, Sharlene Chun at the time her name was and many others were the contributors to this because they were trying things out in the classroom. And I think a little later today, we're gonna show a bit of video. We're gonna talk about that, whatever that means. But I just wanna make sure that we didn't instantly know what to do. It took time to learn and learn and make mistakes and keep trying things. It took quite a while. Well, I think that that's what the video will help us understand what this means. I mean, we're gonna take a look at a video with a very good teacher, good in the sense of practice with this technique and with youngsters that are actually kindergartners, but they aren't speaking pigeon. And what I wanted to do was get ready to show it shortly. But before that, I wanted to ask, you want to just talk about what, when we see the teacher in a talk story or I see with the youngsters, what are the first things we would see? What very clearly is different about what she's... Yeah, what to look for? What should be looking for when you watch this video? Now, let me say first, this video was shot probably in 1980 and it took seven or eight years for us to get to the point where it was being done so smoothly and so capably by the teacher whose name was Ronnie right at the time. I think she's since married and there's a different last name, but she was a fabulous teacher doing this. Okay, so what do we look for? First of all, if you haven't been in a classroom for a while, it's gonna look a little chaotic because the students, these five-year-olds are all talking at the same time. It seems like when you first see it. And what you notice is that the teacher, Ronnie, doesn't get rattled by this. And what she's doing is letting the students control the turn-taking, no raising the hands, the students are just talking, but she very skillfully controls the topic. Okay, so let's say we're not gonna see her raising and we're gonna see her being pulling a smooth stream of repeating what the students say and keeping the steady stream of talk going and getting them to perform the activity and explain how they're doing it. Oh, you're not this tall. I'm gonna sing it with you. I know. What else did I bring? Who been? I didn't know. A jelly. Isn't that better? A jelly. And then I brought some jelly. What kind of jelly did I bring? Suave. Suave a jelly. I like it. I like it. What's that? Air flage. All right, we're gonna make our peanut butter sandwich. What is the first thing I'm going to need? To the bread. I need to get a slice of bread or a slice of bread. I know. What are you gonna do with it? I know how to make this. I'll put this first and put this second. Oh, yeah. Put it? Put it like this first. Okay. No, keep this like that. Put that on the sandwich and then on the sandwich. I put the jelly on top of the sandwich. No, you open it. Then you put it like this. Oh, I need to twist the lid off the jaw. Yeah, I make like that. Put it on your first, you have to do peanut butter. First, I have to do the peanut butter. I have to spread the peanut butter first. Are you sure? Yeah, because I tried it. That's like, that's the way I have to do it. Okay. Everybody's looking. How do I spread it?  No, just stick that in there. You stick the knife into the jar. Okay. Okay, it's there. It's spread. What do I have to do? Just gonna make some more. I have to spread it around on the top of the bread with the knife. Because we saw you guys when we was in there. That was my finger. All right, now I've spread my peanut butter all over my bread. Now what do I do? Put the jelly in. Put the jelly in. Oh, I just pour it like this. No, I wash that and you put the jelly in. Oh, I put the knife into the jelly jar. No, you put it mixed up. Oh, I'm gonna mix it up. So how am I gonna do it? Then I only have one knife. Yeah, good. You gotta wash it off. Ah, I have to wash it off. Can I wash it off with just a napkin or can I wipe it off? Wipe it off with the napkin so that I don't get my peanut butter mixed with mine? Jelly. Jelly. Now what do I do, James K? Put the butter in and spread it. I put the knife in and spread the jelly. Where? Do I spread it on the napkin? I spread it on the bread. Like that. Like the peanut butter. I like eating it. So peanut butter. Okay, now what do I do with it? You eat it. Do it like that. Oh, you mean I just flip it over? Yeah. The whole thing? Yeah. But the peanut butter and jelly's gonna be all full? No, not like that. No, not like that? What am I doing if I do that? You can mix it up. What do you do with clothes? I eat it. What do you do with clothes? Juan, we have a question from the viewer. I think that leads us right into very good comments. So the question is wouldn't encouraging students to speak Pigeon hinder their ability to flourish outside of Hawaii? Even if it's easy to understand to an uneducated people, Pigeon presents itself as informal English rather than its own language. So what can you say comments on that question? Well, our goal in this program, that one of the video came from, was to help the children acquire proficiency in standard English. And I'll give you some examples in that little clip that can be easy to miss. For example, at one point one of the students talks about putting the peanut butter on the bread and he calls it, rub it on the bread. In fact, several of the other children chime in and use rub as the verb. But the teacher uses the word, the verb spread it on the bread. And she repeats it. And if you look really closely into the lesson, one of those children starts to use that verb spread. Now over the course of a year, what we discovered was, as long as the teacher always answered in standard English or asked questions in standard English or repeated in English and never criticized the students for using Pigeon, by the end of the year, these students will have a required a much wider range, not only of standard English vocabulary, spread instead of rub or many other examples. Not only do they do that, but they pick up standard English syntax, the order in which words are put together in the sentence, which is different than Pigeon or Creole. So in other words, in that program, we measured both growth in Pigeon and growth in standard English. And we found both the students got more proficient in both dialects, the standard dialect and the local dialect. In other words, they became bilingual or bi dialect. So the goal is, if they leave Hawaii or they go somewhere in the islands where standard English is the lingua franca, where that's how people speak, they can do it. I'll give you an example, wonderful example. I was once asked to testify before a committee of the state Senate of Hawaii, and the chairman was speaking in standard English and my testimony set off a discussion among the senators on the committee. And after a while, they looked at each other and said, hey guys, let's talk the way we can be more comfortable. And they all switch from perfect standard English to the most comfortable expressive form of local dialect. Just switch back and forth. Just like people who are bilingual in Spanish and English can switch back and forth. So that was our goal, is not to send everybody around the world speaking Pigeon but to help them be very comfortable and proficient in both dialects. That is just very good, Ron, and especially the example, Sonny, there was another one about white, white, instead of some other word, maybe they were using the rub again. But as far as the language is concerned, you can see the language as you point out, and then you can, which is vocabulary development, but what it gives them is a more precise way of being able to speak about the task. And then they're also recognizing that there's a series and she keeps reinforcing that in that there are a series of actions here to make this peanut butter and jelly sandwich. And then they're learning about sequence and that first this and then that and no, not that, but this next and then even finding now there's some social differences in that some wouldn't put the jelly separately. They wouldn't mix the jelly with the peanut butter first. So anyway, there are some of those interesting facts that you learn about the students and can be further topics of exploration that emanate from the activity. So the other thing is that they're moving up the thinking ladder, right? So from just the doing of it and the recognizing of it, but then they're coming up and starting to see sequence and they're starting to get more analytic about how I want it done and how it's gonna do. And then towards the end of it, they can also start making judgments about whether it's a good sandwich or not as the way they made it. But I think that with what Rontz stated and then these other considerations and some that you and the audience may have too, there's a lot going on there. And I wanted to ask Ron what he thought about then, the teacher's view of it from her perch, run in the activity, what's going on with her in that process? Actually, in her head. One thing she has to be listening very carefully and being a very good observer and act listening, listening, listening, looking for the opportunity to offer some instruction that's embedded in a conversation. I mean, the students think they're having a conversation, but the teacher has an instructional agenda. And one of the most prominent ones is, if you'll recall at one point, she says, what do I do next? And a boy says, put the jelly on the bread. She takes the jar of jelly and sits it on the slice of bread. And they all say, no, no, no, no, no. And she says, well, what do you want me to do? And she's deliberately trying to make them be more explicit and use explicit formal standard English forms, which is you take the knife, you put some jelly on the knife and then you spread it on top of the peanut butter on the bread. She's trying to get them to speak in those kinds of formal sentences by acting out a silly thing, jar on the bread. And then you can spend days telling people they need to be more explicit in their language. Here's a way, in a very clever way with five-year-olds, you make them want to be explicit because they don't want you to sit that jar on that bread because they want to get that sandwich made as fast as possible. So what's the best way to do that is explain to the teacher how you've got to get that jelly on top of that peanut butter so you can fold it over and we can eat it. So that's all going on. You know, the teacher's head, yes. I mean, and that's that self-talking and moving herself through the process. But I know, Ron, you've talked about how in the study show, and this isn't recent, recent research, but likely it hasn't changed too much, but that in the classroom, the teachers are speaking 90% of the time or some high percentage of the time. And all of the kids together are speaking very low percentages of the time just because of some of the points that Ron has made that they may be uncomfortable. It's not a familiar language that they can use and they're afraid and so they don't chime in. And when an activity like this with instructional conversation is engaged, you can see that nobody was uncomfortable. I mean, some of them to some degree were more reticent, but without that kind of activity, they would even be uninterested. I mean, reticence a little different from uninterested. So those are the aspects of this technique that give it so much usefulness.  Now just a little, I just wanna offer a sobering conclusion here, which is learning to do this as a teacher is more difficult than it looks. And it would be a mistake to think you can just show teacher one video and say, okay, now you know how to do it. No, it takes work. And in general, what we found in later work when I moved to the mainland was it worked better when small groups of teachers in a grade level or a department in high school could work on a problem of learning to do this and practice and help each other perfect it. Cause it's not easy. Even if you're teaching in college, it's so easy to fall into the teacher talking most of the time. And believe me, I know because I taught university 50 years and I always talk too much. Well, that is interesting. I mean, do you think that, do you think that's one of the hardest things that a teacher has to learn to do is to be able to ask the, we'll come up with the activity that's compelling and that solves some of the problem. But then, and certainly, and then how to ask the questions, Ron, how do you do that? How do you think that through? It's very difficult, learning how to listen carefully, pick up on what students are saying, know which students utterance you wanna pick up and follow. It takes practice and time. Like anything, it takes practice and it's not something you can quickly learn to do well. I certainly appreciate your saying that because all of this work when it's done well looks like the ice skating gold medal award and then you go out and try to do it yourself and you find out what you have to do. Ronnie Wright made it look easy, but it's not and it's worth the effort. If anybody thinks they'd like to try it, it is worth the effort. It was in the long run, it does benefit the students. That's right. So, okay, well, we're running into Aloha time. So we're running out of it is what we're doing and we'll have to wrap up. So thank you, Ron. I'm Stephanie Stoll Dalton. This is the state of the state of Hawaii on the Think Tech Live Streaming Network series and we've been talking remotely with Dr. Ronald Gallimore about talk story in instructional conversation. And I'll see you in two weeks on the next state of the state of Hawaii. Mahalo for your attention. Everyone. Thanksgiving everybody.


Russian invaders withdrew equipment from Northern Crimea and dug trenches. In recent months, Russian troops have withdrawn their military equipment, which was located near the village of Medvedivka, Zankoi district, in the north of temporarily occupied Crimea and dug trenches there. Journalists analyzed satellite images and came to the conclusion that the armored vehicles and artillery that were in this area in October 2022 and January 2023 are no longer present in the image taken on April 25. Also, one of the photos shows a lot of trenches dug in the area of the location of equipment. The publication notes that the images confirm the information of the analyst of the Department of Foreign and Defense Policy Research of the American Enterprise Institute, Brady Afrik, who also reported on the removal of equipment and defense structures near Medvedivka. According to Afrik, Russian troops have built several fortifications not only near Medvedivka, but also throughout Crimea. Russian forces have emptied out this military depot in Northern Crimea, new satellite imagery shows. This site was used to store tanks, armored vehicles, and artillery, Brady Afrik said.


Going on, everyone. Sam here with late sports cars from 2324 Bowman University Chrome Basketball Delight, 12 box case number 4. Pick your team style. Names and teams, Brandon W with Marquette, Chayuta Watt, L with Creighton Gonzaga, Florida, Chris M, Indiana Providence, Weber State, Chris M Stanford, Christopher J. Maryland, Dan B, Yukon, Edward P, Kansas, and Kentucky, Asuki M, Auburn, Florida State, Baylor, Gino P, Colorado, Alabama, Michigan, Jeffrey L, Arkansas, Jesse C with Iowa State, John H, Iowa. Jordan Q at UNC, Larry K, Miami St. John's FAU, Peter M with USC, that is Ramarza, Oregon, Satoshi M, Illinois, Memphis K State, Tommy Y with LSU, Tony P, Michigan State, Wayne S, Purdue, UCLA, Louisville, in Tennessee, William H with Villanova, Virginia, Virginia Tech, Zach A with Boston College, Pitt, Notre Dame, Houston, Texas, Norfolk State, Oklahoma State, Arizona, Ohio State, and Zachary S with Duke. So thank you all, appreciate that. I think it was like, they're probably still available in the next one, quicks. We're gonna do Guess the Super Fractor, everybody. When I type in guesses start now, you have 30 seconds to guess a player in the product. If we pull their Super Fractor, you will get break credits. So guesses start now, everybody. Good luck, 30 seconds on the clock. Yes, we did break number 11, Alberto. Yes, we did. It is uploaded to YouTube. All right, about eight seconds, everybody. Two, one. When I type in guesses are closed. Five, four, three, two, one. Guesses are closed, everybody. Please do not copy Moe Williams. If you copy Moe Williams, I'm beating you up, Jake. Vaughn, freaking bot. I mean, I'm just gonna copy whatever is four, five, six, seven, eight. It's gonna have to be anyway. It's gonna get in there. Joshua G with Stanford in number eight of Delight. Thank you, buddy. All right, let's do, let's do it. Good luck. Oh, he's making it in. Moe Williams is not making it in. 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Both in single digits, nine and three left. This morning, everybody, that is it. All their breaks are filled and completed. I'm a bot and was way behind and voted more. That is to $150 of steel ventors. Cameron Brink to $299. Teal Wave, or Aqua Wave. Mookie Cook to $399 for Oregon. $2199, Zade Lowry from Arquette. And $299, Max Abness. Or Theos. Kenzie Mbacco, first refractor. First refractor of Jamari McDowell. Katelyn Clark, refractor. And Mackenzie Mbacco on the image variation. Is there Kyle, I think is on Fanatics Live tomorrow, Quicks? Yep. First base auto of Bryce Hopkins for Providence. Doing this product right here. First base auto, Solomon Ball for Yukon. There you go, Yukon. And refractor, Rob Dillingham. There we go, Kentucky to $250. Congrats on that one, that's nasty. Let's go, dude. Congrats on that one there. Kentucky, woman's best 18. He got just the Guardians, Athletics, and Blue Jays left, everybody. Yeah, Dillingham. 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Cormac Ryan, Cormac Ryan, what a name. And Quentin Post for Boston College, first base auto as well. All right, he's proctored to 100. Nice one there first. Hello, Joe. Hey, what up, Joe? Ah, excuse me. Thank you. $199, Steel Ventures, Gonzaga. That is $2199, Cameron Brink. $299. $2,399, Mookie Cook, Purple Midi Nights. $2,299, Azade Lowry. The $75, El Marco Jackson for Kansas. Nice one there. First refractors, Brandon Garrison, Dylan Jones. Tyrese Proctor, Tyrese Proctor, sharpshooters on the insert. Oh yeah, Steel Ventures, first refractor. That'll be our auto, that'll be going to Gonzaga. Congrats Gonzaga, that's $250. First base auto of Eric Dixon. That'll be going to Villanova. And a Rob Dillingham, another one. Let's go, man, on the on-card auto. I don't believe it's numbered, it's just short printed. Very nice, congrats to Kentucky. Two Dillingham's coming your way now. J.U.T. The Watt picking up a couple of delight spots, thank you buddy. USC and then Yukon. 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Allen with a mega-dual case spot, or mega-triple case. Mega-dual case. Mega-triple case. 399, Joann Roberts. 299, Jamal Sheed. To 299, Devin Williams, UCLA. 299, Quentin Post. And 199, yeah, Boba Miller. Blue Ray Wave, Florida State. Got Joann Roberts. DJ Wagner. And Ashton Hardaway. Big Kahuna, Simeon Wilcher for St. John's. Congrats on that, St. John's. We've got first auto of Jamari McDowell. Base for Kansas. Got first Ray Wave auto, too, at 1.99. That, or Lava, I should say, Brandon Garrison, Oklahoma State. Andre Stojakovic, first base auto. Congrats on that, Stanford. And gold, Garway Duel, 250 for Providence. 1.99, Mookie Cook for Oregon. 2, 399, Kwame Evans for Oregon as well. Riley Cougal for Florida, 2.99. 2, 399, Scotty Middleton, Ohio State. And to 1.50, Tyrese Proctor for Duke. And we've got nine to go on the last one of this. One more of these left today, everybody. Nine to go, Duke, Michigan State, Ohio State, Oregon, Maryland, Houston, Combo, Ohio State, and another Combo. So nine to go. Tago. Nine to go. The last Bowman U. Todd W, taking two of them, so we're down to seven. Thank you, Todd, seven to go. Thanks, Todd, taking the two Combo spots. Ryan Colkbrenner, that is Tyson Chapman, first of Cameron Brink. We've got Sharpshooter's, Mackenzie Mbaka. Dusty Stromer, 2.199 on the Lava Auto for Gonzaga. Congrats, Zags. First base auto RJ Jones, going to K-State. We've got Justin Edwards to 2.50 on the refractor first auto for Kentucky. And then a Jawan Roberts for Houston, 2.75 on the yellow. Houston's still available on the next one. That's a nice one, congrats on that. Cougars, Jamal Sheed to 2.99. That is gonna be a Simeon Welcher, or Welcher, 2.399. Got Devin Royal to 1.99 for Ohio State. Angel Reese to 3.99, LSU Color Match. Grats on that, LSU. True Orange, Omaha Billu to 25, Iowa State. Congrats on that one, that is awesome. Let's go, dude, congrats there. 2.25, we'll get that into a mag, it's a big time. Big time right there. And Kevin McCuller Jr., 2.75 for Kansas. We've got Spencer Jones first refractor. Wuga Poplar, Cormac Ryan. Sharp Shooters, Cameron Brink to 1.50. Yeah, I would say so, Timmy. Nice one here, it's base auto of Rob Dillingham going to Kentucky, congrats on that one. Third Rob Dillingham auto of the case. Green to 99, Aaron Bradshaw also going to Kentucky. Another big one, that'll play, that'll play just fine. And Cormac Ryan, first base auto for UNC. UNC for Unk. Unk. I figured you'd like that one. You know what's funny? What? I was thinking the same thing. Were you really? Yeah, like when we were doing the other college, probably. That was like the Pump It Lowler thing. Unk. Thank you. Got a chill, Unk. 2.99, Santiago Vassovi, congrats on that one. You know, Unk, wow. 2.399 is a Sullivan ball for UCUM. So 1.99, Dylan D'Aizu for Texas. 2.299, Dennis Evans, Louisville. And 2.299 is a Xavier Book, Michigan State. Steel Ventures, first refractor. Where are you? Santiago Vassovi. And Tyler Kolek from Mark. I'm so sorry. And Caitlin Clark, there we go. It's a 150. Congrats on that, very nice. Good stuff there, Iowa on the 0708 throwback. Elijah Martin, first base auto for FAU. Got Cody Williams, nice. 2.199 for Buffalo. Stud, absolute stud. And first base auto of Kylan Pawswell for Arizona. Last box in the break. Good luck here, everybody. What did you do? Honestly, odd as a max. Don't worry about anything else. Devin Royal, 3.99. Ohio State. Chew, 2.99, Jordan Dingle.   True purple. Side plowry, 2.99, Louise Gill.  Sorry, everybody. We've got A, first base auto of Johnny Brew. Jordan Dingle, first refractor. We've got Devin Royal, first refractor. Sharp Shooters of Ron Holland, G-League. That's weird G-League ignite. Got A, Stefan Castle, nice one there, 2.99. I'm gonna send an empty box and wrapper with this one. Send an empty box and wrapper with this one. Gotta go to Yukon, sorry about that Yukon. Still a nice score though. E.J. Huggard, I think that's who I think it is. Caitlin Clark, to 250. Refractor Auto for Iowa, congrats on that one. Hawkeyes, let's go, baby. Very nice, very nice. Caitlin Clark, get that into a mag. Thank you, Anthony, picking up a spot. Number five, we're down to six. There we go. Farley, we're down to five. Thank you, buddy. Down to five on that one. Shane with Michigan State, we're down to four. Good Lord. I got my church fans. I got my church fans. Look at Vaughn. What? Look at what he times. Vaughn, come on, man. Yeah, that was total last pack magic on that one. Good Lord. What's up, Thermal? Based on is we got Caleb Love, Eric Dixon, Scotty Middleton, Dylan Jones, Jamari McDowell, Andre Stoyakovich, Rob Dillingham, E.J. Huggard, Elijah Martin, Rakaya Jackson, Quentin Post, Kylan Boswell, R.J. Jones, Stefan Castle, Isaiah Collier, Cormac Ryan, Bryce Hopkins, Solomon Ball, Ryan Colfbrenner, Rob Dillingham, 250, Kyle Filipowski, Steele Venters, Justin Edwards, Cormac Ryan, A.J. Hoggard, to 199, or that was to 250, to 199, Cody Williams, Brandon Garrison, Jeremy Fears, Dustin Stromer, Luga Poplar, to 99, Stefan Castle, Garway Duel, Aaron Bradshaw, Dalton Necht, to 75, Joann Roberts, Dusty Stromer, Gold to 50, Darren Green Jr., and Garway Duel. We've got a True Orange, Omaha Billy, Iowa State's, Caitlin Clark, refractorado, to 250, and then a Rob Dillingham as well. I'll do it for the break, everybody. Thanks again for the film. Up next, moments.


Alrighties, some exciting news, well I guess exciting depending on what side of the aisle you sit on with this removal, but Kingswood's tents have started to come down, this is something that we kinda have known was going to happen for a bit now, it got delayed a bit, but then we were told it would happen after Winterfest, but now it's happening during Winterfest, I do have a feeling that the windstorm might have had a little play into the tents coming down a little sooner, but they were destined to come down regardless, but yeah, nonetheless, I don't have too much information on Kingswood yet, there is nothing planned in the near future for Kingswood, Kingswood is one of those things that will probably be 2024, 2025, 2026, as there are more important things in the works coming up, so we'll have to see what happens there, but I do know that Kingswood will have an exciting future, nonetheless, I shouldn't say I know, but I'm predicting based off of its land size, its location, and its importance, whenever Canada's Wunderland or Cedar Fair remove something important or big, it's for a very important reason, but nonetheless, the tents have come down because the building has been sitting there vacant, there's been no use for it, so Wunderland has decided to just remove the tents for now until they have a decision on what to use that land for, that is what we were told would be going on with Kingswood, which leads us into 2022, 2023, and 2024, what's going on Canada's Wunderland, I guess, let's start talking about that, so for those of you that have been keeping up with our videos, Planet Snoopy is having signs of land clearing, a construction fence surrounds Planet Snoopy's dinosaurs alive completely now with construction hard hat signs and all that, and stakes, and little markers all over the place, marking gas lines, electrical units, and everything, from what I understand and what I'm going to forecast, they are going to dig up the old aquarium that they kind of just buried, and then they're going to develop the land for an attraction that should be coming in 2023, not 2022, so definitely keep your eyes open for this because I know Wunderland and I know that they start construction on a flat ride in the winter for it to open in next year, so if this was for a flat ride, it would be opening in 2022, which I know for sure this is not a flat ride, we're going to be that, so I definitely have my money on a family slash kids roller coaster in this area, which is super exciting, so I'll be keeping a very close eye there. In terms of the restaurant, nothing too exciting, if not too much is developed over there, they've definitely laid down some gravel to bring in some heavy machinery, I assume a crane, from what I understand they're going to pour a foundation, and the building is actually prefabbed, meaning it's put together somewhere else and they're just going to install it on top of the foundation, that's what I know about the restaurant so far. Anyways, hope you guys enjoyed this really quick update on some exciting news, I will have more in-depth information about the future of Canada's Wonderland in some videos coming out soon. Have a good one guys, bye!


Launched in February 2013, the Landsat 8 satellite carries the thermal infrared sensor, TIRS, a two-band thermal push-broom imager, to continue the thermal imaging capabilities of the Landsat program. The TIRS bands are centered at approximately 10.9 and 12 microns, bands 10 and 11 respectively. It has a 100 meter spatial resolution and images simultaneously with the operational land imager, OLI, also on board Landsat 8. The TIRS instrument has an internal calibration system consisting of a variable temperature blackbuddy and a special viewport with which it can see deep space, a two-point calibration can be performed twice per orbit. After launch, a rigorous vicarious calibration program was initiated to validate the absolute calibration of the system. Two vicarious calibration teams, from NASA's Jet Propulsion Laboratory, JPL and the Rochester Institute of Technology, RIT, both utilized buoys deployed on large water bodies as the primary monitoring technique. JPL took advantage of the fact that Landsat 8 and land. This article was authored by Julia A. Barsi, John R. Schott, Simon J. Hook, and others. We are article.tv, links in the description below.


Times Square to Columbus Circle, the gaudiest, the most violent, the lonesomeest mile in the world. Broadway's My Beat, with Larry Thor as Detective Danny Clover. Broadway, it's a neon-lighted revival meeting that screams for the joy of the salvation, and it's a lonely path that sighs down into darkness. It's a fury of voices and stamping feet, or a cry that wanders and waits to be heard. It's happy alley with happy talk, or a hot trumpet plays background music for a panhandler. However you want it, that's how it is. It's Broadway, My Beat. The November twilight filtered into my office at police headquarters, and I sat there looking at it, pushing away the time for the filling out of my daily report. There were other diversions. Through the open window I watched a girl walk down the street. She wore a green silk dress that knew summer was over but didn't care. Then I heard two things, a sigh that came from me, and a door opening that came from the door. I have no wish to trespass upon a reverie of the light, Daniel. There was only one man who could talk to me like that. A miniature of a man called Lee Kai. Lee Kai, professor of Oriental Art at the university. He hadn't changed. The same black military-looking jacket that buttoned high on the throat. The same patent leather shoes with spat slightly pink, and the face still as if it had been engraved on yellow shantung. Daniel, may I presume upon you? Anything you want, Lee, any time. Then permit me to read you this telegram. Is that all? You could have presumed bigger. I shall, when you have read the telegram. It is addressed to me and it says in three words, terror follows me. It is signed Mei Ling. Only three words. Is not ten words the usual? Yeah, he's a frugal one, this Mei Ling. Mei Ling is a delicate interweaving of all that is lovely and exquisite in a girl. I do not think she meant to be frugal. I do not think I know what you're talking about. Of course. Therefore I will explain. You see, Mei Ling, this lovely girl of whom I have told you so much already, she brings me a statuette of the goddess Kuan Yin, the Chinese goddess of mercy. And among friends there is no need for circumlocution? Of course. For what? Circumlocution, of course. The Kuan Yin was smuggled out of my bleeding china, Daniel. It is worth approximately a hundred thousand dollars. Mei Ling was bringing it to me. And now, in three words, terror follows her. You understand what I need of you? Not yet. I want you to meet Mei Ling's train at a hundred and twenty-fifty at eight tonight. She is in private car twenty-three. You will give her the protection from the terror that follows her, Daniel. Oh, we have other departments for that, Lee, I could... You are the friend department, no, Daniel? In the nighttime the hundred and twenty-fifth street station hangs over the edge of a glittering world. A rival and departure have a special meaning in the dark. There are shadows between everything and the talk is always whispers. I walked out on the concrete platform toward the light on the bulk of the train and I saw the man in a conductor's cap holding a lantern and looking down at his watch. I asked him a question. In twenty-three, next one down through this empty coat. Oh, thanks. Hey, wait a minute. Can't get in twenty-three, private coats. That's all right, I just wanted... No, can't let you on. No, sorry, but no orders. Want to see something? Look at this for a second. Hold it up to the light. Police badge, eh? Yep. Yeah. Train pulls out in seven minutes, mister. Oh, excuse me, mister, I didn't know where...  Are you from Texas? No, now if you let me through here... Oh, city fella, huh? You know how I can tell? City fella's always in a hurry. That's how I can tell. Yeah, now, one side friend. Now, in Texas it's different. People are friendly. Just folks down in Texas. I'll show you what I mean. You have a drink. Maybe I didn't understand. I said one side friend.  No drink, huh? Well, Texan don't prejudice a man because he ain't no drinker. Let me tell you about Texan. Hey, I gotta prove it to you. Out of the way. Oh, you got the idea. Sure, sure, I got the idea. See if you can get this one through your head. What are you...  Now, don't ask me where you are.  You're the policeman. Yeah, the finest of the finest. Stumbled, huh? Later. First I was slugged. Feature that. You feature it. I haven't made car 23 yet. Hey, hey, come back here. I've got a right to report. But I finally did. I finally made it. Car 23. Inside the place was a shambles, upholstery ripped, baggage opened and tossed across the seats, as if someone had been in a desperate hurry to find something. I noticed her then. She was sitting there. Very lovely, very delicate. The frown pressed at the corners of her lips. I guessed her name was Mei Ling. I knew she was dead. The bullet hole between the arm and eyes made this common knowledge to anyone who took the time to look. To a policeman, a death scene is a place of business. There was nothing there that looked like a priceless statuary called Quan Yin. I made some notes, called the station master, then found a phone booth to make the violent death of Mei Ling by person of person's unknown a matter of routine. Sergeant Tataglia speaking. Danny Clover. Mei Ling's dead. Send the boys down to Grand Central. Photographers, fingerprints, technical, the whole crew. The coroner too. I'll wait for them. Okay. Hey, say Danny. Wanted to talk to you. Said it was urgent. Who said all that? John Smith. Well, that's what he said. His name was John Smith. I wrote it down so I wouldn't forget. He said something about a... Wait a minute. Here. I'll spell it to you. K-U-A-N-Y-I... Quan Yin? Yeah, yeah, Danny. That's it. What's John Smith's address? 1212 Mott Street. Got it? Yeah. Goodbye, Tataglia. Anyone who wanted to see me about a Quan Yin was a man I wanted to see. I waited around Grand Central until the crew from headquarters arrived, but I took off my squad car and hit Mott Street in ten minutes. The red brick pagoda that bore the address of one John Smith held all the charm and grace of a twentieth-century housing project. The only thing oriental about it was a cast-iron dragon that snarled at me from the door-knocker. I picked up its head and banged it against the door. You would be Danny Clover. And I would be John Smith. The ecstasy is mutual. Please enter. The thing that stood in front of me I didn't believe was a mound of flesh wrapped in a scented mandarin's robe.  John Smith looked like a fat crock of ming pottery, but he talked as if he'd spent a lot of time telling the good earth around Harvard. You admire my monkey, Danny Clover. Rest assured, he admires you. I hate him. Get him out of here.  We shall get along splendidly. Now, run along to bed, Max. It's way beyond, you know. I'll talk you in later, Max. Now go. Go. The vaulting beast, isn't it? I say that deliberately. It depends on your point of view. Me. I find all the answers to all the mysteries of eternity in Max's eyes. You gaze at my house. You like it. Yeah. Looks like you've collected all the loot in China. Spurious loot, Danny Clover. It's all fake. These statuettes, for instance. Churist stuff. And all this rubbish, nothing so delicate or so desirable as the Quan Yin image. An evanescent image. A wool of a wisp image. You don't say. Tell me more. I shall. A most intimate source in Hong Kong has revealed to me that the senseless, the priceless Quan Yin has vanished. Do you have a theory as to where she might be? Should I have a theory? I thought perhaps the imminent oriental art expert known to both of us as Li Kai may have helped you formulate one. Your most intimate source operates in New York, too. I have other intimates. Besides Max, try one from Texas. Texas? What is that? A person, place or object? You know I wouldn't know. Exactly. And now, Danny Clover, a word of caution. The Quan Yin is a legend among my people. A fairy tale. Fairy tales are sometimes bloody. Her most discerning observation. On a sensitive and intelligent mind they can leave a most fatal scar. Sometimes, not only on the mind. It's sweet the way you try to scare me. The Quan Yin is a goddess of mercy and compassion. If you know where she is, may she watch over you. If you don't, we have nothing further to discuss. And now I must tuck Max in. Au revoir, Danny Clover.  John Smith was a man who would keep. Now there was one place I just had to go. To the university, to break the news to Li Kai. It was at this time in my life that I exploded the myth that the first for knowledge never ceases. The door to the arts and science building was locked. It took me a half hour to find the night watchman, go through the policeman's badge routine and get ushered to the self-service elevator. Thank you. Thank you very much. I feel silly saying this, but floor please. The third. Good, me too. I've never seen you about the building. What are you in, arts or sciences? I never knew which. I'm Danny Clover, a policeman. And you're in the... Seismology. I'm Professor Higgins. Professor? Oh, here we are. Third floor. Oh, yeah. You were saying? I was saying Professor of Seismology with a question mark after it. What is seismology, exactly? Exactly. It's that branch of geophysics which has to do with earthquakes and their attendant phenomena. Here's my lab. Good night. Before you go and in non-scientific terms, could you tell me where Professor Lee Kai's office is? Lee Kai? Yeah. How nice. In the Argo, any friend of his is a friend of mine. Now we'll shake hands. I'm glad to know you. I'll show you his office. You've known Lee Kai for a long time. Why, he slapped my... He was in attendance when I was born. There were no doctors nearby then. In China, Mr. Clover. In the interior. From that moment on, you became interested in earthquakes and their attendant phenomena. Pretty nearly. Understand, Mr. Clover, I enjoy seismology. A girl can always make her way in the world with a good sound knowledge of seismology, I always say. I always say the same thing. It does make for dull conversation, doesn't it? Well... Here. Here's Lee Kai's office. Professor Kai. Professor Kai... There was only one man who could lie on the floor like that, a miniature of a man called Lee Kai. He had only changed a little bit. The patent leathers were the same, and the spats, the crinkled face. But the small change made a big difference. The sharp object sticking in the middle of his black military-looking jacket made him a venerable ancestor to whatever good he'd done in this world. I knelt down beside him. Because a letter opener plunged deep into his back. And on its handle it said, Acme Life Assurance Company. Put your life in our hands. You are listening to Broadway's My Beat, starring Larry Thor as Detective Danny Clover. 50,000 or more always in the jackpot on Sing It Again, music by Gene Autry and Vaughn Monroe, mystery and thrills with gangbusters Philip Marlowe, Johnny Dollar, and Danny Clover the Broadway cop. That's the one-way ticket to top fun on most of these CBS stations every Saturday night. This fall, when you hear them all on CBS, Saturday Night promises top music, top adventure, and a chance at radio's top prize. There's this about Broadway. It savers the exotic while it's taking bites out of a hot dog. The deaths of May Ling and Lee Kay were duly reported to the next morning's newsstands, were scanned by the crowd while reaching for the respective mustard jars. Then Broadway went about its business. You can't blame Broadway.  But a policeman with a murder in his hands has to make a world outside all that. Mine revolved about a specific Chinese statuette called Kuan Yin, an incidentally worth $100,000. It also included paying final respects. I took a ride down to a twisted alley off of Mott Street. The festivities for Lee Kay's funeral had already begun. Venerable Chinese ladies and gentlemen stood on the curb and with great ceremony lighted firecrackers and tossed them serenely into the air. As the body of Lee Kay approached, others tossed money into his open coffin to ensure his price of admission into heaven. Walking directly behind was a lady by the name of Higgins, Professor Kate Higgins. She was dressed in a manner and rolled, and her tears were the tears some enchanted princess might weep. There were only two, one under each eye, and each one a jewel. And then across the street through the procession a face that I had seen once before in the procession brought me back. Pardon me. I'm sorry. Pardon. Tell me about Texas, kid. I got more time now. Who are you? If I leave a great place like Texas, just a strong arm of city fella. Take off, friend. They warned me about talking to strangers. In here, friend, in this alleyway where we can be far from the city's rattle. In here where we can be pards. In here! Take your hands off of me. Don't just slug me on that train. I can do it now without nobody whispering in my ear. Do it! Yeah! That's going to be a well-filled saddle the night in the old Hooskow. I was looking for Professor Higgins. This is her laboratory, isn't it? Yes. The professor isn't in. I'm John Skarn, her assistant. Danny Clover, police. Oh. Social or business? I only ask because Kate has such various callers. Last week, it was a gentleman peddling hot Persian prayer rugs. I got quite a seismot of him. Seism? You're not hip, are you? Seism. Earthquake. A big bang. Tell me, what do you do around here when you're not having seisms? Well, I'll explain it to you. See, these things here are seismographs. They're connected to another machine embedded in concrete below this building. If there's an earth tremor, it's picked up by the machine downstairs and recorded on these. And this rotating drum records the time of the shock. Precisely. Interesting. Mind if I take a closer look? Well, take it easy, Mr. Clover. We don't need a temblor to disturb the needle, you know. It's very delicately balanced. It'll even record footsteps that come too close to it. What do you do with these recordings after you've got them? File them. Each recording is for a 24-hour period. Unfile yesterday's reports and send them to my office. Well, but... And do you get reports from other stations to do this work? Yes, every day. File them down to police headquarters. Now, see here! Mr. Skarn, have you sized them today? I'll send everything down just as soon as I can get them together. Good. And quietly. No one's to know. Another thing, Mr. Skarn. Who has access to this lamp? Why, just Kate and me. And, well, yes, the night watchman. Yes, we three. We have the only keys, I believe. Thanks. And, Kate, Professor Higgins, where would I find her? Perhaps at her apartment? One, two, five morning side drive, I believe. Thanks again, Mr. Skarn. Just a moment. I have to put something on. I'll wait. Clover, why is it that everything happens to you while you're on duty? Maybe it's because you're on duty. Oh, it's you. How nice. You caught me just as I stepped out of the shower. So you'll have to take me as I am, robe and all. Come in. I could wait outside until you were... A shy policeman, how charming. You can trust me. Go on in. Thank you, Professor. Over there, but the fire's nice. I always dry myself by the fire, but you interrupted that. Easy, Clover. I'm here. Tell me. I didn't say anything. Oh.  Do you object to the phonograph? Some men do you now. I saw you at Li Kai's funeral. I saw you, too. You're... different now. You're not. That's right. I'm still thirsting for knowledge. So talk to me about things Chinese, Professor. The Kuan Yin, for instance? For instance. A miraculous goddess believed by the Chinese to have only to kiss a wound to make it vanish. A hundred thousand dollars a kiss. It's expensive healing. There are some who would pay more. Two murders, maybe? More, if they have to. Yeah.  What else did he do for you? Everything. He was my father, my brother, my companion, my teacher. And, uh, Mei Ling? I didn't know. Everyone in China, policeman. Nice policeman. And the man named John Smith? Jando, yes. John Smith, no. Give up. All right. Invite me to an earthquake sometime, will you? I'll take time out for it. You'll love it. There's nothing quite so exciting as when the earth moves. Danny. Yeah? The Kuan Yin. You could give her to me. I'm only a professor on a professor's salary, but I could think of some way to pay you for it. What makes you think I've got the Kuan Yin? Because Li told me he'd gone to you. Because you found Mei Ling. Because it would have been simple for you to steal it from a dead girl. Yeah, it would have been. But, you know, I didn't think of it. Also, she didn't have it. Now it's your turn again. Li Kai would want me to have it. No one else. I'll make a note of it, Professor. Now, would you unlock the door, please? I promise, Mother, I'd be home early. Of course. There's frustration everywhere, isn't there, policeman? Nothing but frustration. I think I remembered to tip my hat. I know I remembered to get back to police headquarters.  Not only were they dull reading, but for a long time they didn't make sense. I kept trying. You can talk, Taragli. Item one, Danny. I have a question to Texas cowboy in his cell. The graph won't talk. It won't open his mouth. Hey, in a Texan, this must be some kind of terrible disease. Okay, physician. Item two. Item two is alibis. Good and indifferent. At the time of Lee Kai's murder, John Smith was giving a dinner party. Assistant Skarn was calling a square dance.  You ever been to one? Ask me sometime, Taragli. Yeah. Item two continued. Professor Higgins was to a movie. The night watchman checked into the station the other side of the campus. Item three, San Francisco Customs reports this Mei Ling never had no Quan Yin. Tell me that again. The Quan Yin Mei Ling was supposed to have. Danny, this means two people was killed for something they didn't have. Huh? You said something to Taragli? When San Francisco Customs reported they had no records in the Quan Yin, something clicked into place. If the Quan Yin existed at all, I figured there was only one place where it could exist. So I went there, back to the university in the office of Lee Kai, lecturer and collector of Chinese art, now deceased. Oh, it's you, Mr. Clover. We thought perhaps we would meet you here. The place was a mess. Standing in the midst of the debris was the monkey-owning poet John Smith. And in a corner with a soft light playing with the amber of her hair was Kate Higgins. Danny Clover, it's always a delight to be where you are.  Yeah, you warned me, didn't you? I hired Thug then during a lecture on spurious loot. Mr. Clover, I'm afraid I must dispense with you. Let him talk.  Thanks. So I'll talk. Lee Kai was a wise little man. He had the Quan Yin all the time. All he wanted was to find out who was trying to get it away from him. He came to me because he knew his enemies would follow him to me. And it backfired, shall we say, in his face. His and Mei Ling, the girl with whom he planned the whole puppet show. You have talked enough, Mr. Clover. Quite enough. I'd been watching Smith, but where that knife came from, I'll never know. He held it low, slamming upwards for ripping, and then he lunged at me. I sidestepped and reached back, grabbed one of Lee Kai's arc figures, and threw it at his head. He ducked and the statue shattered against the wall. It was an ebony image shining with some inner light. It held us in a kind of suspended trance. Lee Kai had been clever. He'd encrusted the Quan Yin in a cheap plaster cast and set it alongside the rest of his art. One of the oldest tricks in the world. I came out of the trance faster than John Smith did. He lay there with the rest of the crockery. Just as pale, just as broken, just as unconscious. He can no longer harm you, Danny. He was an evil man. Yeah, and tricky. Hiring that hatchet man McGrath to kill May Langen, slug me on the train. Kate. Yes, Danny? Maybe I shouldn't ask you this, Kate. But how come you were with Smith? I knew his greed would finally lead him to Quan Yin, as your curiosity led you to her. And to me? To me, Danny? Kate, do you always repay kindness with murder? What are you talking about?  Danny, you're insane. Why do you talk like that? Because the seismograph in your lab registered a disturbance at 9 o'clock last night, the time of Lee Kai's murder. How do you know it wasn't the recording of a minor shock someplace in the world?  That's when you stabbed him, Kate, at 9 o'clock. You said you were at the movies. Nobody could prove that. Danny. But you weren't, Kate. You weren't at the movies. You were in your lab. You stabbed Lee Kai and dragged his body down the hall to his office. He was a small man. You could have done that. Yes. It's no use. You would deprive me of the Quan Yin anyhow. Two killings for the goddess of mercy. Doesn't add up.  Yes, you too, if I could now. Danny? Uh-huh. Let me hold the Quan Yin, Danny. Quan Yin? Yeah. Here. Quan Yin. Fabulous. Quan Yin. I watched her hand slide down the side of her cheek and her body go taut. Her eyes fixed and the Quan Yin narrowed. I caught her before she fell to the floor. When the boys from headquarters came, it took four of them to heave John Smith under a stretcher. They started for Kate Higgins. I told them to mark her fragile. Even a professor of earthquakes can break. In the November sun, Broadway shimmers like some frozen city rising out of a frozen lake. It's clear, crystal clear, and its air is fresh and clean.  The easy laughter that snarls when your back is turned, the spectaculars that advertise the grave, the welcoming hand that turns to ice in yours. It's Broadway, the godliest, the most violent, the lonesomeest mile in the world. Broadway, my beat. Broadway is my beat. Stars Larry Thor as Detective Danny Clover and is written by Morton Fine and David Friedkin. The musical score was composed and conducted by Wilbur Hatch and the program was produced and directed by Elliot Lewis. The cast tonight included Mary Jane Croft, Charles Calvert, William Johnstone, Barton Yarborough, William Conrad, Junius Matthews, and Jerry Hausner. Stay tuned for Sing It Again, which follows immediately over most of these same CDS stations. This is CDS, the Columbia Broadcasting System.