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This is How To Live On 24 Hours A Day. Written by Arnold Bennett. Read by Matt Montanez. Preface. This preface, though placed at the beginning, as a preface must be, should be read at the end of the book. I have received a large amount of correspondence concerning this small work and many reviews of it. Some of them nearly as long as the book itself have been printed. But scarcity any of the comment has been adverse. Some people have objected to a frivolity of tone. But as the tone is not, in my opinion, at all frivolous, this objection did not impress me, and had no weightier reproach been put forward, I might almost have been persuaded that the volume was flawless. A more serious stricture has, however, been offered not in the press, but by sundry obviously sincere correspondence, and I must deal with it. A reference to page 43 will show that I anticipated and feared this disapprobation. The sentence against which protests have been made is as follows. In the majority of instances, he, the typical man, does not precisely feel a passion for his business. At best, he does not dislike it. He begins his business functions with some relunctants as late as he can. And he ends them with joy as early as he can.  I am assured in accents of unmistakable sincerity that there are many businessmen, not merely those in high positions or with fine prospects, but modest subordinates with no hope of ever being much better off, who do enjoy their business functions who do not shirk them, who do not arrive at the office as late as possible and depart as early as possible, who in a word put the whole of their force into their day's work and are genuinely fatigued at the end thereof. I am ready to believe it. I do believe it. I know it. I always knew it, both in London and in the provinces. It has been my lot to spend long years in subordinate situations of business. And the fact did not escape me that a certain proportion of my peers showed what amounted to an honest passion for their duty. And that while engaged in those duties, they were really living to the fullest extent of which they were capable. But I remain convinced that these fortunate and happy individuals, happier perhaps than they guessed, did not and do not constitute a majority or anything like a majority. I remain convinced that the majority of decent average, conscientious men of business, men with aspirations and ideals do not as a rule go home of a night genuinely tired. I remain convinced that they put not as much but as little of themselves as they consciously can into the earning of a livelihood and not their vocation bores rather than interest them. Nevertheless, I admit that the minority is a sufficient importance to merit attention and that I ought not to have ignored it so completely as I did do. The whole difficulty of the hardworking minority was put in a single colloquial sentence by one of my correspondents. He wrote, I am just as keen as anyone on doing something to exceed my program. But allow me to tell you that when I get home at 6 30pm, I am not anything like so fresh as you seem to imagine. Now I must point out that the case of the minority who throw themselves with passion and gusto into their daily business tasks is infinitely less deplorable than the case of the majority who go half heartedly and feebly through their official day. The former are less in need of advice how to live at any rate during their official day of say eight hours, they are really alive. Their engines are giving the full indicated HP. The other eight working hours of their day may be badly organized or even frittered away, but it is less disastrous to waste eight hours a day than 16 hours a day. It is better to have lived a bit than never to have lived at all. The real tragedy is the tragedy of the man who was braced to effort neither in the office nor out of it. And to this man, this book is primarily addressed, but says the other and more fortunate man, although my ordinary program is bigger than his, I want to exceed my program to I am living a bit. I want to live more, but I really can't do another day's work on the top of my official day. The fact is, I the author ought to have foreseen that I should appeal most strongly to those who already had an interest in existence. It is always the man who has tasted life who demands more of it. And it is always the man who never gets out of bed. Who is the most difficult to Rose? Well, you of the minority, let us assume that the intensity of your daily money getting will not allow you to carry out quite all the suggestions in the following pages. Some of the suggestions may yet stand. I admit that you may not be able to use the time spent on the journey home at night, but the suggestion for the journey to the office in the morning is as practicable for you as for anybody. And that weekly interval of 40 hours from Saturday to Monday is yours. Just sample complete ready to continue.


Hey everybody, Dr. O here and this is where we're going to cover visual acuity. So here you see a snel and eye chart which is used to test your visual acuity. So normal vision or maybe quote unquote perfect vision is rated as 20-20. So if you can't see that well then you're either going to be farsight or nearsighted which we'll cover. So nearsightedness is called myopia and farsightedness is called hyperopia. Normal refractive status or normal visual acuity is called hematropia so 20-20 vision. So 2200 at the top of the chart here that would be legally blind. So if you can't see that with correction then you are legally blind. But then I also want you to note that this so what does this mean 2200 means that let's say let's say you do have 2200 vision you'd have to be 20 feet away from something to see it. Let's say a stop sign whereas someone with 20-20 vision could be 200 feet away from it and see it as well as you. So 2200 is pretty bad. I have really bad eyes though so thankfully I can use contacts and glasses. But I have 2900 vision which means if you have 20-20 vision I would have to be 20 feet away from something to see it clearly. You could be 900 feet away from it and see it just as clearly as me. So that's what these 20 whatever numbers mean. So 2200 is legally blind and then there is what's called I guess better than perfect vision. There are people that have vision that's 2015 or 2010 a lot of athletes like I know of some professional baseball players that have vision that's 2015 or 2010. That means that they can see better than someone that has normal or perfect vision. Alright so that's visual acuity and how we measure it. So we already said if your eyes are normal that's called emitropia. Let's go ahead and look at myopia and hyperopia. So here we see nearsightedness or myopia. So you can see things up close but you can't see things far away. And this is one that generally gets worse as you go on in life. It has to do with the shape of the eye. So either they would say the eye is too long or too deep or else the lenses are too curved too rounded and there's too much refraction because what's happening is you can see from the middle of that image the image is being focused in front of the retina not on the retina where you can see it. So thankfully this is what corrective lenses would fix. So you can correct this with what's called a diverging lens or a concave lens or a minus lens that actually refocuses that image on the retina so you can see it clearly. So that's nearsightedness or myopia. Then we have on the opposite end we have hyperopia or farsightedness where you can see things that are far away but you can't see things that are near away. So you would say here the eyeball is actually too short or too shallow because notice that the image is being focused behind the retina not on the retina. This is usually a present birth it's not something that just slowly progressively gets worse but it can be corrected so you notice here the lens is called a converging lens or a convex lens or I guess you call it a plus lens. So either way nearsighted or farsighted thankfully you can use glasses or contacts or things that will move the focal point of an image to the retina so you and your brain can see it. Alright that's normal visual acuity and then nearsightedness and farsightedness. I hope this helps. Have a wonderful day. Be blessed.


Good afternoon. Good afternoon. Hi, how are you? I'm Rob Wiener-Kent. I'm senior editor of the theater magazine. A couple weeks after that, that will change. But for now, I'm going to talk to our editor-in-chief, Jim O'Quinn, who was hired in 1982. Is that right? Yeah, in 1982. To edit a newslet. Is that there? Well, and to create the new... So they already had the idea to create the magazine. The idea was there. The idea for the magazine belonged to Peter Zeisler and the D'Zesh, the Z's, as they were lecturers. And we've got some Z's here with us today. And they needed a person who was conversant with the theater, but was also a journalist. In order to, you know, to spend a couple of years developing the magazine idea. Right. It was headed by Amala. Now, I remember somebody from your history who came to New York in the late 70s to study performance. Is that right? Have I had that right? That's right. Performance studies. We're going to talk about me. I think you should have introduced me and I should have come down with... Like Norma Desmond in that movie. But, no, I was... I started out as a... I have a degree in journalism in English. I started out as a city desk reporter on the Times-Pakay Union in New Orleans. Eventually ran a weekly newspaper in Southwest Louisiana that won... was sort of a nightmarish experience, but we won six Louisiana Press Association awards and sold the paper for a profit, thank you. And I also worked in the theater community in New Orleans, including being an apprentice actor in the professional repertoire theater in New Orleans. The worst actor ever made, but I did spend some time... I did my time as a professional actor. But anyway, theater in New Orleans sagged in the 70s. And toward the end of the 70s, my daughter was moving up East. I moved up East. I went to the performance studies department to sort of legitimize my interest in the theater. And TCG hired me out of... I spent three and a half years in performance studies. But they hired me out of that department to create American theater. Now, we've talked about... There was no sense of the demise of theater magazine. Which was in the 60s. Well, amazingly enough, for 20 years before American theater was established, before the first issue in April, 84, there was no national magazine about the theater of America. That had ended in 64 with the demise of the old theater arts. Theater arts, okay. Theater arts was around all the way from 1950, I believe, from the teens, right up through 64. But theater arts had always been a magazine about New York, really. In those last years, theater arts carried columns like labeled Hartford or labeled Phoenix. But they were many reports from... And basically the magazine was still New York. From the region. From the regions, that sort of thing. And it didn't really wash and the magazine pulled it. While there were magazines about opera and dance and other art symphony and other art forms in America, there was no theater magazine and Peter knew that that was not a good thing. And Peter and Lindy had in mind who better to sponsor a magazine about America's theater than the service organization for the new national theater that had come about in those years. Yeah, it was actually pretty much exactly from the death of theater arts in the mid-60s. That's right. When the resident theater movement boomed and by the time you came on board it was going full steam, right? Pretty much. Yeah, yeah. I mean there were still some companies that were formed in the 80s. But a lot of the ones that we talked about now, they got three. And so on, founded about 50 years ago. That's right. But there was no magazine nationally to cover them. What was the mandate they gave you and the rope they gave you to... Well, because our publisher is a service organization for the theater, it's a little journalistically iffy. Full-fledged, independent commentary was and is difficult. Yeah, yeah. Because we're in a certain way, since TCG is a membership organization, the theaters that we're covering pay our salaries to some degree. Right. It's challenging too. But Peter and Lindy were adamant about at least a reasonable measure of journalistic independence and a mandate to deal with the problems, difficulties, and challenges of the theater that existed.  Yeah, yeah, certainly. So there really, there were no other national magazines, but even the state of publishing in general was more robust than it is now. Did you say our first journalism, Daily Papers? Well, around the country but not only in New York. Yeah, there were still arts reporters on Daily Papers everywhere and theater critics who actually got paid for writing regularly. Right. And that's just not the case anymore in any great number. Now, we published something online just today, which was a sort of your nutshell history of the regional theater, and it talked a lot about the movement that CISER and TCG and others led, not solely, but helped lead and to support, which made, I think in your phrase, the theater used to be centrifugal, all coming toward New York. Well, it used to spin it centrifugal and spun out of New York. There were road companies and Shakespeare tours, and big Broadway hits went on the road and so forth, but the truth is... Yeah, it used to come out from New York as well. And that dates all the way, all the way back to the beginning of the country, you know, Shakespeare on the road to frontier towns and so forth. But now it seriously has changed. As you see from just look down your New York Times listings, the most important works from on Broadway musical or plays have begun and originated elsewhere and come to New York. Yeah, a large percentage. So you picked up this movement midstream. I'm wondering what you feel like in the 80s, what the biggest changes you've seen in the resident theater movement in the three decades? I don't know. That's really hard to say. I'm very interested in international work, and I think during the late 80s and early 90s before sort of the xenophobia of the Bush era began, we had lots of exciting international influence. I'm proud of the way that the American theater introduced artists like Ari and Manish Keen from France and Tadashi Suzuki from Japan. Pina Bouch, right? Pina Bouch, Robert LaPage, all sorts of international artists, we wrote about before they had actually even performed in the United States. So we introduced those important world artists to America before audiences had a chance. One thing, American theater is often the first major or national publication to write about, not just international artists, but American artists as well. Yeah, it's true. In fact, that could well be seen as a fault of ours that we're always searching for the new, untried, tested, sort of hot new face as opposed to covering people who've had long, distinguished careers in the theater. We're trying to repair that balance a little bit from time to time. Really terrific Q&A with Rock Shulfer for his many years at the Goodman in this upcoming issue. Emily Mann will be on the cover, a wonderful piece by Alexis Green on the quiet radicalism of Emily Mann at the MacArthur and so forth. We need to strike a balance between new faces and credit for well-deserved accomplishments. I think it is easy to take for granted the institutions that we came up with, that were there and just always seemed to have been the big theater on the Hill. What was interesting about the Rock Shulfer is that the Goodman Theater was never a storefront theater, but it was on the ropes many times and the big success that we see in it now was hard fought and continues to be. We do try to... Those stories you forget and so it's really good to know. I think there's a possibility that maybe American theater and arts terms that was taken for granted. I wondered... We moved into the internet a lot more. We have, you know, completely... We're a daily now, not just on a daily basis. We're an hour lady. That's obviously not something that you have been a part of but spent sort of a long time coming, right? Well, it was an absolute necessity given the situation of journalism in America. I think I credit Teresa a lot. Teresa Irene, our director of TCG for understanding this and plowing ahead. We went online with virtually no additional budget, no additional staff. We just did it. We did it beautifully thanks in no small part to Suzy Evans and Deep Tran who are sitting right here with us. You know, just incredible skills and gifts that took us there. I couldn't be more delighted that I'm leaving the magazine in this double identity here with the online and the paper. Yeah, I did want to ask a... I'm going to turn over the questions in a second but if you could talk about maybe your proudest accomplishment in the time that you've been at the magazine.   Our first big piece on Cornerstone here when Robert Koh wrote about that. We did the cover story of the Port Gibson, the interracial Romeo and Juliet. Remember that? Yeah. Just an incredible reportage and it led to years of coverage of Cornerstone, Bill Roush, that whole epic. I loved Don Shuey, the great Don Shuey, his piece, what's it called? The actor's object of desire, sort of the erotics of that day. A great piece, it's in this book. Yeah, I should mention we're going to be signing copies of this at the end of our time here. I loved the work Todd London and I did together. Todd did a whole series of pop culture, sort of pop culture responses to the theater that were great pieces. They're now published in one of his books of essays. So, you know, I think those are my proudest things. When we come up with, you know, something wonderful that really makes a difference. Well, Todd, essentially, Todd has covered, we're going to print the story in September. The last issue, you'll be... Yeah, that's a nice fortuitous happening. Twenty years ago, Todd wrote a piece about the 15 graduating seniors at the A.R.T. School of Acting in Brad Harbor and followed them for a year after their graduation about how it was to leave school and go out into the acting world. And it was a three-part series examining their lives and their studies. Now, twenty years later, he's going to follow up on these actors' lives. And that's going to be in the September issue of the magazine. We're going to get not just their venturing into the world, but the life they've lived in the twenty years. How many of them are still actors? How many of them are famous? How many of them are starving on, you know, on a doorstep somewhere? We'll see. But it's going to be a fascinating... It's there. There's one of my favorite writers, Roger Copeland. And I remember him from my recent check-up essay about check-up architecture, just his latest contribution to the magazine. There's another one. There's our great architectural writer who wrote about stages, the best stages in the world and the not-so-best ones. A rant against the black box was great. That was a great piece. So, you know... Joshua Dax, by the way. Joshua Dax, I'm sorry. So anyway, I love particular pieces the best. This is more like a piece of... We're just having editorial meeting here for you all. Advice. And we've talked about it before, and it's where we talk about it every day. We're a small office based in New York, about five years ago. Freelance is all over the place, but how have we managed to cover the national theme and not just the international scene as well from one desk in New York? Informance is the main thing. Well, TCG is an enormous hotbed of information, a clearinghouse of information. Everything that happens in the theater, the word passes through there, so we have a chance to watch for it and look for it. But we have a network of people that we talk to, critics, writers, academics, and theater people around the country that we try to stay in touch with. Sometimes we programmatically do that. We make lists of people that we want to call and talk to, and other times it's more laissez-faire. But that's really, really important is to hear what's happening to local people. Right. I wonder if I open the floor if anyone has any questions for Jim about the legacy... Or for Rob, who, as you know, will be assuming the editorship of the magazine this coming. You saw it first. But there'll be a transitional period, whether we two or three. We're going to work together, just as we have for the past six years. And I would have to say I could not be more pleased. I've never worked with a finer journalist than Rob, and it bows really well for the future of the magazine. Thank you, Jim. Yeah, thank you. With that, anyone have any questions about the legacy of the magazine? I've got more I can ask them, but if you all... Yes? I noticed that TCG has a program for kind of global cooperation in American theater artists and going on these projects. Do you write up afterwards in those projects? Well, once again, that's part of the touching area. How much of TCG's own programming are we going to write about in the magazine? We pretty studiously avoid doing some sort of big feature on what our own publisher... Our own publisher's initiatives in the theater. We sort of leave that to other folks. But we do have our page, one page of TCG news, and we cover those things in the context. Perhaps something comes of that that's a wonderful project. You see that is presented somewhere. We'll cover that as a production or something like that. We try to cleverly avoid broadcasting TCG's efforts as such. As such. I would just only add to that that I think there are cases where the folks that TCG is supporting and the projects they're supporting are good stories in themselves. What we're not going to write about is, isn't it great that TCG did this grant program? But we might, on a case-by-case basis, say that grantee, that's a story we want to hear more about their story, but we're just not going to highlight. We definitely do mention if they have a TCG AHA grant or one of those... But again, the perception, we want to go against the perception of the newsletter or House Morgan. Because we cover a lot of theaters that aren't members. We cover a lot of theater activity that's not... And we have... We're international in scope. The internationalism I was talking about before in the 80s and 90s was really simply due to the fact that these things were really happening and influencing the American theater. Today, the International Theater Institute in New York is centered in the TCG offices where William Capuchero is our head. And internationalism has become part of the magazine's mandate. And we have a global spotlight column every month. We have an international issue in May-June that focuses on some parts of the... different parts of the world. We publish the biggest compendium of international festival information that anybody does, I believe. So internationalism is a big part of our mandate. Yeah, what's interesting is we used to do sort of an obligatory section called Global Spotlight where we just would... We did a good job, but it was basically like each month we would talk about whatever festivals were happening. I never felt... I felt writing about a festival that's happening in Europe this month is not going to help anyone here plan to go there, right? They could find out about the work. So we decided to just do a column about anything happening globally, and we thought rather than making a slot for it and just plugging the story into it, and we were worried that there wouldn't be enough stories coming our way, the way that the stories come to us, we have an overflow of ideas of someone doing exchange, someone taking their play to Armenia. There's so much happening. Jerry, you had a question. I don't know if you can answer it. What is your frank appraisal for the future of the print magazine? You know, we've seen news week go away and the magazine industry is going, yet the print issue is sort of our record of what occurs, of what has occurred. Where do you see it going? I bet you can't answer. No, we can't. I'd love to hear your read on it, as best you can. Well, you know, it's just as up in the air for us as it is for New York Times or anybody else. One thing that we're, you know, we started, we went online last October. We've been online since then. At some point soon we're going to, we are my successors, going to sit down and evaluate exactly what the impact has been for say a year of online in tandem with the print issue. And decisions are going to be made. Will the magazine become, you know, bimonthly in print? Six times a year instead of ten? Will it, you know, will it simply shrink and more to lower expenses and so on? You know, we're a trade publication and as such our advertising has been more robust than you might imagine. It hasn't shrunk, you know, the theater training institutions and so forth, we're the only game in town and that advertising has, I'm not saying the totals haven't gone down like everybody else's have, but we're not severely damaged by this anti-print trend as some others have done. The magazine, amazingly enough, doesn't, we're subsidized by TCG but not by a hell of a lot. So it's really, we're really proud of that record and it still stands at the moment. But things, as you know, are changing rapidly and we just don't know what to look for. I would just say doing both of them, the web and print has made me think a lot about this, especially as we do this transition and I do feel like being on the web you sort of get into the wrappers of a river and you don't have a chance to step back and look at the big picture and I'm starting to think of the print issues while we still do them and I think for the foreseeable future we're going to do ten issues a year as ways to organize our thinking around topics and timely issues so that we can stop, step aside and say, here's going to be our issue on this making this like a tent of stories, this is where we're going to put these stories. Now some of them are actually only going online because we just have more ideas about this but that issue that comes out in September is going to be our marker and then also the print issue, the print edition will have a nice package of stories about that, whatever that is. So hopefully we'll also have time and information you want to get up. I don't want to become the magazine backed up, I mean people read the new records but it becomes a pile, I want to get to that one day we want to be the magazine that they really want to read and also we want to hear from people at this conference what you would like to see in the magazine what would you like to see in print and online and how do you get your information. So many people have met and said, do you have a website? They don't even know that we have a website so we need to let them know. Jenny? It's one of my favorite editions of the magazine. Have there been any conversations or responses to articles in the magazine that have surprised you? Surprises? You well. The biggest responses have come there are moments that you know of, the famous August Wilson ground stand speech which was delivered at the 96 TCG conference at Princeton and we printed it immediately and Mr. Brewstein did his rebuttals to it in the magazine and then those two important gentlemen ended up facing off at New York's Town Hall one Christmas arguing about it sponsored by American Theater. I mean that was quite the haul and that transcript has never been made available. Neither of the gentlemen wanted that transcript made available. But that became a national story. That's a national story. You know I just interrupted you say that the 20th anniversary of that speech is coming up and we're going to do something big about that because I think there's generations of people who don't even know what that August Wilson speech was about, what he was saying, what has happened to culture specific views since then. It's obviously issues that we're all talking about all the time but that speech was a marker that we wanted. You never know what, many times you don't know what it's going to get a enormous response. We ran a rather insipid story one time about the Spanish Golden Age, Lopida Vega and playwrights and like that and I got 20 letters and you know a huge response about why there's a secret Golden Age society out there but often you do not know what will and we publish things that we think are going to just infuriate people and silence. I have no idea. We just had a story about just the theater in Egypt that we published and I think someone must have assigned it to a class or something because there were a ton of online comments about it saying this is a great story and they almost had the same wording like this is a great story about Egyptian theater. You never know. Online comments have actually been more robust I'll just say than I would have thought. I didn't think people used online comment sections anymore but they really were on the top. Questions anybody's got? Yes. What's a favorable trend you've been watching in the theater movement over the last few years and would either of you like dream for me for a minute and not ask me to predict just to hope like a headline to a few years from now? I love the developments in chamber musicals. I think small chamber musicals really carrying the weight of the future of the musical rather than the big overblown I love the work of can you name Michael Solis? Well Michael John tends to do the big stuff but Dave Beloit Dave Beloit is that's not exactly a chamber musical I'm thinking of the February house at the public theater you know work like this yeah so that's that makes me happy because of Gabriel Coney people like that what do you think fun home is a chamber musical that's right yeah I was going to say something else musicals that's a big one of my topics I mean the thing we're watching is this discussion about diversity and inclusion and specifically gender parity is one that we've watched and I will say that I'm actually what I'm hopeful about is that we need to dig into the numbers the top ten list we do every year of one of the top ten plays obviously there's a very few female playwrights there but if you dig down below the numbers and you also look at generationally of who not just the living playwrights versus dead ones but old versus playwrights under 40, under 50 we don't have the numbers yet but I see a trend that is much I've had friends of mine say it looks like there's more women it's a long way in the other direction well I think that's actually a favorable trend we don't have those headlines yet but I think that the trend toward this coming season there's more theaters announcing all female or female dominated it's a redress that's overdue and I think it's a trend that's an ongoing coverage so maybe more than one headline on that one can you guys talk about the plague of putting good plays in the magazine and just sort of the history of that well we didn't at the very first but it was only Terry how long was it before we started putting plays in the magazine something like that execution of justice was the first play we by and by man was the first play we published so if that was in it took us four years we got a grant from do you remember we got a lovely grant from some two huh? thank you thank you dear Jenny was there too it was the Skirball Foundation that lasted maybe ten years and then we just kept putting the plays in for free we started with I think four or five but now we publish five a year that's five or six five five plays a year on our own dime you know that very well and our committee in-house committee reads these plays and selects them they're not submitted for potential publication we scout them out it's a balance as you know Terry in our publications program publishes a great many plays in single editions and multiple volumes and so there's always a tug of war about what might be right just for the magazine or for the magazine and in an anthology or et cetera et cetera so this is all part of the discussion yeah I will say also to answer your question Jerry a little bit is the one thing that's only in the magazine and for the foreseeable future will only be in print is the plays those are not online they won't be online anytime soon and so if you want to read the five plays we get a year it's only in print we do extensive interviews with the playwrights and that goes on yeah we didn't that's another interesting point we didn't do that for a while we just published the play and then I kept getting letters from this lady in pencil baby and she would say she must have written to me four times what was that playing I didn't understand a word out there could you explain this so we realized that we needed more than just a play text especially it was an adventurous or bewildering play and we began putting nice two page spread interviews with the playwright to help the lady in Pennsylvania what these plays were and that's been a wonderful addition to the magazine that our readers have helped us with yeah definitely anybody else have questions for Jim yes what advice would you give to aspiring journalists two different questions go into computers we have lots of aspiring journalists pass through our halls we have a busy and productive internship program it's a become an AT intern become a TCG intern as I said it's a clearing house of information you can learn an amazing amount and our internships well Suzy Evans the managing editor of the magazine was an intern who helped in her internship she helped develop this fat book here I don't know Stephanie Cohen were you ever an intern or were you just no you just were hired but the internships are very productive and interesting there and we incorporate our interns completely into the editorial process it's a tricky thing but the we're five people we don't provide lots of opportunities for real employment and it's just getting tougher and tougher out there you know I have an online presence write a blog do the things that the journalism teacher suggests yeah I would say I was editor of Backstage West until 2003 and moved to New York in 2005 it took me 10 years I got the job at TCG at American Theater in 2009 but these positions like gyms don't open up very often well I've been at it for 30 years yeah so just wait around until you're 67 yeah you've got a shot you know I will say anecdotally this is probably I used to when I was at Backstage West I would I felt guilty that I had a job with health insurance and that many of the people I was covering you know were struggling to make ends meet especially in that way you don't make any money doing theater I felt guilty about it and then I'm not saying the shoes under the foot I know there's huge compensation issues in the American Theater and huge equity issues and access but I gotta say I am less concerned about the future of the American Theater I feel like it's going to be fun it's going to consist I feel like when you say player versus journalist there's no huge commission for journalists there's no Edgerton Prize for journalists there's no it's a really tough field I'm really interested in we've had partnerships with the Jerome Foundation the Irvine Foundation the Hewlett Foundation to fund journalists in certain regions or in certain mandates and that's been a terrific program the Jerome Foundation funded us for 19 years we did almost 60 young journalists including such people as Jesse McKinley for the New York Times David Ng who's on the Los Angeles Times a lot of good people have been from that terrific that's a great program but that no longer exists I would like to, that's one of the things I want to do we want to do to help us develop new journalists of color because it's a really white field new journalists in other regions because it's a very New York analogy so I think we can play a role in helping the new generation because it's, I think it's theater can exist without journalism, right? it can, but I don't want to live in a world where we don't talk about it and we don't print, you know it's not marked, especially theater because it's something that's I'm fond of saying that theater is one of the few places that you can still bring people to church bring people together to experience something together and it's a dialogue of ideas and it's meant to promote discussion and thought that follows, it doesn't exist or if it's inferior or if it's weak then the theater is weakened the dialogue that follows the act of theater is an essential part of the theatrical act and that's what American theater is one of the things that American theater has devoted itself to is to being that providing a place for that dialogue to happen so that the theatrical act is completed and grounded and made fuller so we want there to be more more of us in you so we're going to work on that there there are folks here well yeah sort of a follow up to the how to get started question a minute ago does it still make sense for an aspiring writer to offer to do a piece on spec I don't know if that phrase even still exists I mean I remember 40 years ago I would write to editors I would say I've got this idea for a piece and they would sometimes say do it on spec getting on speculation we have no obligation to pay you or to publish it but we'll give it a quick and sympathetic reading when it comes in does that still happen? it happens it happens where it's very seldom that we accept things that just come come to us because we're busy you know planning an agenda but there are occasions like that there's got to be some middle ground between your formally commissioning a piece and signing a contract and all that and saying yeah that sounds like a great idea give it a try Roger what I would say is that in my experience on the other side pitching and freelancing and also being on both sides of it a lot in the conversations you have either conversations on the phone or in pitches if you're able to convey in that pitch what your take is and what an interesting thinker you are that's usually enough pitches can tell us a lot we also want to see great writing but we don't tend to unless someone is a fully formed writer and or someone we know like maybe a name person Tony Custer sent us something tomorrow we might just make a few changes and you know yeah so it's rare I would say it's no more rare Jim than just finding a good writer to write anything sometimes it's spec sometimes it's a pitch yeah I think a writer who is particularly focused on theater and theater arts if you don't pitch to America theater and dramatics and Yale theater and just a handful of places what do you do that's it Susie have you oh yeah Rob says really true someone emailed us and said they have a really interesting idea for a story that they're really interested we will assign a commission to write that we would never say go forth and write that maybe we'll pay you a favor we would commission them to write it and work with them on the piece if someone just sends us a piece and they haven't told us their writing that we're less likely to accept unless they're Tony Custer if someone just writes something because they were interested and went to some artistic director and was like I'm recording this for America theater but really to spec if you come to us with a good idea and a well written pitch that has an interesting idea of angle and you have a unique perspective on it then we will assign you to write that one more sort of contribution to that idea is that America theater is dedicated to carrying the voice of the artists not just the voice of the journalists so many times people who are known artists come to us and say I want to write about this tonight that's certainly true in the anthology majority of pieces in there or at least 50% of them are buying artists yeah we'll say also we don't take pieces on spec so much but people give speeches Richard Nelson that was a speech we seek out if someone's interesting we know about it's giving a speech somewhere we want to get a transcript of the speech and we'll just send us their speech and we'll say well let's talk about it and we'll write that so that's one source you know I'm Kirsten from America stage this was really interesting I have a question about since you are or since you have moved online and you have been covering more news content that's happening as you've heard getting it we saw this season announcement cover are you also considering just some news pieces are there new things of interest that you're looking to cover in that daily content that we should be thinking about as we move forward sharing what things might strike you beyond the season announcement the season announcement spills to me time and kind of core mission to me is when you're putting on your stage we're going to list that that seems key as are key hyrens hyrens entrances entrances and memorial those are things that we've always done in front of book news we haven't really done as much thinking I would admit we also have been trying to do we can't cover every new play festival but we've actually been trying to cover as many play festivals and newer festivals with some kind of coverage previews or have someone there for online that's something we've been doing we haven't given a lot of thought to other kinds of news so maybe we can collaborate on that we don't tend to do somebody got a giant brand to build a building we've been trying to figure out maybe someone else can help us with when do we report a new building what are the announcements they're going to do when they break ground when they say they're going to start a fundraising campaign when the place opens when they cut a ribbon we're not going to announce it every time we don't tend to do those kinds of things that get lots of local press we don't do anniversaries and such that's a good one all the time we don't do anniversaries as such like an anniversary is a time when there's just things and we'll say we're not going to cover it that is the 50th but let's talk about other things we get another angle or maybe it won't be right on time for your anniversaries so the Rock Shover thing came about because they were pitching them because they're 40th is 40th there we missed that by a couple of days March or 25th year at the McCarter but that's not what the story is so anyway that's just an example hope that helps we have a session tomorrow during lunch which is to take feedback on both coverage in the magazine and specifically on the website and more of what you want to see us cover I think another part of your question was are we doing more exclusive online only stories other than just the season announcements and we totally are we're doing a lot of that we're doing a lot of news we're doing a lot of just shows that we can't fit into the magazine our lead time for print is so long as you know if you've ever tried to get a story placed that we just have to miss a lot of stuff and so now online we said you know what we can do a story on that so it's completely different right so but also in terms of our theater right yeah no no we do less news than Playbill and Broadway.com or Broadway World whatever it is yeah so if you don't have any questions Jim is going to be signing this wonderful book 25 years ago this came out how many years ago Terry I don't know 6 years ago the 25th anniversary of the magazine 6 years ago we're now in our 31st year but this is a virtual you know history of the regional theater movement through the documents that were probably it's not just a history there's also amazing manifestos and screeds and rants it's great it's a terrific book so thanks very much


Hello everyone and welcome to the 1030 session of the 2020 Open Simulator Community Conference. In this session, we are happy to introduce a presentation called Understanding Lag in Firestorm. Our speaker is Bluezy Blyak. Bluezy has been teaching the Firestorm viewer ever since it started. Bluezy taught Phoenix before that and says, hey I am weird but I love to teach. Please check out the website found at conference.opensimulator.org for speaker bios, details of the sessions and the full schedule of events. Now the session is being live streamed and recorded so if you have questions or comments during the session you may send tweets to at opensimcc with the hashtag OSCC20. Welcome everyone. Let's begin the session.  Now people understand that the start of the class is a little based on Firestorm but you might find those things in your viewer as well. This class is presented in text only with audio by Lear. If I go too quickly, just yell and I'll slow down. If you're having difficulty reading the text from the no-card reader go to the avatar menu preferences, colors, chat color and change the color of the objects to something that's more legible for you. Before we get started, I'd like everyone to look at the help menu. All menus and sub menus will detach and stay open if you click on the double lines at the top of the menu until you click the X to close it. This makes it simpler to check or uncheck the options as well as uncheck anything you happen to click on either by mistake or to see what it does. Well a few things of interest in the help menu. The first is that the Firestorm wiki link which you can access with function key one, some Macs and laptops need to use the function key F1 excuse me it was F1 for Windows, function key F1 for Macs. The wiki has documentation on almost every preference and feature in the viewer plus some pages about lag, cache and basic troubleshooting. The second is troubleshooting which opens the troubleshooting page on the wiki where you can find suggestions for problems that you may be experiencing or we're getting to the lag serendipity. The second is troubleshooting which opens the troubleshooting wait whoops deja vu not huh the third is about Firestorm. It opens the the about Firestorm window which shows your system info better known as sys info, viewer credits and licensing information. Welcome to a much needed and often ignored class. We're going to talk about lag. If you have questions about the topic we are on please just put them in the nearby chat and I will answer as soon as I can. If you have any off topic questions please save them for after class. You're omniscient there during our open question and answer session. So let's move on to talking about lag.  Every grid on open sim has different peculiarities after all. So if you have questions about the topic we're on please put them in the nearby chat and I'll answer them as soon as I can. Let's move on to talking about lag. People always ask well what causes lag? Well here is the short answer first everything causes lag okay. Another common question is how do I get rid of lag? The short answer here is log out. Not liking the answers to so far are you? Well let's try the not so short answers. So what does cause lag? Well sorry to tell you but the short answer still applies. Everything causes lag to one degree or another. However it is more a matter of what type of lag it is and how much lag is acceptable to you. As for what you can do to get rid of lag well that depends on what type of lag it is. First of all let's talk about the three different types of lag. You can use the lag meter which may be accessed from avatar menu that's avatar health to help determine which of these three is affecting you the most. If you have the traffic indicator enabled in preferences the user interface and the top bars you can then click on that to open it as well. That freezes or undocks that little panel by the way. You can also use the statistics bar which may be accessed by pressing control shift and one together all three keys at once that's control shift and one to further determine the cause in some cases. Network lag. This is when you have connectivity issues. There are problems somewhere in the network between your computer and the servers wherever they are hosted. So symptoms of a poor connection can include but are not limited to the failure of your avatar or textures to res. Object information not displaying in hover tips when you mouse over them and that's assuming you have them turned on. Teleport failure random crashes and the cumulative packet loss that shows a percentage of data that is lost or failing to be delivered and it's in the help menu under about firestorm at the top on your menu bar and on the very bottom line of that menu directory the first section it looks like packets lost then you'll see a number could be 760 by 3,02154 or 0.3 percent packet loss. Now this shows the real time packet loss. The lower the number the better and the infrequent spikes may be expected. If it stays high for too long a period of time you will experience a lower performance. For some things looking at the real time packet loss will be useful. It's like watching for lag when you do something or go somewhere. For checking for overall network performance cumulative packet loss is more useful. Also check your ping on the SIM. Ideally this should be under 200 milliseconds. 400 milliseconds is actually what linden lab considers too high. You'll have to check with your server administrator because what gets displayed in open sim may be a little different. So what is supposed to be here? Well I do not know. This is also known as latency and if you're experiencing wildly high ping times ask others nearby if they are as well. No one else is nearby. We'll ask a friend or ask folks from the group to come by. If you are all seeing high ping times it is a server issue and the region should be restarted.  You can also try to mitigate network lag by adjusting your bandwidth. Too high or too low a setting in your bandwidth can cause performance issues although we do find that too high can be a lot worse than too low. For more information on how to determine your optimal bandwidth refer to the site http colon slash slash wiki dot phoenixviewer dot com slash fs underscore speed test. And I'll put that in the chat as well so you know yep there it is. Now we generally recommend the following as maximums. Wireless which is any kind of unwired network including home wireless and public hotspots 500. If you are hardwired to a DSL service or device 1000 for your settings. If you're hardwired to a broadband device like cable or fiber 1500. I may have to go adjust mine. Note that cell phone satellite and ymax are generally not well suited supporting the kind of connections required by a virtual world. Aside from the network issues I mentioned some programs may inhibit or interfere with a good connection. Some firewall software and antivirus programs are known to do this. You may want to temporarily disable them and see if the situation improves. Meanwhile client side things you can do on your system but everything you see has to be drawn by your graphics card. When there's too much to draw your computer cannot keep up and you experience client side lag. Avatar complexity is part of client side lag as the name itself says symptoms of client side lag include jerky or sluggish movement and typing delays. Now there are many things you can do to reduce this without having to ask people to adapt to you. Generally speaking the better you make your world look in the virtual world the more client side lag you will have. So reduce your draw distance to suit the current need. If you're inside a club for example you don't need to try to render objects outside the club. Something you may not be aware of is that your draw distance is a radius dimension for a sphere. The viewer collects render data for everything in that sphere not just what's in view and when you double your draw distance you increase the volume of that sphere by a factor of around eight. That means you're looking in all those directions even though you're inside the building. So be sure that avatar imposters is enabled and this will make drawing of distant avatars much faster by rendering them at a reduced quality. Reduce the number of max avatars on your graphic settings. Reduce the maximum complexity. Now this determines the level at which a complex avatar is drawn and it becomes a simple low res jelly doll on screen. Now these last three options are in preferences, your graphic setting tab and the general sub tab. Disable atmospheric shaders which serves to drastically reduce how much your computer has to render as the sky alone is very graphics intensive. Now if need be inhibit the rendering of other avatars with the advanced menu, the rendering types and then select avatar and just remember to turn that back on afterwards or de-render them. A good way to remember is to detach the menu. Client side lag is local to you. It is a direct result of how powerful your computer is and it's no one's fault if your computer can't handle a specific situation. So if you're in a high lag setting, adapt temporarily as I described. Now it must also be pointed out that client side lag neither affects nor is affected by things like scripts at all. It has next to zero impact on a region's performance. Meanwhile, there's particles. Contrary to popular belief, particles do not lag a region. Their effect on a region or on the servers is in fact close to zero. Particles are entirely client side. They are rendered on your computer by your graphics card and the fact they do not require a script to keep them going. They need a script to start or to change the effect but then the script may be removed and the particle effect will keep on going forever until another script is dropped into the end or to change them or if the object is removed. If you find that particles are lagging you, you can stop that laggy by turning the particles off in the graphics tab. That way others who are less affected may continue to enjoy them. You can disable your particles in a number of ways. On the advanced menu, rendering types and particles. On the preferences menu you can go to graphics, general, max particle count and just set it to zero all the way to the left. Server side. Now the server side lag is caused by several things and they're independent. There are two major causes. All others are secondary and negligible. They are in the order of impact on a region. The first is physics. People even wearing nothing at all with the minimum possible avatar complexity and no scripts will lag a region. The region needs to keep track of where each avatar is to prevent them from walking into one another or through one another, through floors, walls, etc. And every time your avatar moves it, it collides. It collides with something other than when you are flying or sitting or each collision gets calculated by the server, thus creating more lag. Sitting down reduces this lag significantly.  So using the ground set will also cause you to become a non-colliding object as far as the servers are concerned. Meanwhile, there's scripts. It's common knowledge that scripts can lag a region. What isn't so common is that the number of scripts isn't the important factor. It's the amount of time and, to a lesser degree, the memory consumed that is most important. A thousand scripts doing nothing is less of a problem than one script that is extremely busy. Scripts do not run on the viewer, nor do they run from an inventory. Scripts run on the server and only when added to a rest or worn object. Now the prem containing the script doesn't itself cause lag unless the prem itself is affected by the script, such as movement, shape, texture, etc. So moving away from a scripted prem will not reduce the lag caused by the script running. Taking the prem out of view, however, may reduce its effect on your viewer. So no matter where you are in the region, the effect of that script running, and that is the time taken to run it and the memory it consumes, well, it will be felt on the entire region. So if you're going to an event before you leave for it, check your attachments, not your hair, your shoes, etc., and to make sure that they are unscripted. Now if you're going to be running an event, we strongly suggest that you have the attendees do these same things. Because a badly lagged region affects everyone at the event. Note, as stated earlier, lag caused by physics, primarily avatar movement, well, that is the number one cause of region lag. So if physics lag is bad enough, scripts simply will stop running for a time. An avatar movement is considered more important than script execution. And lastly, if there are 40 people at an event and many are not sitting, it will be laggy, even if none of those people are wearing scripts. And thank you, Gimisa, for that comment. It must be stated that this material is a simplification of the true situation that is far more complex. But the intent was to be brief, simple, and yet sufficiently correct. This available, this info is also available on our wiki page, on lag, at http colon slash slash wiki dot phoenixviewer.com slash lag. For more detailed explanations, we'll see the following webpages, and we'll be putting them in the chat. There are five or six more links for you to enjoy. Now any questions on anything Lucy has covered today, I'm going to scroll up and see if there have been any questions. It's interesting when my mouth is open, I can't seem to read. So I'm looking, looking, looking. Let's see, any issue from VPN? That was a question for Lucy. I'll collect it and advance it forward. So let me put that down in the text chat. And I'll scroll up and look for some more. So that was from Serendipity Seraph. Thank you for that question. And I noticed Lucy had already answered with, yes, sort of Serendipity. Well, sort of is one of my favorite questions. That's right up there with it depends. I noticed on virtual private networks VPNs that many things break erratically, such as music says Jaga Meredith. Any other thoughts or comments from our, from our community? Is these are good? And Galen adds that's why we need that darn scrubbers because particles and other like texture animation scripts will continue to run after they've left the object. That's right. And of course Galen reminds us this is why we ask you to sit as soon as you get into the keynote regions. It's to help reduce and manage lag. So everyone has a great experience. Truel says, I've been told that using a dance ball or an animation will act like sitting. Let me repeat that comment later in the talk just in case we have further to talk about on that. And then let's see art blue has something here. I learned a lot. I have the jelly dolls syndrome. He's he's saying his avatar rendering cost is over 200 7000, which makes him the most complex person in the world in this world at least. Firestorm shows that I have first rank. He says, can anyone top me? We're going to go for big for big in beyond big hair. We're going for big avatar cost. And of course art looks to Juliet. You have third rank, which means visa B, right? 177,000 and 35 K excuse me. Truly. Let's see. It does as you are really sitting down on the prim. Lucy answers and Lucy said less. Yes, there. What impact does the agent limit have on lag? Linda asks. And Bethany says, Hey, that's great info. Thank you. I've learned a lot. You bit, of course, teases us about some will activate a dance animation, but the avatar is still out there colliding. And of course, Robert Adams, Mr. Blue was demonstrating that to us on Friday, those wild moves on the dance floor, right? There is lag on my brain. And of course, Linda says, Is that the same as the number of avatars on a region? Is that what you mean by Linda? And then of course, Lucy says every step on the route adds latency, even when you're dancing or when you're walking or whatever that route is. GS says, Hey, did you have a short hair? No hat. Pointy ears earlier. Was that just my lag? I think that's both humor and eclectic is of course, making an interesting observation there. So Lucy adds, depending on the latency of the virtual private network, well, it can be bad or really bad. Frank adds, run on a VPN only startup took longer. So the late the delays we hear about for VPNs and for browsers accessing sites, once you're connected, you know, that's the delay. Okay, Rhianna adds, How can people help with jelly dolls syndrome, optimized avatars or attachments? And Juliet's busy smiling. And of course, our blues still count in complexity. And of course, Bethany says, you get the prize art. So does any of the information apply to the SL viewer? Is the firestorm viewer considered the most advantageous? Val asks an art blues, like, Well, now she moved to second rank, he's still tracking avatar complexity. And blue is he's like ranking is the distance to the avatar. Oh, that's so good. This is almost feeling philosophical at this point. Jaga Meredith adds using the standard dance balls causes server issues. There's an obsolete item in them that generates error messages about maleficent magic wings. And you bid ads. Well, yes, complexity is avatar mesh sizes, textures, etc. And of course, based on mesh may help a lot. He starts laughing. Linda, I meant it. Is it the agent limit equals the number of avatars? Robert's offline. So I collected why I said live long and prosper because you looked like a Vulcan. And Juliet's laughing. So we're about to we've we've exhausted the questions to date. So now the question is, do we have any other questions? Or is there something you'd like to know about lag for open sim that you might feel is unique to this experience? We have so many experts or people who are experienced here in the room, that this is really a privilege to listen to all of our banter. That's really what community is about. So Marcus adds Al scott on YouTube wonders about lag from flexi prims. That's such a good question, Marcus, because I hear that a lot. Everyone says Lear walks into a room and the room quivers, right with lag. I could be. I think it would be due to my the pointers in my inventory. Linda, excellent presentation, bluesy. She learned a lot. And Alexander, the great ads. Anybody conclude latency gained by wind generation? That's interesting, Alexander. So you're talking about wind in the sense of not just the server calculations of it, but also as people add devices that have flexi with the wind setting increased. Is that what you mean? And E. M. Jennings, while you're answering that says thanks, bluesy. Luzi adds no, the firestorm viewer is not the most advantageous one, but the one that with the most choices, the most advantageous viewer is the one you prefer. And that's always the case. Usability is in the eye of the user. You bid ads view distance also impact server lag. The viewer asks for more things than the server needs to find and send back well put. Any other thoughts or questions before we and of course you can continue this discussion, but I think we are at the we're actually a little bit early. So maybe I read too fast, right? Well, Marcus, it is true. The flexi prims add to the avatar complexity. So to add to the client side lag. And you bid ads find and send things also eat CPU and bandwidth, of course. And of course, art says thanks for the definition of what art is. Well, art is complexity. But let's face it, you're worth every bit of complexity art. And you too, Julieta. You bid. That has been covered fairly well in this class, bluesy adds. Any other questions or comments for a bluesy? Thank you, Julieta, for those wonderful remarks. And thank you to the community. Well, I'll go ahead and wrap this session and then we can still have a congenial discussion. So thank you, bluesy for a terrific presentation. As a reminder to our audience, you can see what's coming up on the conference schedule at conference.opensimulator.org. And following this session is a meal break, followed by our next session at 12 o'clock in this keynote region. And it's entitled, The New Platforms. And we also encourage you to visit the OSCC 20 poster expo in the OSCC expo three region to find accompanying information on presentations and to explore the hypergrid tour resources in OSCC expo two region, along with our sponsor and our crowd funder booths. And they're located throughout all five OSCC expo regions. We want to thank you again to bluesy and to our audience. This has been wonderful.


with the speed of light, a cloud of dust, and a hearty high old silver, the Lone Ranger. A faithful Indian companion, Tonto, the masked rider of the planes led the fight for law and order in the early western United States. The stories of his strength and courage, his daring and resourcefulness, have come down to us through the generations, and nowhere in the pages of history can one find a greater champion of justice. Return with us now to those thrilling days of yesteryear. From out of the past come the thundering hoofbeats of the great horse Silver, the Lone Ranger rides again. Come on, Silver! We're heading for Plainsville! Stranger and Tonto left Mountain City.  For hours at a time they stopped to give their horses a chance to graze and rest and regain their strength after the strenuous days of the past month. At last when they came to a cool green valley, watered by mountain streams, they were five days from the nearest town. I don't think many people have been here, Tonto. It's real wilderness. Not right. It looked like Wild Horse Valley, where you find Silver. Yes, very much like it. Maybe a few Indians around here, no one else. Even those Indians would be friendly, they haven't any reason to be warlike. Not right. How long we stay here, huh? Well, it's nearly sunset. I think we'll make camp and spend the night. We're not likely to find a better place. Trees over there make good place for camp. Yes, Kimosavi. And tomorrow we start out for Plainsville. Ah. We only got there another week at the rate we're traveling. We take plenty of time. There's no reason for hurry now. Skelton, Silver deserve a little easier going for a... Tonto, that was a rifle. Ah, who got rifle here? I don't know. Here, Silver. Scout, you come. That shot seemed to be fired from over there. That way in woods. I didn't think we'd have a... Tonto, look. Ah, they say I'm Indian.  Now I'm a raised rifle. You're going to fire into the air. I'm out of, Tonto. I'm signalling to someone. Huh? You hear them? Yes. And the Indian in woods, many horse come this way. Silly big fella. Tonto, we're going to ride toward them. There's no reason for them to attack us. Maybe you can speak their dialect. Ah, me try. Get them up, Scout. Come on, Silver. The lone Ranger and Tonto Guided their horses toward the woods. Scores of redskins appeared from the sheltering trees and joined the one who had fired the rifle. The Indians stopped watching the advance of the masked man and his companion. Twenty paces away, the lone Ranger and Tonto reigned up. Silly, Silver. Silly boy. One of them is coming toward us. Ah, him whole right hand up. That mean him friend. Man with face behind mask. He speaks English. Ah. You come after long time. You bring more thunder stick? No, I didn't. You not bring? I've never been here before.  Ah, another man hide face. He bring thunder stick. You hide face. Why you not bring? I've brought you something better. What that? Take me to your village. What you bring? You must take me to your village before I can show you. Ah, you wait. Ah, him talk to other Indian now. Someone who wore a mask brought them rifles. Because I wear a mask, I think I'm here with more. Got to get to their village and look around. Got to find out more about this other masked man. Got to find out how many rifles they have and where they came from. Somebody steal them from army. Yes, the guns are practically new. Somewhere in this part of the country, soldiers may be needing them. You make promise to Indian. Yes, I know. You tell them you got something better than rifle. What you show them? We have field glasses in the saddle bag. We'll let them look through those. Ah. They see the distant hills, but close to them. I think they'll be satisfied. That's right. They're a primitive tribe, but they aren't savage. I hope they're going to take us to their village. You come. You follow. Fine. Come on, Silver. Get them out of scouts. Come on. Must have spent a lot of time with these Indians, Tunno. A leader's English is fairly good. Oh, maybe they do not live here all time. Maybe him live another place. Learn English there. It's possible, but he doesn't show any indication of it. Something strange about this, Kimo Sabi. Ah. Hurry up. Faster, Silver. Get them out of scouts. The Indians, the Lone Ranger and Tonto went deeper and deeper into the forest. The ground rose in a steady incline, and the trees became so dense that there was a solid cover of interwoven branches overhead. It grew darker with each passing moment. Then the trees ended abruptly. The Lone Ranger and Tonto looked out in a stretch of level land on top of the mountain, walled in by dense forest on all sides. Smoke rose from a dozen small fires tended by squaws who squatted on the ground. And there were many huts made of branches and skins with mud packed around the sides. It's a permanent village, Tonto. I wonder how many people know that it's here. Tonto never hear of it. There aren't any signs that these people are fighters. They seem to be hunters and quite contented. Look at the skins drying out over there. Ah. The Indian we talked to seems to be in charge. Ah, him leader. Now him come on foot. I'll dismount. Steady, Silver. Yep. Now you show big magic like the district. Yes, I have it right here. Eh, just look through the glass. This magic brings the distant mountains close. Eh, big mountain close. Me touch. Ah, you can't do that. Now it go back. Eh, turn the magic this way. Look again. Eh. Now the mountain's far. Far away. Eh, eh, it good. It good you come. I guess we won him over, Tonto. Ah, we go what I'm saying. Lean, we follow. You come this way. The Indian led the way to one hut, which was larger than the others. He flung aside a heavy buffalo skin that covered the opening. In the dim light of the day that was almost gone, a lone ranger saw a pile of furs in the center of the hut. You look. The masked man leaned close and examined them. And he breathed an exclamation. A lot of. Black fox belts. There's a fortune here. These yours? All Indian catch. You take? I'm to take these. Eh, you take. He keep magic. These pelts for the field glasses? Eh, me want bullet too. But you have bullets. Eh, this, this all. It's all in village. I see. I have to think it over, chief. Will you leave us alone so we can make talk? Eh, me wait. He wait outside. He doesn't have more than half a dozen bullets, Tonto. The ones he held in his hand. Somebody give him rifle, not many bullets. My cartridges won't fit their rifles. Eh, wouldn't be any danger in giving him a few just before we left. Not right. But that won't be until tomorrow. Tonight we'll look around and learn all we can about these people. We still have to find out where those army rifles came from. The lone ranger and Tonto left the Indian village on the plateau the following afternoon, taking the furs with them. They made the trip to Plainville in three days. And then just outside of the town, they stopped in a small woods near a stream of water. We'll make camp here, Tonto. Hey, boy. I'm going to take off the mask and disguise myself, and I'll go into town. Ah. Eh, me unload first. Yes. Make sure they're well hidden. Ah. You think fellow who take rifle to Indian come from Plainsville? He was in Plainsville. I'm certain of that. That piece of brass we saw tied to a cord around the Indian leader's neck came from there. It's a check from the Plainsville Hotel. Ah. And what you do in town? I'm going to sell one of the pills. Oh, maybe that's plenty dangerous. Oh, why? Other fellow who wear a mask not want anybody else to buy a fur from Indian. Of course he doesn't. I want him to know that someone has. Then what happened? I'm hoping that we'll find out who he is. It's our only chance. Yeah. I do a little trading. What do you think of this pelt? It's a good one. Well, I'm not saying it ain't. The question is, how much do you want for it? Well, what do you say to $10? I say it's a deal. Here's your money right here. Strange. Are you local? What's the matter? Letting that pelt go for $10.  We made a bargain. Here's your money. Fine. Fine, he says. It's highway robbery. That's what it is. I don't think so. There are plenty more pelts where that one came from. Where's that? The forest south of here. Did you trap that fox yourself? No. I didn't. Then who did? Why should I tell you that? Listen, mister, do you mean it? Can you get any more pelts like this? I may be getting some more. I'll take all you get. Well, I'll be staying at the hotel for a few days. Keep in touch with me. I sure will, mister. I sure will. That evening at the hotel, the Lone Ranger talked with the clerk. You're sure there aren't any new army posts around here? Oh, there's Fort Benton to the east and Fort Hall to the south. But they're a mighty long way. Yes, I know. Say, you're getting to be a popular jant around town, mister. How's that? Lots of folks have been dropping in to ask about you. Ever since you let soldiers have that pelt for ten bucks, if you got any more of them, there's plenty of folks who'd like to take them off your hands at that price. Well, is that so? Not just storekeepers, but... Oh, almost forgot. There's an old lady waiting to see you right now. An old lady? Mm-hmm. She handed me this note and told me to give it to you. Here. Well, thanks. I guess she'd like a fur neck piece. Where is she? Right over there in the parlor. Excuse me, please. Close the door. We meet again. And again, you're in disguise. Sitting alone in the room was the girl whose face was still a mystery to the Lone Ranger. The girl who had aided him so often in his fight against the outlaw legion known as the Black Arrow. Now her face and her clothes were those of an old woman, but she made no effort to disguise her voice. Please believe me, Lone Ranger. We've nearly reached the end. The end? The final end of the Black Arrow. Remember those days when hordes of men outlaws met in caves? Yes, I remember.  Do you remember? Yes. And then when most of the gang were trapped and turned over the law, there were the five organizers, ringleaders of the Black Arrow, against whom nothing could be proved. Yes, I remember them well. Four of them are in jail. The first a railroad man, the next a gold mine syndicate operator. A Drexel. And then the cattleman. And you saw him put in jail. Two weeks ago, Jacob Webster followed him. There's just one left. His name is Bronson Page. I don't know how we're going to get evidence against him. And he's the most important of them all. He's the man who had the inside track in Washington. The man who pulled all the strings. He is? Yes, and he's the man. The man who gave the commands. The voice in the cave. Bronson Page? Yes. Are you sure of this? I know it to be the truth. He handled many purchases for the government. Oh, yes. You know how all five of those men worked together? Yes. And how the gold mine accounted for the huge profits? The railroads could handle all shipments, move the goods of the crooked organizations. Rifles and other supplies bought and paid for by the government were traded to Indians for furs. But you, what brought you to Plainsville? One of our operators in Washington found letters addressed to Bronson Page. Those letters came from Plainsville. And I have furs. I know. But you didn't know that army rifles were given the Indians for those furs. And those rifles came from here from Plainsville. Oh, you're so close to the end of the trail. You're close to Bronson Page. But no one has threatened him and lived. Please be careful. Close to Bronson Page? He's here. Here in Plainsville? Here. In this hotel. The curtain falls on the first act of our Lone Ranger story. Before the next exciting scenes, please permit us to pause for just a few moments. Here's our story. In the parlor of the hotel, the Lone Ranger was told that Bronson Page, the last survivor of the Black Arrow organization, was not only in the town of Plainsville, but in the hotel. I didn't see his name on the hotel register. No, it isn't there. I don't know what name he's using, but I do know he's here. I saw him a little while ago. Where? In the hotel lobby. Did he see you? Yes, but I don't think he recognized me. Would he know you if you weren't disguised? Oh, I'm sure he would. He's been in Washington a lot. He's had so many people reporting to him. Surely he knows about me and the work I've been doing. That will happen. May I come in? Of course. This is a public room. I have a friend with me. Step in, please. That's Bronson Page. Teddy. Come in, Lifty. What'll we do? Keep your gun ready. I'm going to have a talk with this man. Right. I understand you've been selling Black Fox pelts. Oh, what about it? Where did you get the pelts you sold? Why? I want to know. What if I don't tell you? I'll find a way to have my question answered. Well, the one I sold was just one of many. One of many? You see, Indians have been hunting the Black Foxes. They're willing to trade. I see. Do you want to know where those Indians live? Well, I would. Here, here. I'll draw a sketch for you. See, he's acting the heat different than a figure he would. Let me show you. All right, here's the town, you see. Now, due south, about five days' travel, is a valley with dense forests on the hills to the east. If you can penetrate those forests and reach the top of the hill, you'll find a tribe of Indians in a permanent camp. Well, that's where the pelts come from. You seem mighty anxious to explain this to me. Well, you asked a question. I'm answering it. You're an easter, and I want to be sure you understand exactly where the Black Fox came from. I see. I think I've made the location clear enough. Seems to me you'll have, Mr. I don't know why these men certainly aren't very polite. Who are you? The lady's from the east. She's here to look up old friends. Just as you came in, I was trying to explain that her friend was outside the hotel. I saw him a little while ago. Now, may I go? Of course. These men won't stop you. Oh, thank you, sir. Thank you so much. Boss. Let her go, Laptie. Good night. Good night. The girl understood the lone ranger and hurried from the hotel. Outside, on the side of the building near the room where she had just met Paige, Tonto was waiting. I was sure I'd find you here, Tonto. He tried to tell me to come here and meet you. Oh, me here. And he told me how to find the Indian village. Army rifle there. Maybe that evidence against the page-feller. Oh, so that's it. But it would take nearly two weeks to get there and back. Wait. We go close to wind again. Hear what fellow insides say. Bill, he was speaking around the boys' stranger. I want information from you. You've got the skin from that Indian village. I want them. I suppose you're ready to pay for them. Not only payments. I'll be fair with you. But I won't be stung. Is that clear? Quite clear. You know what the Indians wanted for the pills. What? Cottages for the rifles you gave them the last time. Well, I didn't have cartridges to fit the army rifles. I suppose you didn't. So you didn't get all the fur after all, eh? Not all of it. There's not much left. You mean you have furs? They aren't in the Indian village. You see, I made a sort of deal with them. What kind of a deal? I'm to meet an Indian near town and get the pills from him. All I want is a good supply of cartridges. I see. Can you get them? Maybe I can. Tell me where to find the red skin and I'll make a deal. Where do I come in? I'll see that you're taken care of. I think it'll be better if we go together to meet this Indian. He wouldn't know you. Oh, he wouldn't, eh? It's mighty funny because I met those Indians once before. This Indian wouldn't know you. But I know... Anyway, we're going to meet him together. Come on, then. Well, eh, we can't meet him tonight. I'll make it tomorrow night. Why not tonight? He's going to meet me at Gopher's spring shortly after dark tomorrow night. All right, then. I'll be there. And so will I. We'll divide the pelts after we get them. We'll see. Go for spring shortly after dark tomorrow night. Paige has admitted being in the Indian village and giving them army rifles. Did the loam ranger know that you were going to hear what he said? Uh, him telltaught us, stand close by. Then he wants you to be at Gopher's spring tomorrow night. All right. And have the pelts to meet Paige. So he had to make a plan on the spur of the moment. He's tried to tell us what we should do. And we do our part. Two figures crept through the hall on the hotel's second floor. One whispered softly. Hold the knife ready, lefty. I'm going to get the door open through it straight at the bed. Understand? Sure. No sound at all. With him out of the way, we'll deal directly with the Indian tomorrow night. I'm ready. Get the door open and keep it quiet. Right. Johnson Paige gripped the latch at the door to the loam ranger's room and moved it slowly, a fraction of an inch at a time. There was not the slightest sound, not even the creak of a hinge as he pushed the door inward. When it was half open, lefty saw the form beneath the blanket on the bed. Cold steel glittered in his hand. He started forward, but suddenly somebody coming up the stairs. Come on. I got time to throw it. This way down the back. Yeah. It was a good throw. Get him square to your room. Tomorrow we'll meet that Indian at Gopher's spring alone. Gopher's spring was in a clearing about a half mile from town. Surrounded by woods, it was an ideal secret meeting place. Tonto went there shortly after sundown with the furs. He concealed them in a thicket and then sat on the ground beside the spring and waited, but not for long. Presently, two men rode up with our saddlebags bulging. Oh, oh, oh. There, boy. There's the Indian. Hey, there, ancient. You waiting for someone? Uh, me wait for fellow earth man. I'm here in his place. Oh, me not. No, you. Hold on. You're supposed to have something with you. Where is it, Redskins? Uh, me got it. What do you have? Uh, me got fur. Plenty good fur. Uh, meet here and make swap. I don't see the furs. That's right. And me not see mask man. Boss, you got the mask you use in your pocket. Why don't you put it on? All right, I will. Yeah, wait, Indian. I'll show you the mask if that's all you want. Uh, you show. Yeah, one minute now. There. Now do you remember me?  Yes, yes, of course. Now you got bullet? Right here in these saddlebags. Me see them. You show. Unpack them, Lutty. Show the Redskins the cartridges. Uh, last time we get bullet them not good. Me be sure these bullet good. Last man didn't have the right kind of cartridges. Yeah, take a look at these cartridges. These are the ones you want. Uh, how me be sure? I'll look here, Indian. These are the right kind of cartridges. Army bullet? That's what these are. You prove these army bullet. How in thunder can I prove it? Where army these come from? There's no army near here. These came all the way from the east. Oh, maybe they're not good. Of course they're good. Besides, I haven't seen the furs yet. How do I know you've got them at all? You look an underbrush. Find further. Take a look where he's pointing, Lutty. Right, I'll see if he's telling the truth. Further, all right. Here they are, force. Now bring them out. Let me see them. There's a heap of them here. As many as we got the last time. That's good. And you've got more bullets. Hey, look at these. These are dandy pelts, boys. Me want more bullets. You've got four saddlebags full of them. What more do you want? Want more. Where do you get more? Stand ready, Lutty. I savvy. Indian, are you ready to make a deal? I'm ready. Can you speak for the chief or we have to see your friends before we make a deal? All other Indian in village. That's what I wanted to make sure of. What you do? Can't you guess? All right, Lutty. I'll do it.  That's what you need. On your feet, Paige, you're not hurt.  Who? Who are you?  Not you. Now, one at home, Lutty, through the knife. Too bad for you that I wasn't in the bed. That mask. You're the Lone Ranger. I'm the second mask man who called on the Indians and traded furs with them. The Lone Ranger? Boss, boss, this is the one that was... The one that spoiled everything I started. At last, Paige, we found a man who gave orders to the members of the Black Arrow. A man who bought rifles and ammunition for the army and shipped them to his outlaw legion. Now, wait. I can explain everything. When the Black Arrow was smashed, he traded the supplies bought for the army for furs. I've wanted to talk to you. I'll make you rich. I'll make you powerful. If you and I work together, we can... There's just one thing I want, Paige. That's to see the end of the Black Arrow. You're the last of the legion. All right. What are you going to do with me? What can you prove? You've kept yourself well guarded, Paige. But this time, you're finished. Come on out, Marshal. We're right on the job. Here's the law, Paige. These men heard you admit trading supplies that belonged to the army. The woman you saw in the hotel last night has already sent another lawman to bring some of the Indians from the village. Yes, and those redskins and the rifles you gave will be more evidence against you. We wanted to be sure it was you who called on those Indians. You admitted it was. I knew you'd try to get me out of the way, and you could make your own deal for the furs. Get the handcuffs on those two boys. We'll take them away for keeps. On top of everything else, we can prove attempted murder. Marshal, here's a fortune in Black Fox Furs. Yeah, I know. I reckon they're yours. They were trapped by the Indians. They belonged to those Indians. What do we do with them? Sell them. Take the cash and buy things the Indians need. Send teachers and missionaries into the Indian country to build schools and churches. To settle the West. I'll see that it's done. El Tondo, we're through on this part of the country. Uh, Scalp and Silper, ready to ride. Take those two into town, boys, and if they try to escape, shoot them. Uh, there was a woman waiting for you. Oh, where is she? She gave me a message for you. Oh? She's going south. She said not to try and find her. Maybe someday your trails would cross again. I see. She said to tell you she'd sooner not say goodbye. When the time comes, if she can help you, you'll hear from her again. Thanks, Marshal. I wonder when that will be. Very big fella. Hello, fella. Huh? Are you ready? Oh, sir! Hooray! The talented teacher of the Lone Ranger Incorporated.


Dear students, in this module, we are going to understand the conflict perspective view of social control that is occurring within our education system. Conflict perspective is a theoretical framework in sociology that emphasizes the role of power and inequality in shaping different social relationships, whereas the social control refers to the mechanism through which social norms and expectations are enforced often through the use of coercion or punishment. Conflict perspective, if we look at the education system, we see that in the education system, when a child is trained and socialized, he is actually confirmed. When a child is confirmed, the creative and innovative abilities that are present in him are snubbed by the education system. In this way, we make a child a controlled being, but not an expressive being. Conflict perspective looks at it from a critical point of view that what impact does the school or education system have on your education? In the conflict perspective, social control is seen as a means of maintaining and existing power structures and suppressing the dissent. In other words, they say that the existing power structures are designed to maintain your education system.  In other words, they say that the behavioral expectations that are being carried out are not globally or universally available expectations. In fact, there are special classes and special expectations that control the infrastructure or structure of the entire society, which are called elite classes. In Pakistan, for example, social control has been used by the state to suppress the political opposition and dissenting voices, including through the use of media censorship and restrictions on the freedom of speech. In Pakistan, we see how the mechanism of social control is seen through media censorship. In the same way, we see in our schools and academic institutions that if there are some extraordinary capabilities or calibre in the child, then a general behavior pattern is snubbed into it because our goal is to prepare the well-disciplined children so that such children who have creative abilities can come before the child. Understanding the role of social control is essential for analyzing the ways in which power and control are exercised in the contemporary society and for understanding the potential for social and political change. The purpose is to prepare the child in such a way so that he cannot go towards deviancy, but can be confirmed. That is why the mechanisms of social control are adopted there. The mechanism of punishment is taught by the child if you do this work according to our expectations, then you will get punishment and if you do not, then you will be punished. The study of social control requires a multidisciplinary approach incorporating the perspectives from sociology, political science and law. By analyzing the complexities of social control, we can gain a deeper understanding of the ways in which power relationships shape the social interactions and impact individual and collective well-being. On the other hand, the scholars in the conflict perspective often advocate for resistance against social control as a means of promoting social justice and inequality. Examples of resistance against social control in Pakistan include the women's right movement and the labour movement. And the conflict perspective offers a critical lens through which to analyze the mechanisms of social control and their impact on individuals and societies. The conflict perspective provides a critical gaze and gives us a chance to see the curriculum developed in schools or education systems. The curriculum is also in a universalized form. There are many answers to this as well. We are trying to make children more confident, and our creativity is being snubbed. And the most important thing is that these curriculum developments can help you to cope with that potential inequality. And the food for thought is that if you look at any curriculum in Pakistan and analyze it, from the point of view of the conflict perspective, how many possible elements or factors are present in the mechanism of social control and try to understand it by analyzing the socialization of the children who go to school.