Now, Roma Wines, present. Suspense. Tonight, the Night Man, starring Virginia Bruce and Richard Walk. Suspense, presented for your enjoyment by Roma Wines. That's R-O-M-A. Roma Wines. Those excellent California wines that can add so much pleasantness to the way you live. To your happiness and entertaining guests. To your enjoyment of everyday meals. Yes, right now a glass full would be very pleasant as Roma Wines bring you... Suspense. This is the Man in Black, here for the Roma Wine Company of Fresno, California, who tonight bring you as stars Miss Virginia Bruce and Mr. Richard Walk. They appear in The Night Man, a new study in terror by Lucille Fletcher. It is a story of dark midnight's and of a woman to whom the familiar face and voice of murder return for vengeance. But before we raise the curtain on our suspense play, here is a message from Roma Wines. In many foreign countries where discerning tastes have found Roma Wines they are an inexpensive luxury imported and treasured. For Roma Wines are in every sense fine wines from the choicest vineyard country of California. They are products of age old winemaking skill aided by modern quality controls and tests that assure unvarying excellence of taste and character. Yet Roma Wines cost you mere pennies a glass full. Such enjoyable flavor and constant quality, such low cost, such high wine value have made Roma by far America's largest selling wines. Enjoyed by millions with meals when entertaining any time. Try Roma wine yourself. Tomorrow at dinner, no matter what you are serving, place on the table a cool bottle of ruby red hearty Roma California burgundy. See how much new zest it adds to food, how it makes a real occasion of even the simplest meal. To enjoy this extra meal time pleasure just ask your dealer for R-O-M-A, Roma wine made in California for enjoyment throughout the world. And now with the performances of Virginia Bruce as Stella Rhodes and of Richard Wolff as the Nightman we again hope to keep you in suspense. Warden Graves. Yes, Miss Rhodes. Sit down, won't you? Thank you. I hate to disturb you like this but I've traveled clear across the country. They wouldn't give me the information over the phone. I know. But this visit is all about Warden. To some extent, yes. You think one of our prisoners, Tom Nixon, has escaped? He has escaped. I'm as sure of it as I'm sure of sitting here now. I saw him at large in New York City two days ago. You knew Tom Nixon well, Miss Rhodes? Knew him. He was my mother's murderer. My mother was Mrs. George Rhodes of Huntington, Long Island. She ran a boarding house there. He killed her on September 18, 1933. We have all the records of the crime, Miss Rhodes. Tom was mother's chief boarder for ten years. I know him. Why, I sat opposite him at dinner table from the time I was a girl of 15. I knew him as well as I knew mother. I'd know him anyway. I see. And now he's at large. He's free. He's escaped this place. Maybe you're not aware of it. Maybe even his fellow prisoners aren't aware of it. But he's wormed his way out. And he's after me. He's after me. Oh, now, my dear young lady. Warden Graves. Ten years ago, mother was found murdered. I knew it couldn't have been anyone but Tom. I testified against him. I was practically the only witness of the trial.  He swore in the open court to get even with me. For ten years I've lived in deadly fear. I've watched the newspapers for prison breaks. I've moved from house to house. Made few friends. He's hung over me like a shadow. Even though I told myself he was locked up here. Locked up here forever. And now it's come. And where exactly did you see the prisoner, Miss Rhodes? That's just the point. That's why I know he's after me. I saw him in my own apartment house. Wow. He has a job there, running the elevator at night. That's what makes it so horrible. I've never married Warden Graves. I live all alone in a small three-room penthouse on the 18th floor of an office building. The other night, about a week ago, I came home alone from the movies after midnight. The big marble lobby of my building was deserted, except in a far corner near the elevator with his back toward me, there was a man down on his hands and knees, scrubbing the floor. Good evening. Good evening. Where is everybody? Isn't the elevator working tonight? You want to go up in the elevator, Mum? Certainly. I'll be right with you. Okay, Mum. What floor? I was in the elevator, and we had started to ascend, and I really saw him. It was Tom.  But everything about him, the crook of his head, his high, thin, bony nose, the hollow cheekbones were all the same. And then he turned and stared at me. I could see those deadly pale, cold eyes, those heavy eyebrows, still black, that familiar, quiet, sarcastic mouth. What floor, Mum? Oh, my floor. Yes, the penthouse, please. Penthouse? Where's that? On the roof? Yes, on the roof, please. 18th floor. Okay. Warden Graves. It was like being in a cage with a wild beast. He kept watching me, peering at me furtively as the elevator moved, agonizing slowness up and up past the floors. I shrunk back, averting my face. The light in the car was dim. My only hope was that he did not recognize me. Here's your floor, Miss. Thank you. Good night. Good night. Good night. You can go back down. I don't need anything, thank you. What's the matter? Forgotten your door key? No. No, it's just, it's right in my bag. I'll find it in a minute. You want me to let you in? Let me in. No. No, good Lord. I got past keys to all the doors. It's no trouble. No, thanks, but I... No, no. No, I have it right here. Good night. And that was the first time you saw him? Yes. I wanted to die. I didn't know where to turn. And that was all he did or said? Yes, but it wasn't so much what he said. It was the awful resemblance. The feeling that he was only playing with me, torturing me like a cat with a mouse. Warden Graves, I didn't even have a phone. I've always been afraid to be listed in the phone book. And the only way up to that penthouse was by that one elevator. I was trapped up there at his mercy whenever he wanted to come. What did you do? I spent the night crouched against the wall with a flat iron in my hand, waiting for that key to click in my lock. And the next morning? The next day I began to wonder if it all wasn't just a dream. Good morning, Gallica. Lovely weather we've been having, lovely dry and brisk, but not too brisk, not over-court weather yet. No, not over-court weather yet. I was only saying to Foley this morning. Gallica? Yes, Miss Rose, yes. Who's that new night man running the elevator? The one who came on last night. Oh, Foley? You mean Foley, Miss Rose? Why, that's Charlie Foley, nice old chap. Very friendly and obliged and too treated me to coffee this morning before I came on. Charlie Foley. Yep, that's his name. They're very partial to the Irish here in this building. Gallica, Foley. But he's a nice trustworthy and chap, Miss Rose. Honest too. Good morning, Miss Rose. Good morning. Forget something, Miss Rose? No, no. Just about this, Mr. Foley, it's just that he's rather odd-looking. I was wondering where he came from and if he's perfectly all right. All right. Let me tell you something. He was personally recommended by Ellsworth, Hitchcock, Pearson and Scott, the owners of the place. And that's the first time that's ever happened in my experience. Don't you worry about him, Miss Rose. He's a good man, member of our union and married with two children. Believe me, we're the only recommended man. Well, it all sounds like a fool-proof alibi, Miss Rose. And so you went back? I didn't want to, even then. I spent the day hunting for another apartment. But you know wartime New York warden graves. There wasn't another apartment to be had. I let myself be convinced until that night when I saw him again. Then Miss Rhodes? He called me Miss Rhodes. And now there was a cruel, sarcastic smile about his lips. The kind of smile I'd seen him give to Mama. You think he recognized you then? Recognize me? Warden Graves, I haven't changed. Perhaps I've grown a little thinner. Don't you see he'd come there only to trap me. He'd taken that particular job, plotted, schemed. Here's your floor, Miss Rhodes. It was only a question of when, when he was going to do it. When the axe was going to fall. He kept grinning at me as I stepped out of the elevator. Good night, Miss Rhodes. Good, good night. Excuse me, Miss Rhodes, there wasn't any answer to my ring. What do you want? What are you doing here? It's your laundry. They told me to put it inside the door in case you weren't home. My laundry? But you knew I was home.  That's right. Excuse me, I guess I must have been thinking of something else. Yes. I'm sorry, Miss Rhodes. Very sorry. That's all right. Good night. It was a crazy mistake. There I was thinking you could get up here some other way. But there isn't any other way, is there? No. Even the service elevator doesn't get up this far, does it? It's just like you're all alone here. Alone on the roof. What was that, Mama? No buzzer. I better answer it. And then what happened? Nothing. He came back again that night? No. I haven't seen him since. I barricaded myself in that night. Once it occurred to me that I might escape by running down 18 flights of fire stairs. But the thought of meeting him back in the groovy darkness kept me back. And I didn't know where the fire stairs ended, perhaps in the cellar where I would be utterly defenseless. It's too bad you don't have a telephone. Oh, it's horrible. The next morning I got down to the public phone and put through the call to here, but it wasn't any use. That was the day I was out of town. Yes, but Warden and I still don't see why they couldn't have told me. After all, I was giving them information. It's one of our strictest regulations at Osama Potomy State Penitentiary never to discuss any of our prisoners over the telephone. That's what they said. So you came all the way out here in person? Yes. And now you wish me to send someone to apprehend this man? I want you to bring him back. That's all. Back where he belongs. Miss Rhodes, Tom Nixon doesn't need to be brought back. He's here. Oh, no, Warden Graves.  Talk to him face to face. Maybe there's someone here calling himself Tom Nixon. But he's escaped. He's free. I know it. Will you just step this way with me, Miss Rhodes? No, no, I don't want to see him. I don't want to see his cellar or talk to anybody or... Tom Nixon's dead, Miss Rhodes. He's buried in the prison yard.  And this is the photograph taken of him just a week before he died. You see, he wasted away quite a bit. He was in the infirmary all last year. He became very religious too toward the end. Spent a good deal of his time praying. Praying? Mm-hmm. All the fights seemed to go out of him as soon as he knew he was seriously ill. But, uh, you'd say this was his picture, wouldn't you, Miss Rhodes? Yes. It's Tom, all right. And these little personal belongings, ordinarily, we turn these over to the family. But in Tom's case, there wasn't, uh, much family. You'd recognize these as his? Yes. I don't know the mob. And that gold watch, he used to wear it every Sunday at the mob. He rode a couple of noses before he died to a fellow prisoner and to the prison chaplain. You remember this handwriting? Yes. This seems to be it. Well, Miss Rhodes, now, how do you feel a little better about your elevator operator?  No, not at all. Not at all. But the likeness was so extraordinary. It was almost like seeing a ghost. A ghost? Come, come, Miss Rhodes. Snap out of it.   Guilt complex? I'm not guilty of anything. Oh, what I mean is Tom has been on your mind now for ten years. You testified against him. He threatened you. Gradually, you see him everywhere. No, no. Only this once. Only these last few nights. All right. But now you know the truth. That should clear your fears forever. Tom's dead and buried. Now go back and take a look at that night man again. Now that you know Tom's dead, I'll lay odds the whole resemblance will vanish. Well, I hope so. My advice to you, Miss Rhodes, would be to go straight home. Use that elevator as much as possible. Get acquainted with this foley fellow for your own sake. Try to get the better of these hallucinations. Otherwise, you'll start seeing poor Tom everywhere you turn. I'll try, Warden Graves. Well, thank you. You've been very kind. Not at all. Good evening, Charles. Good evening, ma'am. I have some bags here, Charles. Will you help me with them, please? Okay. That all, ma'am? Yes, thank you. Uh, this is for you, Charles. No thanks, ma'am. I, uh, never take tips. It's all right. I'd like you to have it. I'm sure the superintendent wouldn't mind. The superintendent hasn't anything to do with it. Well, aren't we going to start? Yeah. In a minute. Been out of town? Why, why, yes. I have. You've gone quite a while. I didn't see you for three or four nights. I was in the country visiting a friend. It's beautiful weather out there. The leaves are beautiful. I wouldn't know. You live in the city, Charles? Of course. Oh, isn't it hard to bring up children in the city? Children? Yes, but didn't I understand Gallagher to say you had two children? Me? What chance I have to have any children? Oh, I'm sorry. I'm a bachelor. By the way, my name is not Charles. Well, I guess this must be my floor. No, it's not. Then why are we stopping? The elevator's stuck.  Cut off? Mm-hmm. How could that happen? It's never happened before, as long as I've lived here. Well, sooner or later, I guess it had to happen. Isn't there some way we can get it back on? Some buzzer for the cellar or something? If the power's off, the buzzer isn't working. So wonder the lights are still on. The lights? Yeah. They'll go out in a few minutes, though. Then it'll be black in here. Black as a grave. Let's get out of here. Open the door. Can't. She won't budge. You haven't even tried. I don't have to try. We're stuck between floors. The doors flush with the solid wall. Solid wall? Yeah. They're kind of... ...bricked up...in a cell. But there must be some way out of here. Isn't there a little door in the roof? Something you can pry open? Something you can climb up out of into the shaft? I don't see any. But there must be. Climb up and feel around before the light gives out. There's nothing to get hold of. There's steel and mirrors, and I'm not tall enough. Stand on my bags. That's a good idea. Never hold me. Oh, he's all right. Just hurry. Here. The gladstone's strongest. No. Never make it. Oh, but stand on your tiptoe stretch. No. Let me try. No, I can't. I didn't think so. What are we going to do? What are we going to do? Wait. Wait? Wait until somebody comes along downstairs and finds the elevator stuck. And then rings up the superintendent. But that might be ours. Sure. Everybody's left the building. I know because they've all signed out. This air shaft's thick. Isolated. Nobody's down in the basement. And there won't be any passengers ringing for an elevator this time of night. You seem awfully sure about all that. Why not? Cigarette? No, thanks. Do you think it's safe to smoke in here? Sure. And suppose it isn't. What's the difference? Hey, have one. It'll soothe your nerves. No, thanks. The air's so close. Jumpy, ain't you? No. I suppose really there's nothing to be afraid of. Sooner or later, they'll come. Oh, sure. Eventually. It's just that this waiting and all these mirrors and being stuck. You're not Jumpy on account of me? You? No. No, of course not. But you were kind of Jumpy with me the other night, weren't you? The other night? When I came into your apartment unexpectedly. There. That was a mistake. Mistake? Yes, I just thought you were someone else. A friend of mine. Someone I've always been afraid of. But now I've learned it couldn't be you because this friend's dead. Dead and buried. Dead and buried? Yes. What was his name? Maybe I know him. Oh! What was that? Only the lights. I knew they'd give out sooner or later. So you are Jumpy with me? No, no. I thought you said this guy was dead and buried. Yes, he is. I saw his grave. Then why are you screaming like that? I'm not screaming. It's so dark in here. It's so close and creepy. What did you do to this friend that makes you so Jumpy? Do? Do to him? Nothing. I didn't do a thing. No. It was he. He threatened me. He was a murderer.  He was our border for ten years. And one afternoon... Don't move! Don't move! I'm not moving. Go on. One afternoon I came home and there was mother lying on the floor with her throat. Now where are you? I can't... Go on. No, no. I can't stand it. I can't stand it. Stop! It's you, Tom, isn't it? I thought you said your friend was dead and buried. Stop playing with me. Stop torturing me. Tell me the truth. You escaped, didn't you?  Someone else's grave. Just as I thought. You escaped and found me here. Answer me, Tom. Where are you? I can't see you. I can't... I didn't mean it. I didn't. I didn't mean to send you there. It was only because I loved you, Tom. Loved you so blindly, passionately for years. And hated mama. And hated you for loving her.  And framed you. Mama was so cruel to me, Tom. She treated me like a slave. And all the time flaunting you in my face. If you'd spoken one kind word to me, Tom and the girl. One word to let me know you loved me.  Here's the lobby, Mama. You can get out here or I'll take you back up to the penthouse as soon as we've picked up the other passenger. The lobby? You brought me down to the lobby? Yes, ma'am. Then you're not, Tom? No, ma'am. You're not going to... you're not going to kill me? I'm free? Yes, ma'am. Then it was all just a crazy illusion. A nightmare because the power went off and you look so much like Tom Nixon. Oh, forgive me. Please forgive me for being so sad. It's okay.  I didn't mean the myth. It was just because I was beside myself. What silly things, ma'am? Those silly things about my mother and Tom. Now, this is for you. No, no, I insist this time. I insist. I'm sorry, ma'am. But I'm afraid I never accept tips. Oh, but you must... Particularly from people who... framed my twin brother. Good evening, Warden Graves. Good evening, Lieutenant Nixon. Well done. And so closes the Nightman, starring Virginia Bruce and Richard Wall. The night study in... Suspense. Suspense is produced and directed by... William Spear. Do every woman listening tonight? I want to say a special word about making every dinner or supper you serve taste better. I want to urge you to start serving... Roma wine with your meals. It's simple. The cost is very, very little. And it works magic in making food more enjoyable. You can serve Roma wine with any meal or any time in any kind of glass you wish. Serve it chilled. Try different kinds of Roma wine until you find those you enjoy most of all. Try hearty, red Roma-California burgundy, or the delicately delicious Roma-California saterne. The cost is only pennies a glass, but you'll find even a pickup supper tastes like a banquet. Get Roma wines today. If your dealer is temporarily out of them, please try again soon. Just ask for R-O-M-A. Roma wines. America's largest selling wines. Made in California for enjoyment throughout the world. Richard Woff appeared through the courtesy of... Metro-Goldwyn-Mayer, producers of Mrs. Parkington. Next Thursday, same time, you will hear Mr. Van Johnson and Mr. Keenan Wynn as stars of... Suspense! Presented by Roma Wines. R-O-M-A. Made in California for enjoyment throughout the world. Remember this. The war is not over. For every reason, patriotic and personal, continue to buy and keep war bonds. Put as much of your money as possible where it will serve as a reserve to be used in the future. War bond dollars now can mean the realization of your long-range peacetime objectives. This is CBS, the Columbia Broadcasting System.


Have you ever found yourself interested in someone who sees you as a friend? It's tough when you are feelings for someone only to find out that they don't feel the same way about you. You're not alone. In a recent study published in the Journal of Social and Personal Relationships in 2019, over 80% of people experienced unrequited romantic feelings at some point in their lives. Many have been in your shoes and know just how difficult it can be to have strong but one-sided emotions for someone. It's easy to feel discouraged and want to give up altogether. However, don't lose hope just yet. With the right approach, it's possible to turn things around and go from being just friends to being in a romantic relationship. Let's explore some practical steps you can take to make this happen and see if it can turn things around for you. Step one, communicate your feelings clearly. Transitioning from the friend zone to a romantic relationship can be challenging, but communication is key. Psychologist Dr. John Gottman emphasizes the importance of clear and open communication as the foundation for successful relationships. When expressing your feelings to someone, it's essential to choose your words carefully and be considerate of their feelings. Using I statements can help avoid accusations or ultimatums and create a safe and respectful space for the conversation. For instance, instead of saying, you never see me as anything more than a friend, try saying, I feel like there's something more between us and I'd like to explore that. Remember, it's important to be prepared for any response the other person may have. They may or may not feel the same way about pursuing a romantic relationship with you. Or they may prefer to remain friends. Whatever their response, it's vital to respect their feelings and not push them beyond their comfort zone. Two, show your intentions through actions. Biological anthropologist and relationship expert Dr. Helen Fisher emphasizes the importance of actions in building a successful romantic relationship. According to her research, certain behaviors such as eye contact, touch and proximity are powerful signals of romantic interest that the brain is wired to respond to. Thus, expressing your intentions through actions is a meaningful way to convey your feelings and transition from being stuck in a friend zone to in a relationship. Consistency and reliability in your actions demonstrate that you're committed to building a healthy and lasting relationship with the other person. Make a genuine effort to plan dates and spend quality time together and always follow through on your commitments.  However, it's crucial to respect the other person's boundaries and comfort level when it comes to physical intimacy. It's important not to pressure them to engage in anything that they're not comfortable with. Always be considerate of their feelings. If they do express interest and physical affection, it may be a positive indication that they're open to exploring a romantic relationship with you. Three, give them space to decide. Clinical psychologist and expert in attachment theory, Sue Johnson, emphasizes the importance of respecting the other person's autonomy, emotional needs and building healthy relationships. In her book, Hold Me Tight, seven conversations for a lifetime of love. Dr. Johnson highlights the importance of emotional openness, ability, trust and fostering emotional closeness between partners. She believes that emotional closeness is the foundation of healthy relationships and that it requires both partners to be willing to be vulnerable, open-minded, and other. When it comes to transitioning from a friend zone to a relationship, it's important to give the other person space and time to make their own decisions. Dr. Johnson advises against pressuring or manipulating the other person into a certain way. Instead, respect their feelings and allow them the time they need to process their emotions and make their own decision. They do decide to pursue a romantic relationship with you, that's great. However, not, it's important to accept their decision, move forward while still cherishing their friendship. With the right approach, it's possible to shift things and turn your friendship into a romantic relationship. It may not be easy, but it's definitely worth exploring if you feel there is potential for something more. It's important to remember to take things slowly, respect the other person's boundaries and give them the space and time they need to process their own feelings. We hope you found these tips useful. We'd love to hear your thoughts, so please feel free to leave a comment below and share your experiences or any additional tips you might have. If you found this video helpful, please consider giving it a thumbs up and sharing it with anyone you know who might also benefit from this information. Your support helps us to continue creating helpful content like this. Thank you so much for watching and we'll see you again soon with more helpful tips and advice. The references and studies used in this video are added in the description below.


3. Designing your poster Have you ever felt stressed wondering what actually makes a design look good? When it comes to designing a poster, there can be a lot of decisions to make. But how do you decide what will actually make your poster look best? In this video, we will explore five principles to help with your design process. While this video is about poster design, these principles can be used when creating any type of design product. Whether you are creating a presentation for an undergraduate research symposium, designing a business card to land your first job, or making an infographic for a class project. Let's begin. Principle 1. Proximity When related information is clumped together with white space separating it from surrounding elements, it's utilizing the principle of proximity. This means items that are related to one another should be close together. For example, visuals should be paired with text or visuals that are related to them. Accordingly, headers should be close to the section they describe. While ensuring related elements are close together, don't forget that white space between elements is key for a clean visual look. Because it's so important, let's talk about white space just a little bit more. If everything is clumped together, it's hard to see the order of information. Every element, whether it's a picture, header, section, column, or the whole poster should have consistent white space around it. That means the same amount of white spaces should be included on every side. White space should also occur both outside an element and inside an element. For example, there should be white space around a text box separating it from other elements, but also white space between edges of the text and the borders of the box, so the text is easy to read. Principle two, alignment. Every element on the page being visually connected to something else shows the principle of alignment. This means elements should not be floating out on their own, and that elements should align with each other. Alignment helps create visual order for your audience. Principle three, repetition. Repetition is intentionally repeating design aspects throughout the poster. Repeating aspects like font, color, or size can help the audience make connections between information on your poster. For example, making all the headers on your poster match helps the audience easily jump from section to section. However, be careful not to draw false connections. For example, if this icon and nearby chart use the same exact colors, the audience might assume they are correlated even though they are not. So repeat wisely. Aspects of your poster like color and font should also match the tone of your content in the context where the product is being used or presented. For example, a somber topic might not come across well with bright colors, and a cheerful topic might not work with monotone colors. Principle four, contrast. Making your design elements the same or very different uses the principle of contrast. Repeating elements will help your audience draw connections, but it's also important to tease out specific elements to showcase their importance. For example, here are three graphs. Let's make them all the same size, color, and style to show they are connected to one another. But maybe one graph is more important to the conclusion made in our research. Now let's make that graph bigger than the others. Now our visual shows that these findings are connected, but this graph is particularly more important. While all our headers should repeat their style, they should also look different than body text to help the reader pinpoint which text to read first. By changing the size, weight, color, or font of the header, we can make it stand out against the other elements. Principle five, balance. When the visual weight of the design is equally distributed, the principle of balance is at work. That means there isn't one element overshadowing another. And elements aren't stacked too far to one side. The big things you will need to balance on your poster are text, visuals, and whitespace. For a truly balanced poster, about half of the poster should be visuals. About half should be whitespace, and only a quarter should be text. To hit these marks, try to include a visual with each section if possible. Add significant whitespace around every element, and use the least amount of text possible. There should also be various types of visuals spread out across your poster. This means there should not be just pie or bar charts. Multiple types of visuals will increase the balanced look of the design and make the poster more engaging. Conclusion. Designing an effective poster can be tricky. The great news is that these five principles of design can help you make more informed decisions about the look of your poster. Using proximity, alignment, repetition, contrast, and balance will help make your research more accessible and approachable for your audience.


Welcome everybody to the first episode of the brand new three-episode mini-series inspiration for updates. We're going to get straight into it here as there is a lot of pre-launch launch and post-launch stuff to cover, so sit tight and get ready as this is your inspiration for update, one day into the mission. Launching at two minutes and 56 seconds past midnight UTC on September 16th, the crew of Jared Isaacman, Dr. Sian Proctor Haley Arsenault and Chris Sembroski had a bit of a day in the lead up to the launch. Departing Hangar X with four hours and five minutes to go until launch, the crew got into their custom Tesco Model X's and headed off down the road to the suit-up room. Different from the room used by the NASA crew missions, which is inside the Neil Armstrong Operations and Checkout Building, this is fully owned and operated by SpaceX, and this is the first time it is being used for a mission as it is the first mission with a fully private crew. You can clearly see the SpaceX aesthetic with the bright white floors and the dark grey walls. The crew also had a nice live view of Dragon resilience and what looks like another display with either the Inspiration 4 logo or what could possibly be a countdown timer as well, it's quite hard to see from this angle. In due course, an hour, the crew got back into their Teslas this time with their spacesuits dawned and with three hours to go, they headed for historic launch complex 39A. And then they arrived a minute later. The journey between the suit-up room and the pad for these private missions really isn't much but it'd be a bit unfair to make them walk all the way with their spacesuits on in the Florida heat. Once everyone was out, the crew got together to do a group and lean back to have a look at the Falcon 9 and Dragon they were about to ride and after that Haley and Cyan headed up the lift and they were shortly followed by Jared and Chris. After signing their names on the wall of the white room next to the SpaceX logo, boarding commenced with two hours and 47 minutes to go, Haley being the first to enter the capsule. She was shortly followed by the rest of the crew, Cyan, then Chris, and then finally Jared. 25 minutes later, the seats were rotated upwards and the capsule was ready for the closing of the hatch which finally occurred after some removal of foreign object debris or FOD from the seal. The crew were ready, mission and launch controls were ready and the moment we'd all been waiting for was just around the corner. Over six months of waiting and finally at two minutes and 56 seconds past midnight coordinated Universal Time inspiration for Took to the Sky, marking the fastest turnaround time a Dragon spacecraft has ever seen at 136.7 days. A nominal meco and stage separation occurred at T plus two minutes and 45 seconds into flight with booster B1062 flipping around to perform its turn and burn manoeuvre. Once a stable roughly 180 by 575 kilometer elliptical orbit had been achieved, the second stage engine shut down which was an ample opportunity for Haley to reveal the zero G indicator for the mission, a stuffed golden retriever. Continuing the trend of plushies being used to zero G indicators on Dragon flights, this particular one was selected as golden retrievers are used as assistance animals at St. Jude Children's Research Hospital which this mission is supporting. The hospital also has their own version of the plush available on their gift shop which I'll link below. If you watched the pre-launch preview from last week's show you're probably wondering why I haven't mentioned the cupola yet and that's because we hadn't seen it until SpaceX tweeted a video of it with the earth in the background and it does look rather cool. I can't wait to see what photos the crew will be able to take from it and one final note to add, whilst the Dragon vehicle is in orbit it will keep setting the record for the most dragons to ever be in orbit simultaneously, the prior record being only two. Currently we have resilience and the two dragons docked to the International Space Station supporting their respective crew and commercial resupply missions. The current altitude of around 585 kilometers is also the highest a dragon has ever gone setting yet another record. That's it for day one so before we leave let's thank the citizens of tomorrow. The continued financial support from the escape velocity orbital suborbital angle round support citizens ensures that the show can go on and we can provide many updates just like this one. If you want to join them head on over to youtube.com forward slash tlmorrow forward slash join or just hit the join button that's underneath this video. Thank you for watching I'll see you tomorrow for day two of what has been happening up on orbit with inspiration for bye bye


Many people ask me, can I get a DUI on a bicycle? Well, there's two parts to that question, no and yes. Traditionally, the DUI statute in Arizona says that the vehicle has to be a motorized vehicle.  Now, here's where it gets tricky. It's when people have the motorized skateboard or the motorized bicycle, the wizards, and they haven't engaged while they're riding, now it's become a motorized vehicle and you can get a DUI. Now, we've had cases where people have said, look, I was riding my wizard, but it wasn't on. The motor was not on, I was just pedaling. And that's where you get some arguments with police on what's going on. Is this really a DUI or is this simply somebody riding their wizard while it's not engaged? If this involves you, where you've been charged on a vehicle that's not motorized, yet they said you were operating a motorized vehicle, contact us immediately, it won't help you out.


What's going on guys, it's your boy DPJ here today with not a destiny video. Basically, I was walking up out of my bed by my doorbell ringing. I jumped up, I ran down them downstairs because I'm waiting on a new mic. My mic's pretty broke at the minute so that's what I thought it was. When I opened my door, indeed there was a delivery driver there but he didn't have my mic, he had that great big box right there. Now, I've got a slight clue as to what is inside of this box. Basically, I know it was sent to me on behalf of Red Bull. Red Bull, you guys know about it in the US of A, we know about it in the UK but in the US of A, they have under Red Bull cans, there's XP codes and Quest codes. That is coming over to the UK now from the 9th of November, I was gonna say December, from the 9th of November. In the UK, from that date, from as the stores, game, whatever, you'll be able to buy them Red Bulls and get the XP codes, the Quest codes on the cans, I believe they're on the can or on the packaging, I'm not quite sure. But what's in this box, I have no idea. I mean, I'm hoping it's full of Red Bull, that would do me completely fine because I love Red Bull.  I mean, like, it weighs about 30 kg. I mean, it's ridiculously heavy for us gym goers but it's pretty heavy for the average skinny dude. Now, I'm gonna try and get into it. Now, I'm just gonna prop my camera up here, hopefully you guys can see. Now, the thing is, I don't really have any tools to do my motorbike which is outside and I can't really be bothered to go outside. It's cold, it's wet here. I'm just gonna try and break into the damn thing and bring about a few little... Oh, we've got Red Bull in there now, I need one. Okay, so let me pick up my camera and see what we've got.  Okay, so, things like that. Oh, no, things like that. Okay, let's see what we have.    Okay, what's going on here then?  Well, it's empty. It's empty, so where's all that juice gone? I believe it's soaked up in the butt.  As long as it ain't gone on the PlayStation or the controller, I am happy. And that seems to be completely dry. Let's have a look at this. The Taken King, this is a collected edition. Bad ass, put that there. No, it's all dry. There's a bit of juice.  That's where it's gone into. The sides are completely soaked.   But that is basically an empty cow. Okay, so the codes now, as you can see, are there. You know, whoever gets to use this, they can use it. There you go. I don't know if you can see that. The code is there. A26FVA7A, A26FVA7A, yes. But you know what? I need one of these cans. I'm just gonna open it now. Hopefully it don't spray everywhere. Let me just get this bad boy open. I can confirm there's no code on the back of the can. It's on the packaging. I'm guessing you'll have to buy these in the packs of four now. Like I said, these will be available in the UK. Now, I think this might have a second layer.  Oh, indeed it does. Let me just quickly swap my camera down.  But we've got here a taking thing, a legendary edition as well. So I've got a collector's edition and a legendary edition with an amazing PS4.  What we've got here, we've got, is that a young yard or a lanyard?   We've got all the wires and stuff there for the PS4. We've got here, what's that, a book? Oh, it's like a little notepad you can take on your journeys.  And what have we got there then? Oh, that sounds a bit wet to be honest.  Here we've got another book. Oh, these are like, are these postcards and shit?  And luckily they are not wet. Pretty sweet. We've got here the book where you've been chosen. Like I said, they will become available in the UK from the 9th of November. And that is there. That is a blacksmith's shader, I believe, which if you guys wanna be in with a chance of winning or you've got dues, follow me on Twitter. That's where I give these things away. So my Twitter is at DPJSE08 and it will be linked in that video description as always. And what is this here? Oh, these postcards. Oh, yeah, these are postcards. Oh, postcards, fucking.   I wonder if there's another layer. Nope, it's just box. But yeah, guys, that is my epic unboxing of this amazing Red Bull PlayStation 4, which will look absolutely sexy in my setup. There's my code PS4, my epic controller. So I'm just gonna replace that one there, probably give it to my daughter and put this Destiny version there in its place. But yeah, guys, I hope you enjoyed the video. Sorry about the packaging, it was a little bit bust. But what can you do?   But guys, hoping you enjoyed the video. Do drop a like, I'd appreciate the support. I will link the Red Bull Quest website in that video description if you guys do want to find out more about it. But I hope you enjoyed the video and I'll catch you guys on the next one. Peace out until next time. Pause. We all love these vids, they're the brand new games. Vid at the vid, many are the same. That's why you gotta go and find DPJ. Doesn't need gameplays, weekly snipes. Heavy uploads, gonna have you a hype. By the end of UK, now he's worldwide. DPJ, go and subscribe.


Happy Monday, trade hackers. Today is April 6th. Welcome to today's update. Starting with the trade hacker question of the day. Got this by email. If I trade futures, am I responsible for buying or delivering the physical commodity? Now, that makes sense, right? Because if we trade options on stocks, we can sometimes get assigned the actual stock, right? So it kind of makes sense to wonder, if I'm trading commodities, options on commodities, can I get assigned to a point where I actually have to take delivery or be responsible for delivering the physical goods? And so a situation might happen where, you know, let's say you have a short strangle on an oil, for example, I'm looking at a chart of oil, and we've had a big move in oil recently. And so, you know, your options could have gone in the money, right? And so if you have a short in the money option, there is the potential of getting assigned. However, on futures options, that can only happen if you hold them through expiration, if you let them expire. And what happens is in different commodities and different contracts and different expiration cycles are a little bit different. We have an entire course on futures options that kind of goes through the different symbols and what each one does. But basically, you can't get assigned early. So it's only if you hold them through expiration. And if you do, you will either, depending on the contract, you'll either get assigned the underlying futures contract or it settles to cash. So it just depends. So that's options on futures. So for example, if we go to the trade tab in oil, and let's look at, for example, the June cycle here, you know, the 38 days to expiration, you can see the June cycle of the options also is tied to the June futures contract CLM 20. M is representing June. So June 2020. So you could get assigned the June oil contract. Now, the question also in relation to that is, yeah, but what if I'm trading, what if I'm actually trading the underlying future and I let it expire? Can that create a situation? And the answer is no. I mean, on these electronic platforms that we trade on today, your broker is A, going to give you multiple warnings to close it out before expiration. And if you don't, they are going to simply close it out for you. Okay. So I've never, ever heard of anyone taking physical delivery or having to deliver. That just doesn't happen. There are specific brokers and organizations that farmers and other, you know, energy traders use to actually physically deliver and take delivery of different products. But that is not going to happen on a TD Ameritrade, a Tastyworks and E-Trade, any kind of electronic platform. They know that you are not trading specifically to take or deliver products. And so they're not going to allow that to happen. So hopefully that helps. Speaking of oil, oil down about almost 8% today. It was down a little bit more earlier. And it was popping up last week in anticipation that there was a potential agreement coming between Saudi Arabia and Russia with their whole disagreement on the oil supply and demand situation. And so that was kind of the anticipation. And it came out today saying, well, well, well, hold on, you know, we're, we're talking about having an agreement by today, Monday, but now that's being delayed to potentially Thursday or we'll see what happens. So oil coming back down a little bit. So that's what's happening in oil. What else is going on? S&Ps up 140, big upday in the markets. S&Ps up 140, Dow's up over 1200, Nasdaq up over 400, Russell up over 64. If we take a look at our MarketWatch tab, and I'm just looking at the largest 100 stocks, I mean, look at this, there's only two stocks at the entire 100 are declining. One of which is Conoco Phillips, oil company, makes sense. And the other is Gilead, which is a biotech. So not really tracking with overall stocks. It's more of an anticipation of the different products that they're producing. So big, strong upday. I mean, when you see a correlation like that with everything up, I mean, that's, that's a pretty powerful move. Now, what do I think that means? Well, if we take a look at just the S&P, for example, you're seeing this up move, I really think that, I mean, we have a, I think, I think at the very top, I think we could see 2800. I think we could rally up to 2800. I think if we rally up to 2800, I still think we're going to roll over. I just do not see a rally to new highs. I don't see this bear market being over. I think we are in for some more volatility and by volatility, I mean downside. So that's my take. So what did we do today? Well, we added a weekly double calendar spread in SPX. We closed out an Iron Duck book to profit, made a couple of other little adjustments. But again, we're just kind of letting our positions work for us. I did want to, I did read something over the weekend that I wanted to share. And that is in relation to earnings. You know, we've got some upcoming earnings announcements. For example, some of the airlines, look at Delta DAL. Delta is actually slightly down today. Yeah, slightly down today. And so they've got upcoming earnings, United Airlines, Delta, and then some of the banks are going to start reporting soon. Now what you'll see here is a lot of these, usually if they have their normal report date, you'll see a little light bulb on thinkorswim. I don't know if you can see that. It's kind of small, but on that little earnings indication, it shows a light bulb. What you'll see on a lot of these though, that they have upcoming earnings, but there's a question mark on that blue circle. As you can see on Delta here, there's a question mark. And what's happened is the SEC has pretty much come out and said, if you need to push your earnings date, if you need to push guidance to a different date, go ahead and do it. They're basically giving companies free reign to change the date, change their, you know, potential guidance. And so what does that mean for us? Well, you know, typically we know the date is pretty set. I mean, there have definitely been situations in the past where companies have come out and moved their date for one reason or another, but they're typically very, very solid as far as the date and time that they release and what they are required to report on that earnings announcement. That's not the case. I mean, with everything going on and companies not really knowing the impact of the coronavirus situation yet, the SEC has basically come out and said, Hey, you can push things if you need to do whatever you need to take care of your people kind of thing. And so as far as us trading earnings, we're probably going to be very, very selective on the earnings trades that we make this upcoming cycle because of that. And here's the thing, I mean, these companies could, you know, the day of when they're supposed to report earnings, they could come out and say, no, we're deciding to push it. Now that completely throws off the earnings strategies like we teach in our earnings course. And so it's just not the same game. And so be very, very careful if you are planning to trade some of these upcoming earnings, be very careful with the strategy that you use and what your expectation is. You know, we just don't know what's going to happen. Will we still get the same implied volatility crush? Obviously, if they push earnings to a new date, the option cycle that you place a trade in will not react the same way as you thought it might. And so just I'm just kind of warning you to be very, very careful and we're going to be very selective of trading earnings if we trade them at all. So I hope that helps everybody. Keep your position size small. Stay safe. We'll talk to you tomorrow.


Good evening, everyone. Good evening, Clément Kojitor. Hello, good evening. Hello. So welcome to Clément Kojitor. And I want to first of all thank you, Clément, for being with us tonight and for having accepted to be part of this online public program that we have launched with the Moodham at the end of October. Tonight is our third appointment with you. And before starting our conversation, I would like just to give a brief introduction about your work. So Clément is the winner of the Marcel Duchamp Prize in 2018 with Evil Eye, the film that we are presenting on our Mi Family platform. Clément covers in his large numbers of film a different range of subjects, as the perception of reality, the primitivism, the survival of the sacred, the symbol of figures taken from apocalyptic stories. His work analyzes the relationship between humans and images, keeping as a main focus the value of the transcendent and the importance of belief in life. And I'm thinking now about two of your films. One is Nile Sial Nile Athech, Neither Heaven Nor Earth, where you are documenting a military campaign of soldiers in Afghanistan. And at a certain point, mysteriously, suddenly the soldiers disappear completely from the scene as if something supernatural happened beyond our imagination. And I'm also thinking about Bragino, another film that is actually more a documentary where you are focusing your attention on the relationship between two families who are living in the Bragino village in Siberia, and they are living in a very bizarre way. They want to live independently from each other. They want to be separated. They even built a barrier in the village in order to keep distance from each other. So they are kind of struggling between different feelings in their lives, from one side the fear of each other, but from the other side we can say the joy of living in such a wonderful natural landscape. This documentary has been declared by Tellerama as a crazy ambition, as a wonderful rare masterpiece. And in one interview, you also declared your film as a way to narrate about human beings' deepest fear. Now I'm interested in knowing more about your consideration of human fears. You are also talking about fear in the evil eye. This word is coming back a few times in the film. What are today the deepest fears, Clément, you want to investigate to explore? First of all, thanks a lot for this invitation. I'm very happy to be here with you and the team of Moudam for this talk. Concerning the fears, first of all, I think that fiction and exploring narratives is a way to cohabit with something that you don't really understand from the world or from yourself and that can also create fears. And it's also a way to cohabitate with these fears. And I think the situation for me in my work changed a lot the last two, three years, but I think the world changed so much and so quickly the last few years. So I think it's not anymore so much about which fears, but how to deal with those fears, how to go through those fears, how to face those fears. And that's what I'm really aware and what I'm really working on, because I think that now in some way fears are everywhere, fears of disease, fears of ecological collapse, of solitude in this situation. Yeah, fear is growing in a way, maybe not for so long, but now it's not so much about which fears, but how to face it. I think that I'm interested to express that in my work or how to deal with those fears. Yes, and I think we can definitely see your point of view in the evil eye. This is a film that has been designed specifically for the Marcel Duchamp Prize. You draw inspiration from US advertising imagery. If I'm not wrong, you took the idea during a journey you made in US where you have seen a child face used as a political advertising campaign. You then got the idea of the film, meaning that you decided to acquire the rights of all the images from the world's most famous images banks such as get your shutter stock, which usually use these images for a political or advertising purpose, and you completely decontestualize the images. You use the images in order to create your visual universe in a film format. And the main character of this film is the figure of the woman. The woman is present as a child as a young woman as a grown up as an adult, even the names of the US tornadoes are actually women and you are listing them at the beginning of the film. You're referring, I think to the cliche of the female figure who appears in some moments to be happy to be smiling and in some others to be really sad. A woman like Eve, we can say that has been tamed and then she failed. And the woman is also present not only through the images but also through a voice over who is there is this voice who is reciting a plea that is actually written by yourself. And I can say that is like a kind of an apocalyptic verdict that is proclaiming the difficulties, the fears, the obstacles that we are all facing in our life. You are kind of announcing the end of the world that is addicted to consumerism and to materialism. Now, I would like to let you talk about the structure of this film and what is the message you want to transmit? I don't think there is any like precise message but at the very beginning actually I saw this picture when I was in New York but I saw one picture of a child I saw twice in the same day. The first time was on a packaging of, I don't know, something in the grocery, something to eat, you know, and there was a face of a kid smiling. And maybe a few hours later I just recognized the same image of the same child on a big billboard. It was for the Trump election in 2016. And I just had the kind of, I just remarked that the same kid, the same image was used in what has been sold by his parents some years ago. And now this image is like a ghost that can fill an emptiness in terms of, in terms of products but also for an ideology. And I just was wondering who are those faces, who are those bodies that are in this kind of catalog. And I just tried to look to explore the database from Getty, Shutterstock, which is mainly a big catalogue of stereotypes and déjà vu. You have this feeling that you know each image, you know each expression of the body of the face, but you saw it already in the cinema, in the advertising, it's only images that you recognize and that's how it works because it called your memory, our collective like Western memory mainly, but also from the kind of section for all the part of the world. But it's mainly a white Western imaginary. And I was quickly overwhelmed by the presence of women in the database of the female body of the female faces. It's such a cliche, it's from the very early ages of advertising is that the body of the woman is create more desire and is better to sell something. So, little by little I came that I had to use this image is not to sell something or to work on ideological purpose but try to express kind of any story related to those characters who seem to me was haunting this place. Little by little, I was exploring this idea of the female character in the, let's say, Judeo-Christian Western mythology from the Bible to today. And one of the, one of the things really interesting is that in our mythologies, the evil come from the woman, the violence from the man, but the evil from the woman. And that's why until a few years ago, the names of the hurricane was only woman, maybe. And a few years ago, maybe in 2015 or 2016, they decided to share the, you know, to make it one female name and one main name. But before it was only woman, female name for the hurricanes. But I was really interested in this female figure from Eve to the witch from the woman who bring the evil in the community. And which is a well, which is a way to, in French, we say le bouquet-missaire, you know, the scapegoat, or like, you know, in the community, there is one element who was accused to have brought the evil in the community. So, little by little, I can, through this kind of elliptical experimental story and trying to express things that were hidden in the images, because maybe after 15 years of working with video images, editing, sound, language. And I know, I'm so much convicted that you can, one image can express one thing and he's totally opposite, depending on the context. So it was about a lot of, about revealing something hidden in the image by the context and by the editing. How the image dialogue with the sound, with the language, and how, which energy and which emotion is conducted in the shot at this precise moment. So it was like a laboratory with sound words and images. Thank you, Clément, for this explanation. And it's interesting that you said at the beginning that the image of the child when we were talking about the beginning is like a ghost of an ideology. And then now you said that, of course, what you want to express is trying to explore things that are hidden in the images. We are actually living now in a generation in an era where we are completely bombarded by images, by news, by information. Everything must be connected in the quickest possible time. But sometimes for us it's also difficult to distinguish what is real from what is fiction, from what is invention. So we are definitely living in a stereotype society. And I would like to know what do you think about this debate between reality and fiction, reality and artificiality real and fake? A lot of my work is focused on this very, very tiny line in between. We don't know really if is it about facts or is it about fiction or is it something real or something that we are dreaming. And I think our brain, our spirit is a mechanism who is always producing fiction. If we think about our childhood, I think half of our memory of what we think about our childhood is a fiction we created ourselves. Or people told us things about our childhood when we were little by little. It's a big mixture between some things that really happened and some things that we think that happened those ways, but we probably build up some memories. And I think our lives in this process is until our death is still acting. And fiction in some way in literature, theater, art and opera, cinema is a way to question how this use of fiction is how there is maybe two extreme like the first one is poetry and the other one is lying and fiction can be in between these two extremes. But now the situation has been so is now so much complicated with because this the presence of fiction has now totally connected to science to journalism to ideology to political that it's in a way it's, it's so much difficult to it's not anymore play or it's more a metaphysical question to explore on stage or in our books or in our screens it's, it's about not being lost in, in what we think is the reality and this reality is building our community, you know, and I think that a community starts when people are telling themselves the centuries. And but what about when those stories are dangerous lines or dangerous. So this borders is, is not really clear and won't never be really clear but what strikes me so much now it's how it's unclear in so many levels in so many fields in of our lives and especially in the political and scientific fields. Thank you, Clement. Now, I just want to ask you a last question, because I think we're running almost out of time about another amazing project you have made the Amoros Indus that is a short film it was born as a short film as a adaptation of an opera ballet by Jean-Philippe Rameau from 1753. And then you re-adapt this music, putting it in dialogue with modern dancers, cramped dancers, break dancers, hip hop dancers, and you create this very intense dialogue between the strength of the dance and the spiritualism of the music. You had also the opportunity to present this project as a real performance as a show at the Opera in Paris. And I just would like to ask you a little bit more about this amazing project, which is a little different from the Evil Eye. Yes, both projects. I mean, the video and the opera stage production was produced and commissioned by Opéra Nationale de Paris. And at the beginning, it's part of the 3rd Seine third video collection, which is a kind of carte blanche that Opéra Paris gives to visual artists, filmmakers, writers in order to direct a short video related in some way to the opera world. And when Philippe Martin, the artistic director, asked me to do something for this collection, I immediately thought about one idea I had in mind since a few years and I was just waiting for the opportunity to direct it. And it was this famous, very famous piece in the Baroque French music, which is very, very known. And I was listening to this music that I really love. I was hearing some deep tension and deep forces that could maybe welcome or invite some other dancing energies and bodies and personality that it's usually made for, you know, because it's part of an opera ballet, so it's made for dancers and singers and dancers on stage. And I was wondering what kind of dancers I could invite from that and making research, I discovered Trump and I immediately recognized in the movement the tension I saw in my mind when I was listening to the music. And so in some way, I think that staging is a way to set up meetings between elements, landscapes, bodies, faces and music and to bring them together and to film this meeting. And so we shot one day at the stage of Opera Paris. And me, the dancers, the choreographers, we immediately felt something strong happening between all of us and the music. And that there was something revealed from the music with their dancing and with them and yes. And then a few days after I finished the video, I showed to the director of Opera Paris, the Fanisner, which is the first audience for the video before they are screened or launched. And then invited me to stage the whole production, the whole piece of the opera, which is not six minutes as the first video I made, but three hours of opera with singers, choreographers and of course dancers and to work on this piece with which is a very problematic political piece coming from the movements, but also colonialism, from the French colonialism at this moment. And so it was also a way to understand and to work more deeply on what kind of tension was in this piece. And because the tension in the crump music are really strong and come from a political conflict in USA after the aggression of what they came by the police. And in the riots in LA, I think it's 1992. And then little kids and teenagers and young adults start to dance to express the political violence and tension they felt. All these tension are about political tension and the whole work was about to dialogue with history, with ideology and with this hidden tension in the music and to express it, to reveal it with the body. Thank you, Clement. I wish I could see it actually in Paris. I really want to thank you for this amazing talk. I would like to also conclude then underlining the beauty of your films of your project where we are completely hypnotized by your images by the power of your narration. You're able to create, I can say, a new immersive visual universe where images generate the model and the model generates the images and it's the question that arise from your images. I can say it's not a question of confrontation but more of an encounter from the image originates a language and our faculty of imagination. And our mind is completely floating in your visual immersive language, guiding us towards a new reality that we can explore both with our eyes and with our mind. And I invite at this point the public who is listening to us to immerse themselves into your universe and to be kind of included in your vision and in your world. So thank you, Clement, very much. Thank you everyone for listening and I wish you a pleasant evening. Thank you. Thank you very much. Goodbye. Bye-bye.


The Columbia Broadcasting System presents a new comedy. My Friend Irma. starring Marie Wilson as Irma and Kathy Lewis as Jane, with John Brown as Al, and life Erickson as Richard. Friendship, friendship, just a perfect friendship. When other friendships have been forgotten, there will still be hope. My Friend Irma. I'm one of thousands of working girls in this country who, for reasons of economy and the desire for companionship, live with a roommate. My roommate is Irma Peterson. You couldn't want to meet a sweeter and more generous person.   Friends, the other day I was reading the newspaper and I said, Irma, look at this. A man is going over Niagara Falls in a barrel. And Irma said, yes, it's not that way. Why did you get married in the first place? She didn't even go to college. But Irma, strangely, is the least of my problems. Right now I'm involved in that fascinating feminine version of fishing. I've got some man I love on the hook and I don't know how to land him. He wouldn't be wonderful. Instead of just being his secretary, I'd be Mrs. Richard Rhineland as a servant. Irma, a yes, Jane, look at this society page. Richard's family is all over it. His mother was guessed as a luncheon. His aunt Cornelia was given a tea by the lady's auxiliary. His father was present at a dinner given in his honor. Well, no wonder they have so much money they never have to buy their own food. Oh, Irma, it all looks pretty hopeless. Hey, Jane, honey, don't be so depressed. Oh, I can't help it. Frankly, I think I'm reaching for the stars. After all, I'm sure Richard's family wouldn't be crazy about the thought of their only son marrying a girl who works. Well, that's easy to overcome. How? Quit your job. Oh, Irma. Honey, I've got to figure something out. Well, I'm glad Al and I have so not have no such worries. You see, ours is a perfect arrangement. How do you mean? Well, we have no financial problems. Our relationship is very simple. I have Al and Al has me and we both have nothing. Well, I'm too busy to argue at the point, so I'll just go along with you. Come in. Oh, Richard. Hello, Jane. I've got to talk to you. Will you excuse us, Irma? Oh, certainly, I understand. Couples like privacy. Gee, you should see how furious Al gets when the cops say move along. Richard, you seem so upset. What is it? Jane, I couldn't wait until I saw you. There's something we must discuss. Now, here, read this, this Broadway column. Now, let me see it. What young society stockbroker was seen with what young secretary at what nightclub on what evening? Richard, what's passing? Three out of four? Jane, I am not concerned with just this item. Now, it's the general idea that my family detests cheap publicity or notoriety. And if there's anything that would kill our chances of getting married, it would be that. Oh, but Richard, remember me? I'm just a poor working girl. How'd I get my name in the paper? Who knows from Jane Stacey? Well, Jane, I just want you to be doubly careful. Now, remember, no publicity of any kind. Oh, Richard, I promise. And believe me, I'll keep my name out of a newspaper if I have to die anonymously. Sure, come on in. Look, Jane, it's Al. Hi, Al. Hello, Al. Hey, why do you look so upset? Got business worries. I was just informed I only got two more weeks before my unemployment insurance runs out. Al, you can always get a job, can't you? Kitty, I came up here to be comforted, not insulted. Well, Irma can comfort you. Richard and I have our own problems. Yes, come on, Jane. We'll discuss it over a cocktail. OK, fine. So long, Al. Be back soon, honey. What do you mean problem? Has Jane got trouble? Well, I think so, Al. You see, Richard's family have their names all over the society page. They're rich and social and they know all the people in the horse he's set. Poor Jane, she doesn't even know any horses in the people's set.  But, Al, how can we prevent it? Only one way. We've got to get Jane some sensational publicity. Publicity? Why, certainly. Richard's family gets publicity on the society page. We'll get Jane's name on the front page. That'll put her in solid with the family. Solve everything. But how can we do that, Al? We need help. From who? There's only one man who can help us. Who, Al? Who but... Hello, Joe. Al, got a problem. How can I get publicity for a girl? Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. No good, Joe. Yeah, I know what it did for Lady Godiva, but they got traffic cops nowadays. What else? Huh? Uh-huh. Uh-huh. Uh-huh. Great. Got you. Irma got just the thing. Hand me that Daily Gazette. Well, here, Al. Let me see. Oh, here we are. Daily Gazette Baton Beauty Contest. Girl, your chance for fame and fortune. Megalyn, a picture of yourself in a bathing suit to Miss McHugh, contest editor of the Daily Gazette. Married women are ineligible. Ineligible? That's a lie. I've talked to many married women, and I can understand every word they say. Please, Chick. Now, this is what we do. We send in Jane's picture and enter her in the beauty contest. Jane in the beauty contest? My certainly, honey. Can you imagine the expression on Richard's family's face where they open up the paper and see Jane's picture in a bathing suit? Oh, Al, that's wonderful. And Jane's so pretty. I know she'll win, and then after she wins, she'll become a big Hollywood star. Could be. Jane may even win an Academy Award, and she'll bring an Oscar home. Well, Al, we're doing the wrong thing. Why? If she brings Oscar home, Richard will walk out as sure as you're born. Chickens. Oscar is a statue.  We've got to find a great picture of Jane. It's only me, Professor Cropaccio. Tell me, what are you doing with that picture album? Oh, we're trying to find a picture to enter in a beauty contest. Picture in a beauty contest? Beauty is not found in pictures. Beauty is found in the trees, the board, the flowers. What's that picture there? That's Herman, a bathing suit. You know something? I've been wasting too much time in the woods. Well, you are a lucky man. Beauty in a woman is such a priceless thing. In my youth, I searched the continent for a perfect woman. Finally, I found her. She was gorgeous. A perfect face, perfect figure. I was broken up for days. Why? Her husband was a wrestler. He broke me up for days. Tell me, does Jane know you are putting her in beauty contest? No, she doesn't. You see, Professor, we always like to help Jane with her problems. You know, chicken, there isn't one decent picture of Jane in this album. But there's a great one of you in a bathing suit. What are you going to do, Al? We're going to send in your picture and write Jane Stacey's name under it. But Al, that could lead to trouble. What if my picture is in the paper and someone falls in love with me? They'll have to ask my father for Jane's hand. Chicken, we're doing a noble thing. Now write Jane Stacey on the bottom of your picture and put it in that envelope. Well, okay. Shall I enclose the picture? What's that name? You still got room. You could enclose the bathing suit. Say, Professor Crow, the contest closes at five o'clock and this has got to be in the mail. Would you drop it in the mailbox? Certainly.  Goodbye. Isn't it a nice feeling doing things for your friend? I bet if Jane knew what we were doing for her, she'd go out of her mind. Yeah. There's nothing like doing a good deed. You know, Chicken, I feel like a Boy Scout. How about a kiss before I go? Certainly, honey. What are you laughing at? No Boy Scout ever kissed like that. He is sound happy. I just left Richard and it was wonderful. He was so attentive. You know, I may be counting my chickens prematurely, but I wouldn't be a bit surprised if he pops the question. What do you think he's going to ask you? Chicken pops the question as a standard phrase. It's used to signify the dying words of a single man. Oh, Jane, darling, you mean you and Richard? Oh, no, not yet, honey, but it looks encouraged. Yeah, but I don't understand. Irma said you had the blues about the guy. Oh, that. Well, Al, some columnist hinted about Richard and me in the newspaper, and if there's anything that could kill my chances with him and his family, it would be any kind of publicity. Yeah, well, Irma and I were thinking a lot... Of course, I have nothing to worry about because I have no more chance of getting publicity than the Queen of Sheba. Right, Irma? Yes, Your Majesty. What's going on with you two? Why are you looking at each other like that? Can't help it, we're in love. Yes, with each other. Then why are you staring like that? We don't trust each other. Well, I only hope that whatever the two of you have been up to doesn't concern me. I wash my hair, so I leave you with two words. Goodbye. Oh, chicken, we're in a lot of trouble, but we can still pull out. I'll tell you what to do. We've got to stop the presses. You've got to go down to a daily gazette and talk to the editor. Well, what'll I say? Say anything, and if you have to, because it's an emergency, flirt with him. Even sit on his lap if you have to, but stop those presses. Oh, hell, that's silly.  He'll just increase his circulation. Now between the acts of my friend Irma, it's the sportsman quartet and their novel arrangement of If It Isn't Love. A secret is secret. We've got a little secret. A secret is secret. It's a secret kind of secret. We're aching for a child, it's to every daffodil and tell the world about it. In fact, we think we will. If this isn't love, the world is crazy. If this isn't love, I'm daft as a daisy. With moons all around and cows jumping over. And cows are jumping all over. There's something amiss and we'll either have to If this isn't love, there's an apple on top of William's bell. With this, I cannot grapple because you're so adorable if this isn't love. If this isn't love, we're swinging on stars we're riding on rainbows we're fusting with blitz and we'll kiss your hand to sin if this isn't love. On Fifth Avenue. Wind is shopping, daydreaming about becoming Mrs. Richard Rhineland of the Third. I can just see our wedding day. Irma will be made of honor and best man will be Al. On Second Thought, maybe we better elope. The best man has to carry the ring and I don't want a pawn ticket put on my finger. They're all the cute and I love them. Best friends I have in the world. Always be so embarrassing for her and Richard when her name appears in the paper. We've got to keep it out. Don't you know any big shots? Oh yeah, but they're all on probation. Oh, hello. Huh? Daily Gazette? What's that? Jane Stacey has qualified for the finals at Atlantic City? But listen, mister. Mister! Oh. Oh, chicken, we're trapped. We've got to think of how to get Jane out of trouble. Let's think. I'll try. Sort of anything yet, chicken? No, but I'm thinking. Atta girl, keep trying. How you doing, chicken? I think I'm getting a little closer. Keep trying, honey. Got any thoughts yet, honey? Al? What? Would you mind repeating the question? Oh. Wait a minute, chicken. I think I got the answer to our dilemma. I just remembered. This contest is for single girls. We'll tell them Jane is married. She'll be disqualified and they won't print the picture. Oh, that's wonderful, Al. I'll get them on the phone. Hello, Daily Gazette? Give me the department that's in charge of the bathing beauty contest. Hey, chicken, you talk to them. I'll tell you what to say. Hello? Daily Gazette? Tell them if they plaster that picture of you wearing a bathing suit in the newspaper, they'll wind up in court. So they better not print it. If you print that picture of me in your bathing suit, I'll get plastered and wind up in court wearing the newspaper. No, chicken! No, chicken!  And you are meant to have a husband who works and you have four babies. So you should be automatically disqualified and you're sorry. I'm sorry. The contest is for single girls who should be disqualified because I've just found out that I'm a married woman with four husbands and a baby who works automatically. Hold it, chicken! I'll tell you. Hello? Listen, Jane Stacey is married. Yeah, I got four kids on the level. Goodbye. It's all fixed, chicken. Jane won't get no unfavorable publicity. It's a closed chat. Oh, gee, Al, you're so wonderful. I don't know how to reward you. Well, chicken, you know what little Al likes. Oh, Al, you're so persistent. All right.  I'm home. And I can't quite describe the scene of domestic bliss that greets my eyes. Al stretched out upon the sofa eating a hard-boiled egg and Irma's at his feet picking up the shell. Now I know why Al calls her chicken. Irma's always good for a hard-boiled egg. But I don't like the expression on their faces. When the two of them get that angelic look, I know it's time to run for the hills. But I said, Irma. Yes, Jane? Did Richard call? No. Are you sure he didn't phone? No, Jane. I didn't hear the phone ring. I know if he called, he'd have sense enough to ring the phone first. I can't understand it. Come in. Hello, Richard. Richard, what's wrong? You're white and trembling. Maybe he's hungry. Want a hard-boiled egg, Richard? Jane, look at this newspaper. Newspaper? Jane Stacey, contestant in Atlantic City Beauty Contest eliminated upon disclosure that she is married and the mother of four children. Me? Well, finish the lunch. Think I'll be running along.  Richard, surely you don't believe four children. Why, it's ridiculous. I haven't even left the house. Now, Jane, certainly I don't believe it, but my family read the papers. Now, how will I explain what will I say? Well, just say that Jane isn't married and the children are four typographical errors. Better call home and try to catch them before they read the newspapers and explain things to them. Yes, yes, Richard. That's a wonderful idea. Hello, Dad. Yes, Dad. Yes, Dad. I read four children. What? The morning edition said five. Oh, no, no, it's only four. Oh, I mean... Yes, Dad. Yes, Dad. Yes, Dad. Yes, Mother. Yes, Mother. Yes, Auntie. All right, Jeeves. Well, you know what this means. You have five phones in the house. It's still Irma. Jane, I don't know how I'll explain this to my folks. I don't know how we get into these things. Every time I'm with you, something happens. But Richard, I... There's no point in this talking, Jane. I'd better rush home and see what I do. Bye. My, it's quiet. Just the calm before the storm. Irma Peterson, what have you and that fugitive from an honest living been up to? Oh, Jane, I didn't mean anything. Honest, I thought you wanted publicity, so I sent my picture in your name in the Atlantic Say Beauty contest.  Only four. Well, I'm glad you thought fast, otherwise I'd be leading a parade. Well, Irma Peterson, this is the last straw. We're going right down to the gazette and you're going to straighten everything out, even if you have to enter that contest. Well, I showed Irma what it means to meddle in other people's business. Here we are at Atlantic City. It's strange, doesn't it? Well, I'll tell you something stranger. Irma is Miss Greater New York. The gazette would retract the item about my four children only on condition that Irma go through with the contest. There she is in all her glory walking up and down the reviewing stand. She's wearing a bathing suit, I think. And Al is in his glory. So far he's collected six Cupid dolls and nine boxes of saltwater taffy by putting a brick under his hat and asking the man to guess his weight. But now a fantastic thing has happened. Irma was acclaimed the winner. She was given a large silver loving cup and there she stands on the boardwalk at Atlantic City making her thank you speech. Thank you. Again I say thank you. Did I say thank you? You did. And as you know beauty is not inherited. It's something you get from your mother and father. But I'm so happy because in voting me Miss Greater New York I want to tell you that I will take great pride in executing my responsibility and I want to thank you again for my execution. Hurry up Irma we'll miss our train. Okay. Oh Al honey will you carry my trophy? Certainly chicken. Gee what happened you're limping. Unfortunate accident. Drop my hat on my foot. And so as we left beautiful Atlantic City we waved goodbye. And even the waves wouldn't wave back. When we got home there was a knock on the door and in came Richard. Oh Richard gee it's wonderful seeing you. Now about Atlantic City. I know I know Richard I know we had to go through with it it was the only way to make your family understand everything about me and now they know that I'm in it. Oh of course they do and in fact father saw Irma's picture in the paper. Oh no more trouble. You said it father wants to meet Irma. Well now that Irma has won a cup and has become a celebrity there's no living with her. She really has delusions of grandeur. Because that night as I was trying to get the Atlantic City sand out of my hair Irma said. Gene I'm going to enter another beauty contest but it's important that this one must be a little one. Why? Well now that I've won this cup I'd like to win a saucer to go with it. Well with a cup and saucer quite a dish is my friend Irma. My friend Irma was produced and directed by Sy Howard. The nice script was written by Sy Howard and Park Levy. Remember next week instead of dialing your telephone to listen to your best friend dial your radio to this same Columbia station at the same time to listen to. My friend Irma. Starring Marie Wilson as Irma and Kathy Lewis as James with John Brown as Val and life erics in this Richard. Professor Kropotkin was played by Hans Connery. Music was by the sportsman quartet. Laurie Webster speaking. This is CBS Columbia Broadcasting System.


Nigeria's 17,000 governors are set to meet in Lagos two months after their decision-making meeting in Asaba. They will be reviewing the state of the nation as it affects the three geopolitical zones in the south. The main objective of the meeting, which is taking place tomorrow, is to articulate their collective interest and restate their commitment to a united Nigeria. At their last meeting in Asaba, the governors decided to ban open Gerson in the south. The decision was met with a pushback from politicians in the north. A lot has happened in southern Nigeria since the meeting, like the DSS raid on Sunday goes home and the arrest and re-arrainment of Nnamdi Kano. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


Death on the Air and Other Stories by Nioh Marsh Forward by Susan Howitch What was so special about Nioh Marsh? For a start, she was one of the select band of female writers, those so-called queens of crime, who dominated the world of the classical detective story in its heyday during the first half of the century. And unlike her rivals, writing was never her first love. She trained as a painter, and later devoted herself to the theatre. In addition, she was a New Zealander, who, although a devoted Anglo-phile, was able to write about English life from the standpoint of a spectator, and the onlooker, as the well-known saying goes, sees most of the game. This unusual background suffuses her work, and sets her apart from her famous contemporaries. She writes better than Agatha Christie, and unlike Dorothy Sayers, Nioh Marsh never commits the sin of falling in love with her detective, and lapsing into sentimentality. An elegant, disciplined writer, Marsh deserves to be read and re-read, not just for her plots, but for her characterisation, for her painter's eye view, and for her outsider's insights into the heart of a vanished social world. Yet most important of all, her books provide such satisfying entertainment, amusing and civilised, but with an underlying sensitivity and compassion. They bring grace to a genre not noted for emotional depths. Nioh Marsh was not just a manufacturer of literary crossword puzzles. She was a supremely readable storyteller, who time and again compelled the reader to race eagerly onwards to the final page. An only child, she was born in a suburb of Christchurch, New Zealand, in 1895. Her father was a bank-clock, who had emigrated from England seven years earlier, and when she was still small, the family moved to a newly built house in the Kashmir Hills, outside the city. This was Dibbemarsh's home for the rest of her life. For although she was striking in her appearance, and popular with her contemporaries, a certain deep-seated shyness and the death in the First War of a young man who was special to her ensured that she never married. Her ability to write well was recognised at school, but her primary talent at that time lay elsewhere, and at the Canterbury College School of Art she won a number of prizes and scholarships. Meanwhile, her interest in the theatre had been kindled, and in her twenties she somehow found the time to pursue all three of her talents. Being at home with her parents, she devoted herself to painting, but she was also earning money writing articles for one of the Christchurch newspapers, and when she was in her mid-twenties, she had an unexpected invitation to join a touring.


Okay, we're on to council initiated discussion. I think you've all seen this before. This is where we turn the microphones over to the council members. And we ask you for any requests that you may have for future reports that would be made at future council meetings. Or if you're aware of problems or concerns in the research field that you think should be brought to our attention. So the floor is open. And we're all ears. While people are thinking about it, I just as a preview and just thinking about the next council meeting or two, I did wanna bring to council's attention that at the May council meeting, we will consume, I don't know, maybe at least an hour and a half or so of the open session for a bit of a, once a decade kind of a deep dive into our intramural research program. I announced this, I think last May actually. But Gail and Lynn are co-chairs of a blue ribbon panel that will take a once in a decade look at our intramural program. Now council spends 99% of its time worrying about the extramural program. But this is a very high level look that is asked to be done on every intramural program once every 10 years. So Lynn and Gail will be presenting the recommendations from that group. And in addition to that couple to it, we will have just a general overview of the intramural program by our scientific director, Charles Rotimi, who has never presented to council. And we try to get the scientific director just giving just updates, you know, every year-ish or every year to two years. And so we're gonna couple those together in May. So that'll be part of the open session in May. But we would love your suggestions about other things you might wanna hear about. Steve, go ahead. Yeah, I know that we have, or not we, I guess we as big NIH has the new NCI director, Monica Burt Magnoli.  So, you know, start building relationships there and dig through what we could hear about her ideas in terms of genomics, applications even like the Pangeeno to understanding cancer mutations and better treatment, ways of getting more money out of the HITCI. We will put her on the list. She's been very public about the fact that she's facing some health challenges right now. So her schedule is particularly challenging, but we could think about, if not in May, we could aim for September, but we will add that to the list. Thank you. Okay, Mark and then Laura. So this doesn't pertain to requests or future meetings, but it's more of an issue that's emerging, I think. And that is that I think for all of our relevant graduate programs that stipends are going up in a pretty good clip. And the issue that worries me a bit is just the gap between the NIH graduate students stipend that's paid on training grants and what we actually pay our graduate students is growing. And that's a particular concern for training grants where we can't just pay off the grant the student at the normal stipend, right? And moreover, our hands are a bit tied in that we can't use federal funding to make up that gap. And so that now puts pressure on investigators and departments and universities to try to fill that gap. I know even with the new NIH stipends here for most of our grad programs, that gap is about $7,000 a student per year and likely to grow too. And this is of course an NIH-wide issue, right? Yeah, does anybody want to speak to this? We can certainly have it on the list to discuss. I see a couple of people going to microphones. Betty, you want to comment or events? Well, the only thing I can say is that Congress decides what the stipend level is, not NIH. So I think in order to get change, this is one of the things that we cannot do here at NIH. It's something that we have no control over. Does anybody know about that? I actually thought, Diana, please come to the microphone. I wasn't sure that was true. I thought it's at least from the intramural side. I know we said maybe on the extramural side they don't. But Diana, what do we know? So there was a, is this on? It's not. It's not. Diana, if you could feel free to come maybe sit next to events and grab that microphone and I'm sure someone will get a camera on you. So there was a report done many years ago by the OIG and it was a special report where they went in and looked at the University of California and what they were paying their graduate students versus their postdocs. And what they found is the graduate students were being paid far and above more than a postdoc was for the same amount of work. So they put into place a rule that the postdoc zero stipend level is the limit that we can provide to graduate students for total compensation that includes stipend, tuition and fees, everything. That's our limit is the zero level and we can't change that. That was a determination made years ago and what we've followed. I was just gonna ask Dr. Hendorf, Lucia Hendorf to maybe make some comments. She's under the training advisory committee for NHGRI. Yes, thanks. I don't have much to add to what Betty said actually. So I think that the stipend levels are set at a level much higher than NHGRI can establish but I do know that I can report that the training advisory committee which is the NIH wide committee of training extra rail program staff has been discussing this a lot. The other thing I would note is that this is an area where I think from being on the outside and now more on the inside progress isn't very incremental. I can say that the decision to add childcare stipends even though they're very modest was just a huge shift in the way that trainee support was viewed. So I think we should look into how to share more of that information with council but I do think that the actual ability to affect larger change is going to be limited. Okay, Laura, go ahead. I wanted to advocate for another institute director with NCATS and Joni Rutter taking on that new position and with the potential that this could help with clinical translation. I think that's a great suggestion. I'm sure Joni would love the opportunity. Judy, go ahead. Yes, I would endorse the Joni Rutter idea. I getting back to kind of trainee salaries, just something to put on people's radar is the increasing unionization of postdocs. The Mount Sinai postdocs voted to unionize or negotiations for a collective bargaining agreement. Columbia has already established that. So there is another stakeholder to consider in the future. Iftikar. Yeah, thanks, Judy. I think Eric mentioned this new policy the where any scientific reports papers coming out of federal funding have to be open access relatively quickly. So does that mean that application fees will may need to be budgeted in the grant applications? I am not the one to try to answer this. I don't know who is necessarily, but what I will say is this is certainly appreciated to be an equilibrium disturbing development that's gonna have to be sorted out, which is gonna involve a combination of how the publishers are gonna handle this and how NIH is gonna have to handle it. And there's a lot of, I think there's a lot of debate and maybe to some extent uncertainty exactly how this is gonna fall out. I know there's a lot of meetings taking place to try to figure this out a little further. Anybody have more insightful answers than that? I don't know how insightful and Deanna may wanna comment, but publication costs have been appropriate in grants in grant budgets in the past. This is just another form of a publication cost, albeit a much higher one. So I would think they could be up. Are you getting up Deanna or? Sorry, say again. We provide what's asked, we don't question the cost. Right. She was saying you provide what's asked. Provide what's asked. What's asked, but of course what's gonna, what's happening now in the ecosystem of journals is huge disparities as to what the costs are, what's involved. And it's really creating this incredibly intense debate around the value of journals, the role of journals and who should be, and should peer reviewers get paid. I mean, it is just getting an incredible discussion at every nook and cranny of the publishing ecosystem. And to me, this is just one more perturbation. This has been going on starting with, you know, PLOS and everything. I mean, this is just a continuation and pre-prints and everything else. And I don't know where it's gonna all land. But, you know, at the end of the day, I mean, I guess my own opinion, but at the end of the day, it does make sense that we have public money going for public research, the results of which should be publicly available. And we have to figure out how to pay for it. I'm gonna bring this to a close. I don't see anyone racing for their mute button. So thank you very much. We will digest this and at least bring some of this back to you at May Council. And beyond.


I could never do that, meaning improvisation, on stage or off, and we're able to come back and say to them, will you do that every day because your life is an script? You've got moves, you've got a set, go! That you can practically use the moment you step out of the conference, plus amazing, like it's a try, so yeah. Sure, the people are just extraordinary, and there's a set of tools, a set of skills, a set of exercises that help us improve how we are connected to the world and how we can rapidly understand what's going on and what can be done about it. Whoosh, whoosh, whoosh, whoosh! Beautiful! Ropes! Stance, try it everybody! That's all we're gonna do! Delicious! My name is Polina Raphi and I helped organize the conference on the programming committee and I'm also on the AIN board. So I was stuck in this weird place because I wanted to make Montreal work, but every time I thought about the process of what I needed to do in reality to make it work, my whole body started crunching in. And so I was in that state for about a year and then one day in February of this year there was this idea that bubbled up in me that was like this billboard size idea that said, I'm done here. I can go now. And instantly my chest relaxed and I thought, okay that's the right answer. When you say yes and to yourself, the universe floods in to help you. So that's what happened. And so I started to be open to this possibility of I'm not gonna try to hang on to Montreal anymore and all of a sudden projects started dropping in going east from London and I got something in Denmark and then I got something in Italy and then liberating the festival that Cori and Zena were putting on, improv liberates was gonna happen and all of a sudden these things started dropping up like I think I'm meant to be in the world right now. I think I'm meant to travel around the world. I think I can do this. At the moment I'm just finishing a process where I went literally around the world and I taught applied improv in 11 different countries in three and a half months so I'm writing a book about that using improv to save the world and then in parentheses and me. It's Denmark and Italy and Greece are on the top on the bottom there I'm in Tehran talking about being a fish apparently. I don't know what I was talking about. And then Singapore and Japan. So those are six of the 11 countries that I was in introducing applied improv. I think it's the best professional development for anybody who feels pulled to use this technology in service of whatever it is they do in the world and I have a personal bet that I feel like it's a real love technology. There's a lot of systems breaking down so one of the things I do is I use it in sustainability and thrive ability realms of how can we really rethink how businesses should be on the planet and I use improv as a way to embody that to help us connect to help us think about things differently. There's another model that I really love it's by a guy named Dr. Steve Fairman and it's this concentric circle one. And he talks about when we do somatic learning when we do embodied learning it's very easy to get stuck in the body emotions bit of it because we're so disconnected often from that piece of ourselves and it's joyful to connect this with that but often the power of our work is lost if we keep it at that pre-rational state. So if we can pull it up to mind hmm how can this improve what I do at work for example then it has a bit more traction.  I was pulled to it because I needed it actually I thought you know like those people out there needed it but I really I used to work for city bank as a project manager and I felt like a forest very trapped in a machine and I started teaching I did a pilot in England on applied improv and business psychology having read Robert Lowe's amazing book Improvisation Inc. and I thought I'm a genius no one else is doing this in England and this guy named Neil Millarkey I was connected with him he's part of the comedy store players he said well you might want to speak with Paul said Jackson because there's a lot of us doing this and I did I went to my first conference AIN conference in Finland in 2007 and I was just totally hooked after that and when you're traveling around and you're walking in the unknown like this you have to go in witness because a lot of the thought patterns that you have just don't work anymore and the other phrase, the other billboard that actually has been with me for years in this work is the how is part of the what the how is part of the what so if I'm going into the world to teach improv I need to be in I need to embody it