The story you are about to hear is true. Only the names have been changed to protect the innocent. Fatima Cigarettes. Best of all, long cigarettes bring you dragnet.  You're assigned a forgery detail. An accomplished check forger is at work in your city. His victims, small businessmen. You know his M.O., you don't know his identity. Your job. Get him. If you want a long cigarette, smoke the best of all long cigarettes. Smoke extra mild Fatima. Yes, Fatima is the king size cigarette which contains the finest Turkish and domestic tobaccos, superbly blended to make it extra mild. To give Fatima a much different, much better flavor and aroma than any other long cigarette. That's why Fatima has more than doubled its smokers coast to coast.  Best of all, long cigarettes. It's wise to smoke extra mild Fatima. It's wise to smoke extra mild Fatima. Dragnet, the documented drama of an actual crime. For the next 30 minutes in cooperation with the Los Angeles Police Department, you will travel step by step on the side of the law through an actual case from official police files. From beginning to end, from crime to punishment, Dragnet is the story of your police force in action. It was Monday, February 4th. It was cold in Los Angeles. We were working the day watch out of forgery detail. My partner's Ben Romero. The boss is Captain Elliott. My name's Freddie. I was on the way home from the office and it was 825 p.m. when I got to Collis Avenue. Number 4656. Joseph, is that you? Yeah, ma. We're in the living room. We have company. Oh, that's all? Hello, Joe. You remember Mary Fowler, don't you, Mr. Joseph? I sure do. How are you, Miss Fowler? Just fine, Joe. Thank you. Doing some shopping out this way and thought I'd stop by and have a cup of tea with your mother. That's good to see you. How are things in the old neighborhood? Oh, pretty much the same. Oh, Miss Daly, remember her? Mm-hmm. Finally died. I suppose it was for the best, though.  Jim and Louise Watson finally moved. Jim got a new job. I bought all the dinner. Oh, is that so? Yeah. My, you're certainly looking fine, Joe.  Oh, my, no, Mary. Joseph's in the detective bureau now. Hasn't worn his uniform for years. Oh, that's right. I remember now. That note you sent with your Christmas card here before last. What do you do now, Joe? Forgery detail. My partner and I handle bum check cases. My? That certainly must be interesting.  Yes, ma'am. I stopped at a place out in Santa Monica and had something.  Wouldn't you like one with a cup of coffee, Joseph? No, I don't know.  You always look so tired. I have no idea how hard they work, though, Joe, without a knife. You remember Genevieve, don't you, Joe? My oldest girl? Oh, yeah, sure. How is she? Oh, just fine. Lots of boyfriends, as usual. Going out all the time. Oh, that's good. She asked to be remembered to you.  We went to a couple of dances in high school. I think she started going steady with another fella, didn't she? Hmm, young girl. They never know when they're well off. Here's your coffee, Joseph. Set it here in the end table. Thanks. I don't think I can use it, ma'am. Delicious coffee cake. You smell how fresh it is. Yeah, it's nice. Oh, my. Quarter to nine. I should have left half an hour ago. Oh, you have to go, Mary. Seems our visits are always so short. Well, I got a lot of ironing to do, and I have to make Carl's lunch. He's always so fussy about his lunches. Yes, well, I'll get your coat. It's nice seeing you again, Joe. Do you want to be remembered to Genevieve? Yeah, tell her hello, will you, Ms. Fowler? If you're over our way, be sure and drop in and see us, won't you? Genevieve's home, office by six. She often says she'd like to see you again. Don't mention it. Oh, thank you. Good night, Joe. You be sure to come and see us now. Jen will be looking forward to it. Okay, Ms. Fowler. Good night. Yeah, well, I'll show you to the door, ma'am. You remember all the makers, won't you? Oh, all right, dear. I wouldn't you take care of yourself. Good night. Good night, Mary. Nice person, Mary. It's a very hard time trying to find a husband for Genevieve, though. Yeah. Hey, ma, I'm not very hungry. I can't eat now. Well, it's a shame to waste. That's a lovely coffee cake. Been used to on the same page, hmm? Yeah, same one. Excuse me, it's taking off a long time. Well, we've been on it two months, yeah. You never understand it. People write bad checks. Always get caught. Well, it's easy living while it lasts. Well, you know what the man's handwriting is like. Don't you know who the man is? Well, we think so, ma. We're not sure. There's hundreds of checkmen who work almost alike. Some of them even look alike. There's always a big enough field to pick from. Our problem's picking the right one. I don't know much about it, but the whole thing's kind of silly to me. Well, how's that? Well, what's this man supposed to be doing? Going around your small neighborhood stores, cashing $15, $20 checks? Well, if he got himself a job, he could probably earn that much in one day during good honest work. Mm-hmm. Hey, Ben didn't call before I got home, did he? Mm-hmm. Wasn't he with you? Well, he was going to interview one of the bum-check victims on his way home, a grocery store owner, down in Highland Park. It might be him now. Well, now don't hang on that phone, Joseph. Yeah. Friday talking. This is Ben, Joe. We've got a partial identification from that grocer. There's nothing great. Which mug shot did he like? Stanley Bubek. Grocer thinks it might have been the guy who pushed the check. He can't be sure. 33 bum checks passed. Same MO. Not one positive identification. Something's phony, isn't it? It's got me stuff. We know the endorsements on every one of those checks was written with the same guy. He was practically the same story on every one of his victims. I think people are either blind or they're kidding us. Well, there's only one other answer. We're looking for the wrong man. For two months and two days in different shopping districts throughout the city, a man described as well-dressed and middle-aged had been passing worthless checks on independent neighborhood businessmen. Most of the victims were proprietors of small shops, meat markets, liquor stores, grocery stores. In none of the cases was the check written for more than $25. With the help of the stats office and our record bureau, we've gone through the list of experienced checkmen until we found one man whose description in MO mats perfectly without a suspect. The man's name was Stanley Bubeck. We can't locate him, Captain. Another thing, we can't get a positive identification from any of the victims. And find a suspect they can't identify. You've been tracking the guy for two months. What's the big mystery? Well, he tabbed the man as Stanley Bubeck and his record and his MO was descriptionally all tie-in perfectly. With this Bubeck, it's almost a sure thing that one of the victims could have made him on one of his mug shots. None of them can make up their minds. Look, maybe one of you two would like to be captain of forgery for a day, sitting in this office and listen to complaints coming over that phone about this guy at the front office, neighborhood businessmen's clubs, retail merchants. They tell me they're trouble-sowing passing them on to you. Now, whoever this paper hanger is, we want him and we want him fast. Lousy little $20 checks. I don't think he and a hundred other check men like him don't know that. You won't find them stealing company paychecks and flooding the town with paper. They take it from the little guy and they take it in small amounts, but add up those small amounts at the end of the year and they'll scare you. That's the rotten part about it. None of those victims can afford a bad check. Grosser Donnelly stands on his feet all day and had a profit of $10, $15. He gets tagged with one bad check and he's working for nothing. We've got bulletins out on the suspect Captain Elliott. Yeah, okay, Don, right away. Don Myers, he went over the handwriting those last three checks wants to see you. Okay. How about that special bulletin you got out to the prison's on Stanley Bubeck? Any replies? Nothing yet, Skipper. All right, stay on it. Right, let's go then. That's our deal. I'll give a right arm for a line on this guy. Well, it would move a lot faster if somebody and now we hear about the paper two weeks after it's been cashed. And Bubeck thing isn't helping much.  Hi, Don. Oh, hi. Just finished up on those last three checks that came in. You want to give them a look? How do they shape them? You can see for yourself. Right here. Here are the three I just went over. And here are a half a dozen bad ones for cash last month. The endorsements on this half and those other three? Well, I'd say they were endorsed by the same person. Now, look here. You can notice the capital letters. Now, he still handles them the same way. Disconnected from the other letters in the first name. See? But he connects the capital in the last name. See? Not very bright. Not much doubt in my mind, all the other handwriting factors tie in, form, skill, shading, they all match up. The movement, terminals, all the same for my money. Here, the way he writes the lower case letters. That cinches it for me. How's that, Don? Well, here, the inclination of the terminal stroke on the S. See? Degree of slant above the horizontal is just about 55 degrees in all cases. The finger movement in his capitals have plenty of freedom. They're not shaded much. Nothing like this in his lower case letters, though. You see? Here. Not much freedom here, lots of shading. And the pressure on the lifts. Here. They match up. Same on the down stroke. Now, I'd say the skill is medium in all cases. Embellishments both class two. No changes at all in the style. Oh, he made the signatures look a little different. All eight factors match up, though. It's the same person. All we have to do is find him. How about this fellow Stanley Bubeck? I thought you had him tap. But it's the only line we got to work on. So, it'll have to do for now. Well, Merrill, the man in the office. Say you and Joe. Name's Loomis. Right, Fred. Be there in a minute. Well, thanks, Don. We'll check you later, huh? Sure, okay. See you. Let's go, Ben. How do you do? You Mr. Loomis? Yes, Sergeant Merrill. No, this is Sergeant Merrill here. My name's Friday. Oh, I thought you'd do. What can we do for you? It's about these tech, Sergeant. These right here. Well, you see, I run a delicatessen out on Sunset and a few days ago a new customer came in for a few things and paid for them with these checks. He came in twice. Yeah, go ahead. Well, I got the checks back today. They're no good. I tried to look up the man at the address he gave, but there's no such address. You can see, one's for $15, the other one's for $20. The reason I ask for you, men, is because I know the man who runs the drugstore across the street, George Holmquist. He had some bad checks about a month ago. He said you took care of them. Oh, yeah, yeah, I remember. Do you recall a man who passed these checks, Mr. Loomis? Yes, I think I do. He told me he was new in the neighborhood and he was looking for a place to trade. Well, I guess we're all anxious for new business. I took the checks. You've got those mug shots there, Ben. Well, yeah. Thank you. How about these men, Mr. Loomis? Any of them look anything like the person who passed the checks on you? Let's see. This one, yes. It does look like the man in a way. I don't know if I could be absolutely sure. Standing view back, same memo. What do you find? Well, it looks like you're stuck with a couple of bad ones, Mr. Loomis. Probably the same man who passed checks on your drugist friend. We're doing everything we can to run this man down. Look, what about the checks? Isn't there anything I can do about them? No, sir, I'm sorry, not right now. We would like to have you make out a crime report, so you can leave these checks with us. Righty, Romero. Here's Mr. Loomis. This just came in for you. Reply from Salt Lake City, Utah, on that bulletin you sent out under Stanley Bubeck. He's been in jail for five months. We sent a request to Salt Lake asking him to question Stanley Bubeck if he knew of any forger who matched his description or used his MO. Bubeck could tell us nothing. Wednesday, February 6th, we threw away the results of two months of investigation. We went back and studied from the beginning. Despite all precautions and warnings, the checks kept coming in at the rate of half a dozen a week. The same MO was used, the same handwriting showed up in the signatures on the checks. Again, with the help of the staff and the statistician's office and the record bureau, we waited through hundreds of names of known checkmen and compiled a new list of 38 possible suspects. Each one fitted the general description of the forger. Each one, at some time in his forgery career, was the general method of operation. Well, after days of legwork, we finally boiled down the list of possibles to three names, George Roberts, James Young, and Harry L. Johansson. We got out a flyer to all the small businessmen in the areas where the forger operated. Another week passed. The worthless checks kept showing up at the rate of two and three a day. On February 21st, Ben and I answered a call from a druggist in the Echo Park District. He bought some toothpaste and a carton of cigarettes, Sergeant. Have you ever seen a man before, sir? No, he gave me the same old story about being new in the neighborhood. That's when I remembered that police bullet from the department sent me. Do you still have that bullet? No, I looked it over, and then I guess it got mislaid. I wonder if you'd mind taking a look at these pictures here. Not at all. These right here. Sure. This one right on top, that's the man. Sure. I am. It only happened a few hours ago. What's the name we have on him? It doesn't mean anything to me. He got real huffy when I wouldn't take his check, stalked right out of the store. Very suspicious. Did you follow him? No, I told Ralph my clerk to follow him. Ralph? Are you honest, brother? You want to tell these officers about that man this morning? Well, I followed him down the street for a block and then turned the corner. That's where I lost him. Oh, it's too bad. Yeah, all I got was a license number. I'm talking to Dragnet, the case history of a police investigation presented in the public interest by Fatima Cigarettes. If you smoke a long cigarette, it will be in your interest to listen to a typical case history of a Fatima smoker. It's the case of Northwest Airlines stewardess Jean Manson. You'll see her picture in leading magazines this week. Now her actual sign statement. There's one thing I really look forward to after a long flight. A good, mild smoke. That's why I prefer king-sized Fatima. It's milder than any other long cigarette I've tried. Yes, I agree. It's wise to smoke extra-mild Fatima. And so do more and more smokers every day. Actual figures show extra-mild Fatima has more than doubled its smokers coast to coast. So enjoy extra-mild Fatima yourself. The king-sized cigarette which contains the finest Turkish and domestic tobaccos superbly blended to make it extra-mild. You will prefer Fatima's much different, much better flavor and aroma. You will agree. It's wise to smoke extra-mild Fatima. It's wise to smoke extra-mild Fatima. Best of all, long cigarettes. September 21st, Thursday, 3 p.m. We took the license number which the drugstore clerk had given us. We went back to the office and checked it through DMV. We found the car was registered to a Russell Burroughs on Pico Boulevard. We checked him out. He told us that he had loaned his car the day before to a friend of his. He identified the friend as Harry L. Johansson and gave us his last known address. 614 Elderwood Avenue. We got out of broadcast on the car. The Elderwood Avenue address turned out to be a single-story wooden frame house in the southern part of the city on the edge of the industrial district. It needed a coat of paint. A woman in her elderly 30s answered the door and identified herself as Mrs. Johansson. She invited us into the living room. There was a baby pointing on the floor. I don't expect my husband home for another two weeks, Sergeant. He's a cosmetic salesman. Travels all over the western states. When did he leave on this last trip, Mrs. Johansson? The first of the month. Why, is there anything wrong? What's the name of the cosmetics company that your husband works for? The East Main. Do you know a friend of your husband's named Russell Burrows? Yes, I do. He's kind of a friend of the family. Please, Sergeant, if there's anything wrong, I don't know. We talked to Mr. Burrows this afternoon. He told us your husband's in town. Burrows loaned him his car. Harry, that silly is still on the road. He'd certainly let me know if he was coming back early. You sure of that, ma'am? Would you excuse me a minute, Sergeant? I'll have to put the baby to bed. Certainly, ma'am. I'll be back in a minute. Kind of a funny setup, isn't it? How you mean? Well, if Johansson's pushing bum checks, the money isn't going into his home here. Life doesn't act like she knows anything. Seems cooperative. I pray we're going to have to level with her if we're going to find out anything, huh? You sure got a cute little girl. I'm sorry, Sergeant. It's perfectly all right. Just a few more questions. Is it possible that your husband could be in town and you might not know it? No, Farry wasn't in town. He'd come home. Why would he stay with anyone else? When did you last hear from your husband? Last week. He wrote from San Francisco. The letter's right there on the mantle. Oh, huh. Well, besides that letter, do you have any other samples of your husband's handwriting on the house? What? I think so. Yes. Where did you say you were from? Central Division, forgery detail. You investigate checks, bad checks? Yes, ma'am. That's right. And you know about my husband? His prison record, yes. Harry promised me he was through with all that. He gave me his word. Sorry, ma'am. About a month ago, he had some extra money. He wouldn't tell me where he got it. Look, Sergeant, maybe you've made a mistake. Maybe it's not Harry at all. You're not sure, are you? Did your husband use the phone much, I mean, for out-of-town calls, say? No. Just that one toll call. A Long Beach number, I think. He has a business friend down there. Do you know the number, ma'am? I can show you. It's on last month's phone bill. Please, Sergeant, if Harry's done something wrong, he did it for us. Me and the baby, Harry's not bad. Yes, ma'am. He's done something. He did it for us. Harry hasn't had it easy. He wanted to get things for the baby. Clothes, a better house. All he wanted was a little happiness. A little happiness. You had it wrong, ma'am. You don't buy it with bum checks. Before we left Mrs. Johansson, we called and had a stakeout placed on the house, and then we got a sample of her husband's handwriting and the Long Beach telephone number that he was in the habit of calling. The next morning, Don Myers and handwriting compared Harry Johansson's letter with the signatures on the worthless checks. It matched. We called the Harrington Universal Cosmetics Company. They never heard of Harry Johansson. We called that Long Beach phone number, a woman answered and gave us the address where the telephone was installed. It turned out to be a swanky, modern apartment house. In apartment 18, we interviewed a good-looking brunette. She identified herself as Harry Johansson's common-law wife. She was well-dressed in the apartment that was richly furnished. What's it all about? What do you want, Harry? A lease business. You know where he is? Well, what's he done? Do you know where he is? He drove into Hollywood this morning. He might be back tonight. I don't know for sure. Is this your apartment? Yeah. It's mine and Harry's. You're sure that Johansson's not here now? Of course I'm sure. Why?  I have a right to know what it's all about. Johansson's wanted for forgery. Now, if you want to get involved, you help him hide out. I'm not asking for that kind of trouble. Go ahead and look. Take the bedroom, will you, Ben? All right. Never mind, cop. Thanks for the help, honey. I don't want any part of your troubles, Harry. I didn't know a thing about it, also. Ben. You better come along, too, lady. Well, tell him, Harry. I don't know what it's about. What's the idea getting me mixed up in this? How do you think I was paying for this place?  I don't want any part of it. Three room apartment, a couple of dresses. That's all he ever got me. You got no complaints, lady. That's more than he bought his kids. He took Johansson to the county jail where he was booked for suspicion of forgery. He called Mrs. Johansson and notified her. She immediately contacted friends and relatives and raised enough money for a rip to have her husband released from jail. Three days later, Johansson was arraigned and a date set for his preliminary hearing. After the arraignment, Ben and I took him back to the county jail for rebooking. I'd like to ask you a question, Johansson. Yeah? You've got any money of your own, then? Why don't you stick to your own business, copper? You're having a pretty rough time.  She got relatives. You know, that's the elevator. Come on, Johansson. They're not gonna put me back in force. Not in a hundred years. You've done two stretches already for hanging paper. You should have known better, mister.  Well, I'm not going back. Take it easy. You got a couple of more weeks on bail What's the matter with you? Don't you feel well? I won't get me back to Folsom. You're not making it any easier on yourself. All right, Archie.  I hate it. Every lousy bit of it, I'm not going back to Folsom. I'm not going back. Now, they understand. It's a good idea, mister. You remember that when you get out. They booked Harry Johansson in the county jail. His bail was continued and he was released pending a trial. During the next week, along with the district attorney's office, Ben and I helped prepare the case against Johansson. Three days before the trial opened, we had a phone call from Mrs. Johansson. She told us that her husband had disappeared. Although it was nothing we could do until he actually failed to appear in Superior Court at the appointed time. On Monday, April 3rd, the case of the state versus Harry L. Johansson officially opened. The defendant failed the show. Her bench warrant was immediately issued and we got out of broadcast and an APB on the suspect. Stakeouts were placed in his house and at the apartment of his common law wife. Two days passed. No sign of him. Nothing, Joe. Finally, he just checked it out. How about those two ex-con pals of Johansson? Did you check with him? Yeah, nothing there. I don't see how he can last that much longer. One suit of clothes, no money. He still got a checkbook. When did the skipper say he was coming back? On 7.30 tonight. 7.15 now. Forgery Friday.  Oh, yeah, hi, ma. I forgot to tell you when you called earlier. You're supposed to be home tonight by 8 o'clock. What's that, ma? Mary Fowler. She's coming over to visit tonight and Genevieve's coming with her. Yeah, well, look, will you try to explain to them that I'm working and I can't get away? Huh? If I possibly can, I'll try to make it home by 10. Will I be all right? What can I do? Genevieve's going to be disappointed. Yeah, if I'm later than that, don't wait up for me, huh? Yes, all right then. Bye, ma. Oh, all right, give her. Nicole just came in. Yeah. I found Johansson. We'll start it over. Who found the cars, Kevin? One of the people living back in the hills spotted it this way home from work. Huh? Hi, Dave. How you doing, Joe? Captain Elliott? How long's he been dead? It was last night, I figure. Come on over. You talked to the man who found Johansson's body, Dave? Yeah, he didn't touch the thing. What'd you find? A powder burns on the temple powder on the hands. A voice from homicide found the note. Next time, here it is here. It's been checked. Yeah, thanks. I'll ties in, huh, Dave? Pretty tight, yeah. Gene Beckel from homicide wants to talk to you, Captain. Okay, be right back, Joe. Right. Who do you address the note to, Joe, is why? No, the girlfriend. Look why you wrote it on? Yeah, blank check. What you've just heard was true. Only the names were changed to protect the innocent. On April 9th, an inquest was held in the coroner's office on the main floor of the Hall of Justice, Los Angeles, California. In a moment, the results of that inquest. And now, here is our star, Jack Webb. Thank you. The working detective comes in contact with many people in his daily tour of duty. People who are willing to cooperate and those who won't even try. It's a difficult task, but the police officer has been trained to try to please everybody to the best of his ability. So, with a cigarette, the people who make Fatima try to please all long cigarette smokers. They carefully select and blend the finest Turkish and domestic tobaccos to make Fatima extra mile the best of all long cigarettes.  Every pack is extra mile. Fatima. On April 9th, the coroner's jury returned a verdict that the death of Harry L. Johansson was caused by a gunshot wound in the head, self-inflicted. You have just heard Dragnet, a series of authentic cases from official files. Technical advice for Dragnet comes from the Office of Chief of Police, W.H. Parker, Los Angeles Police Department. Fatima Cigarettes, the best of all long cigarettes has brought you Dragnet from Los Angeles. Coming up, Duffy's Tavern. More good times on NBC.


The recent report released by World Health Organization and the International Labor Organization which puts 745,000 deaths rate in 2016 as a result of stroke and heart disease has elicited reactions from human resources practitioners. WHO and ILO say these casualties are reportedly to have worked an average of 55 hours weekly as against the 40 hours recommended by ILO. WHO has more in this report. World Health Organization, in a statement from its headquarters in Geneva on Monday, said that the figure was the first global analysis of loss of lives and health associated with working long hours. According to reports, working long hours is killing hundreds of thousands of people a year and could be getting worse due to the economic slowdown. The World Health Organization won by calling for employers and governments to cap working hours in order to safeguard employees' health. Some hater experts shared their thoughts and how it causes serious health hazards to workers. As much as employers want to achieve maximum productivity and they also don't want to also lose quite a number of their work outside. So with this now and this is actually telling on the health and is telling on the employees themselves because having to work, having to work 80 hours for a week, having to because labor law mandated that average in Nigeria, Nigeria labor law stays 80 hours. I mean 40 hours, pardon me, 40 hours per week. So because of employee wanting to achieve a whole lot, they tend to use their employer as more than the numbers of working hours. And this is really, really causing a lot of hazard in the health of employees. My own recommendation for handling this issue of long hours work for employees is we should embrace, gladly, we should embrace the issue of work flexibility, working remotely, working from any way the employer's shoes in as much as we provide some IT based shoes and make it to checkmate and see what they are doing. Some workers in Lagos also expressed how this has affected their mental health. It affected me to be a mentor because actually it was dozing.  So it really affected me. Stressful, I must confess. It affects the mental health because in balance, sometimes when you look at it, some of us will fall sick, in the morning you will be so tired. Stressful, really stressful and I always can't wait to get the weekend so I can rest and regain my sanity and ease off a bit. The World Health Organization says that hours should be capped for worker safety as long working hours appear to be the most significant occupational disease burden accounting for a third of work related disease. For Plus TV Africa, Gozika or HSE.


What's going on guys, it's your boy DPJ here today with another Destiny video and in today's video I want to talk about our year one legendaries. Now I do remember a time where Bungie stated before the major taking can update that our year one weapons would still have their uses and they told us not to delete them even though we knew that the year one gear was going to be basically pointless. I don't know about you guys but I have kept many year one weapons and no doubt I still have more year one weapons than I do year two weapons. So Bungie said they will still have their uses so what are they? Now I get the reason Bungie decided to make all our year one loot useless as they wanted us to move on to that new content and use new things which were part of the taking king which we have all done but I think now we should have the option to go back and use them year one weapons that we have kept hold of. I know it's a long shot and won't probably ever happen but how many of you guys would agree on there being an option to upgrade year one weapons? Legendary wise. I know everyone is thinking about that date Bungie and to be honest I am too but besides that I have some amazing year one weapons which are no way old P of sorts but are just amazing weapons I could steal and would be using now if I had the choice. What about this idea? Now I don't want to see the option to just pick up every year one legendary weapon and upgrade it but maybe seeing some sort of grind for an item which drops rarely which allows us to upgrade one single legendary. Maybe have this item drop rarely from others. This for sure would get people grinding more and for sure will get most of us who are kind of bored of Destiny back playing. Me personally I feel this kind of thing is for sure not needed it would and really should be something we can do. Yes for sure Bungie stole all our year one grinding away from us and rewarded us for that theft and new year two grind. A grind which in my opinion don't make up for the theft of all that year one work. I feel now is the time we are repaid in a sense. I feel now is as good a time as ever for us to be able to make use of our year one loot that we kept back. For sure maybe my idea of upgrading is a long shot and even having some kind of drop which allows us to upgrade a single year one weapon is probably a million miles off but in my opinion that year one loot we grind it so hard for needs to be relevant. It really does and dropping something that makes that year one loot relevant again will assure me that at the end of this cycle year of Destiny that year three won't start a fresh again. I mean look at it this way and this is mainly them year two players who started not long after the taking king or maybe with its release. Imagine this grind you have done for the past three months add another nine months of the same grind only for at the end of it and at the end of this year next September wise you find out it was awful nothing. That's how a lot of year one players felt and although the introduction of a new leveling system was an amazing move and I think it's at the right place now that don't excuse or the pointless grinding we all have to do. Hopefully Bungie can or maybe already have taken this into account. I truly believe they have plans for the old raid and hopefully something comes into place when that drops. But what do you guys think about this point? Let me know down below in that comments section. Hope you guys enjoyed the video do drop a like I do appreciate the support subscribe for daily destiny and I'll catch you guys on the next one. Peace out until next time. Peace!


I'm David Carlin, I'm a senior associate at CISL. I'm also the head of risk for the United Nations Environment Programs Finance Initiative where I cover climate and nature-related risks and opportunities with financial actors. I also am the founder of Cambium Global Solutions where I work with governments and innovators to help them develop sustainability strategies both to accelerate sustainable finance, manage their risks, and promote positive change within the financial ecosystem. So my role as a senior associate for CISL began probably a few years before its official inception when I had worked with Nina Sega and her team on a number of engagements around clients and also around risk frameworks for both physical and transition risks and climate change. So we had developed a few thought pieces on bringing together ways that financial institutions manage both types of risks but also ways that they can engage with their clients. And so from there our work has grown and in my capacity as a senior associate I spent more time looking at that intersection between climate and nature and the financial sector both exploring opportunities around nature-based solutions and thinking about the economic and financial risks associated with climate and nature breakdown. So finance really plays a central role when it comes to the future sustainability of societies and there are tremendous opportunities that that presents both in terms of supporting the growth of resilient communities, new innovations that are going to scale and power the future, but also major risks that the disruptive time it's a period of not only mounting physical risks from climate change but also new policy pressures, technological changes and market shifts that financial actors need to be ready for and ideally that supervisors need to be planning for on a systemic level. So there's a significant number of these challenges but as mentioned before the opportunities really will be immense for firms that are forward-looking and put in place plans to take advantage and capitalize on these new changes. I think CISL's role in driving systems change really begins with the high leverage interactions it has with the corporate community, with senior business leaders and thinking about how they drive institutional change within their organizations. So many of the organizations that CISL works with both from the financial sector to the real economy are ones that impact the lives of hundreds of thousands if not millions of people and so being able to drive these institutions forward not only can help make them leaders in their field but can also really provide the case studies and examples that will prove to others what needs to happen in order to promote a sustainable way of doing business and I think the thought leadership from CISL is really integral there so is the engagement and the convening that really comes with the CISL relationship between them and the business community. One recent example of something that's been tremendously impressive has been the release of the International Sustainability Standards Board or ISSBs work around both wider sustainability expectations and climate related expectations for disclosure. This has been an effort that began at COP26 in Glasgow and has really been about creating a common language and a common way of talking about sustainability and climate amongst both financial actors and the broader corporate community. In doing so they've brought together not only the best of standards from the task force and climate related financial disclosures but also a common framework that regulators around the world can use in order to produce more transparent, more comparable and more actionable disclosures and I think these kind of international initiatives are ways that we can really see sustainability moving faster. We can't go country by country, we can't go example by example so this pulling together is exactly what we need if we're going to get the results that we want.


Hi everyone, this is Jason here from Nathaniel School of Music. In this lesson, we are basically going to take a very standard chord progression as you probably heard in the intro video and we are then going to try and develop our own unique personality or our own flavour or our own style using just the same notes of the chords, pretty much the same hit points, the same inversions. So, there are a few very important things which so-called professional pianists do, you know, which make them stand out of the crowd. So, for example, if there's like 100 people who know this exercise or this pattern which I just played, the main goal of this video is to help you reach like the top 10% at least, you know, within a pool of people who already know this stuff. So, we are going to divide our lesson into five parts. We are going to use dynamics, first of all, to kind of make the chords a lot more unique and that's going to be really easy if you stick around. Then we are going to bring in a groovy baseline for our left hand, which will also improve your hand independence on the piano, very important. Then we are going to explore a topic which I call as time feel and then use two approaches on the piano, one with the right hand using broken chords, the other with the left hand using what we call as ghost notes, similar to what a drummer calls ghost notes. Then we are going to look at the inversions of the chord and look at building more thematic stuff by just using the inversions and modifying a few things and last but not least, we are going to look at how we can explore or expand this chord progression to develop different sections of a song, to try and build a verse or a chorus, you know, which work really well together, maybe a very busy chaotic verse and then a epic chorus, you know. If you haven't already, don't forget to hit the subscribe button and consider liking the video, sharing the video and so on and so forth. Now let's get right into the lesson. If possible, try and get your keyboards out or a book or both, perhaps. Let's begin. So there are four chords in this exercise and then we are going to develop those same four chords and try to build a unique personality as we are trying to say on the piano. So the chords are, I'm going to play them and then I'll break them down for you. Okay.  Let me show you the notes one by one. This is how I'm playing the C major chord, C in the bass, obviously. And the right hand, I'm starting off with a nice inversion, which will be G, C, E. Okay, not the normal one. Okay. So you do this four times. The first thing you could practice is play the right hand four times and play the left hand once. Like that, one, two, three, four. Okay, one, two, three, four. And then we move on to the next chord, which is B flat C, G, B flat C, G. And in the bass, I would like you to play an E bass. So altogether, it kind of becomes a C seventh with an E bass in the bottom. Okay. So normal C major, first chord. Then C seventh with an E bass.  How am I playing F major? A C F, A C F. Very close to the first two chords, right? Two, two, two, two. E flat C, G with an E bass. And then third chord is F major, playing it as A C F. Then A flat C F. Two, two, two. So I think it provides for some nice voice leading. So you could learn how to play these chords this way. Again, everyone. G C E, B flat C G with an E bass. Then A C F with an F bass. A flat C F with an A flat bass. Or stick on the F bass. Let's do that again. The first thing I want you to practice now is try playing the chords. First of all, the way I'm playing it now, which is nice and legato. Long, long, long hits. As long as possible. Yes, you have to lift it when you re-hit the chord or when you're shifting. But as much as possible, you're trying to keep it longish. This is again where you need to listen to the sound very often as you play. And then try staccato. Get that tonality. Back to legato. Staccato. And another thing you could try is to use the pedal. Just hold the pedal but practice lifting it just before or at the hit point of the next chord. Sustain on. And then the next chord. Almost as I'm showing you with my breathing, that's exactly where I'm lifting the pedal. So if you could follow my breathing, it's pretty much exactly how I'm lifting my pedal off and on. Okay? So it's pretty much a four by four. Counting. Two, three, four. One, two, three, four. Okay, so first focus on these three articulations, legato, staccato and pedal. These three articulations will, if you use them hand in hand in your song or in your section of music, it's automatically going to sound very interesting and very unique compared to what someone who programs music will end up doing. You don't have that many options. You do consider options while programming. It's going to take a long time. I think you can easily play legato, staccato, pedal on your own with you as the human in control over everything. Moving on. So now coming to adding dynamics to this whole equation. So when you're getting legato, staccato and the pedal going after you've got that, the dynamics are basically playing louder and softer over time. So specific chords, chord hit points will be louder than the other or dynamics could be looked at as varying your legato and staccato. So some chord hits will be longer and some other chord hits would be shorter. So I'm going to give you a couple of demonstrations and then I will explain exactly what's going on. You see the variation of each chord or rather within a bar of four, even though I'm playing the same chord, the intensity or there's something different about each hit point. So this actually for me, when I'm playing music, it comes from the groove of the song or more specifically what the drummer of your song is doing or what you imagine the drums to be doing. So if I try out the first approach, which is where you accent or hit a bit louder at the two and the four of the bar, that would be something like this. Doesn't it feel like a snare drum going on there? You can imagine like a... Something like that. Pardon my beatboxing skills. In fact, you could actually superimpose that drum groove with your voice with basic level beatboxing and on the piano, you could hold your ground. So wherever I'm imagining the snare, I'm just going to play the piano louder. Yes, some drummers may get a bit angry with that notion, but that's just something I wanted to practice and it automatically feels like there's a groove going on. As opposed to without. This just feels like someone's playing chords, but the chords are not dancing. So here I've used a kind of volume articulation to hit every two and four of the bar louder. Now, along with playing it louder, I could also play it longer or broader in terms of the duration. So you could either make it longer with your fingers itself, like what I'm doing, or you can even use the pedal and that gives you a bit more control and the pedal also changes the sound of the piano a little bit as it's adding some additional harmonic elements to the sound. So this is how I want you to practice. Basically, make the two and the four sound different, maybe louder or, well, longer. Or, you know, legato with the pedal or without the pedal. It'll be, there we go, with the bass. Another thing you could consider doing is perhaps play only the four of the bar a bit more louder. Sort of emulating an open hi-hat. So at the end of the bar, the drummer will sometimes open the hi-hats and I think that sounds incredible. So you keep that in mind and then try and play. So you could actually combine legato or make the notes longer and make it maybe even slightly louder. You don't want to make it annoyingly loud so that it startles people. But something like this. Some punch there. You could also flip it around and maybe accent on the one and the three of the bar. Okay, let's see what that does. For me, this gives you like a very different feel. It gives you a feeling like as though the drummer or the drum groove has been sort of done in a more laid-back or a half-time feel as we call it. Right? So your kick will be at one. So if you highlight the one and the three, you're kind of forcing the issue here wherein the drummer is not going to do kick, snare, kick, snare. If you were to do the kick, snare, it would be tat, tat, tat. This is a more like double-time kind of drum feel. Okay, but if you do something like this. See where the snare is coming. So you have these three articulations which I would like you to practice with the exact same chord progression, same inversion, same everything at the moment, right? So what happened there again? Two and four. Make it louder or make it, you know, more accented. Then you do opening the hi-hat at the four. Four. Open the hats at the four and then you kind of slow down or half in the drum groove by intensity, by doing forcing the kick and the snare. There you go. The first option on the other hand was doop, da, doop, da, da, da, da, da, da, da, da, da, da, da. Snare coming in faster. That, that, right? Okay, then the hi-hats opening. Okay. I hope you're getting the idea. You must've all heard a drum groove something like this. These are very standard drum groove. So a great way to just make your piano playing very unique and develop a very a vibe where you're playing chords in a very emotional way it's like the chords are speaking something you know and it's really serving the song and going to serve the groove and the melody of the song this could even relate to what the singer is doing which we can get into in another video so this is the first point I wanted to bring about with respect to chord dynamics let's now move on to creating a bass line and that's what we're going to do in the next part so thanks again for watching part one if you haven't already please like the video leave us a comment hit the subscribe button and share the video cheers


and welcome to this session. This is Professor Farhad in which we would look at an example that deals with property dividend. Most of the time, and what I mean by most, 99% of the time in the real world the company will pay dividend in cash. Sometime they might pay dividend using property and when they do so usually it's investments, securities of other companies. Let's take a look at an example that illustrates this concept. Adam owns shares of Microsoft stock. At December 31st those securities were carried in Adam's book at 1 million which was equal to the fair value. So we're going to keep it simple as of December 31st of year X1. March 21st, 20 X2 at the beginning of the spring the fair value of those securities went to 1.3 million and what happened at this point Adam declared dividend that is property dividend in nature. So Adam decided to distribute those dividend to the shareholders. Adam to distribute the dividend on April 1st to stockholders on record April 1st. So if you own Adam shares April 1st you will get the dividend on April 4th and the declaration date was March 21st. So what do we have to do? First we have to adjust those investment, those securities which is Microsoft stocks to market. Therefore we debit equity investment 300,000. We credit unrealized holding gain income of 300,000. So simply put the first thing is you mark those securities to market. Well then we're going to go ahead and prepare the journal entries that's needed for the dividend. We debit retained earnings which is we're going to reduce retained earnings by 1.3 million and we're going to increase property dividend payable because we are paying dividend and this happens on March 21st X2 which is the declaration date. Then on April 1st which is the records date we don't make an entry. On the records date what we do is we review our record to determine who owns the stock on April 1st in order to distribute those securities to them and on the on the distribution date let's not call it the payment date. We're going to debit the liability property dividend payable and we are going to credit equity investments. Simply put we're going to distribute to them shares of Microsoft stocks. We're not paying them cash we are using the stocks. Now think about it for a moment. Why do we have to mark the investment to market? Well think about it. What's the other alternative? The other alternative is to sell those shares, sell and cash them out. If you sold them you will receive 1.3 million. Therefore when you distribute them you have to reduce your retained earnings by the fair value. So whether you sold them or not in other words whether you sold them and realized the gain or if you kept them but you want to distribute them it's as if you have sold them. Therefore you have to recognize the gain then you distribute the shares rather than the cash and this is how property dividend work. What I'm going to do I'm going to invite you to go to farhatlectures.com and work multiple choice through false questions. If you're not a subscriber go ahead and subscribe invest in yourself. Your education is worth it. Good luck study hard and of course stay safe.