Hello, Fuller Nerds. Welcome back to another YouTube tutorial. Today is part 2 in our series where we talk about Google Knit Collection and how to use the control points in each of the series. In the past video, we talked about using control points in the color effects filters, but today we're going to talk about using control points in the analog effects filters. So we've already got an image up here inside of Lightroom. This is going to be our subject for the day, and we're going to start by jumping into analog effects. So to do that, we're going to go to Photo, Edit in, and go to Analog Effects. Now you'll notice that I have two versions here. Analog Effects Pro 2 is the one that you want. That's the newest version. If you don't have that, make sure you go to Google and reinstall this. So I'm going to go here, and it's going to ask me, do I want to bring with it any Lightroom adjustments? I'm just going to say yes. Now while that goal goes ahead and opens up, it's important that I mention I don't use this filter very much. Analog Effects isn't really my style, and the reason for that is that this is mainly geared towards film photography. And since I don't do a lot of film photography, and I don't want my pictures to look like they were done with film, I don't find myself using this version very much. There's other filters within this collection that I'd much rather use. But if that's something that you think you might like, or you just want to get in here and play, then knock yourself out. There's a ton of things you can do in here, but we're going to focus on the control points today and show you exactly what they do. And it's very similar to how they work in some of the other filters. So if we get familiar now, you'll see some repetition in some of the other filters in this series and some of the other videos that we're going to do in this series. So I'm going to start by opening this puppy up. And as is the case with all of the Nick filters, it basically breaks down to three parts, the left side, the middle side and the right side. So we're going to start on the left side. The left side is where we're going to choose the filters that we want to apply to this picture. So we're going to go up to the top here where it says cameras and click on it. And if you were to click on the little arrow next to classic camera, you'd get these tool combinations. And this is where you can kind of get lost in here, because there's so many different things that you can apply. But we're just going to stick with the classic camera for now.  I'm going to just stick with classic camera. And when I do, you're going to notice that there are several different presets that come with this, nine in particular. And so you can use this as a starting point as to what you want your picture to look like. Now I've already kind of toyed around with some of these. So I'm going to just go with maybe camera classic six. No, camera classic three, we're going to start with camera classic three. That looks pretty good. And when we do, it's going to apply all of these different filters to the photograph. So if we navigate now from the left hand side, over to the right hand side, you'll see exactly what it is I'm talking about. What it did was it added basic adjustments, some dirt and scratches, a lens vignette and some film type. And collectively, what that did is it made the picture look like this to this. So this was before. And this is after not drastically different, but different. Now here's where the magic happens. If we go underneath the basic adjustments here, you'll notice that it applied four things, detail extractor, brightness, contrast, saturation, and anything that you do in here is going to affect the photograph globally, which means the entire picture is going to see changes. But this is where the control points allow you to manipulate exactly where the where the adjustments are going to be applied. Think of it as a layer mask inside a Photoshop.  It's what gives you the ability to control your adjustment. In other words, instead of having the adjustment on the entire photograph, maybe you just want the adjustment on a particular thing like a flower, or maybe you want it on a particular color or a particular shade, something like that. Basically, you can be very specific about your adjustment and where it's being applied. This is a really, really powerful thing. Now, before I show you the control points, I'm going to just show you one little quick tip that I think is pretty fun, because a lot of us lack the creative vision to kind of see where we want to take this picture. So they've built in a button that I think you might find really handy, and it's called the very button. If we click on vary, you'll see the photo change. Every time you click vary, you'll see the photo change. And what it's doing is it's changing the settings up in those four options at the top. And it's giving you different recipes, so to speak. And you can just keep clicking through them until you find something that you might like, and then you can kind of go from there. If you decided that you wanted to go back, maybe there was a very that you liked back and you've now passed it up, you can go back to the left hand side under the history panel, and you'll see in history, all of the different varies that you've tried. And so you can just click on each very until you get to the one that you think you wanted or the one that that you thought looked really cool. And you could say, All right, this is the one that's going to be my starting point. And then we can go back over to the right hand side, where we have those adjustments and those control points. And one last thing before we jump in to the control points, if you wanted to turn off, say the dirt and scratches, all you have to do is uncheck this box, and it will take the dirt and scratches off of the picture. It will remove it from from this recipe. Same thing with the lens vignette. If you wanted that gone, you just uncheck the box. Now let's dive into these control points and show you why these things are so cool. So if we open up the control point panel, you'll see that you can add a control point. And below that, you're going to see four little switches or buttons. And basically, these work like this, you can group your control points, you can ungroup your control points, you can delete your control points, and you can also duplicate your control points as well. We're going to talk about each one of them. But first, before you can use any of those, you at least need to start with one control point. So we're going to click on this button here, add a control point, and then we're going to go over to the picture and decide where we want to apply it. Now the thing that I think jumps out to me in this particular photograph is all that green mossy stuff on the rocks. I think that was really cool. And I kind of want to enhance that a little bit. So what I'm going to do is click on any part of the photo that has some of that green moss on it. Now here's the most epic thing about using control points in Nick filters. What you can do is you can actually see this as a layer mask the same way you would inside a Photoshop. But the difference is that this here in Nick filters is way more controlled than you would have inside of Photoshop. You can get controlled masks, but they're way more difficult to achieve if you're a novice or a beginner in Photoshop. So this makes it very, very easy to get a similar effect. To do that, all you're going to do is where it says control point. You'll see this little icon that looks exactly like the mask icon in Photoshop. And there's a check box here. If we click the check box, it will turn on the mask feature. So now we're looking at the photograph as a layer mask. And if we were to go over to the pin and move it around, you'll notice how the mask actually changes and it just becomes again a very, very detailed mask. And to put this simply, anything that's white will you'll be able to see the adjustments. Anything that's black, you will not see any adjustments. So as long as you know that, just look at the photograph and say anything that's white is going to see changes. So is what I want white? If the answer is yes, then the control points fine. If it's not, then you might need to move it around until you get the desired look. Another thing that you can do once you get close, like right here looks pretty good, is you can change the radius of this. So if I click and drag on this top slider here, you'll actually see how this gets a little bit more restricted or the area in which we can use these pins gets a little bit more restricted. Once I have that dialed in, I can go back over to that checkbox, turn it off. That will bring my picture back. And now from here I can manipulate any of these sliders that I wanted to. So if I wanted to add a little bit of detail, this is the same as clarity inside of Lightroom. But instead of applying clarity to the whole photograph, now we're doing it in a very detailed manner. So we can pull this up and get some more detail there. Then maybe we can brighten or darken down that moss, add a little bit of contrast and bump up the saturation. So we've made some changes to that mask. If I turn this on, you can see what it's done. But as I've said before, you can also duplicate, group and ungroup these points. So let me just show you real quickly what that looks like. So this pin right here is pretty much concentrating on the center or lower center of this picture. But the left hand side and the right hand side is being left alone. So if I go over here to this little button here and click to duplicate the pin, it will duplicate the pin for me. And so now you'll see that I have actually two pins here. And I can move this one over to the right hand side of the picture. And I'm just looking to see what's being affected here. And I'm trying to do a good job of just affecting the moss, maybe something like that. I can even pull the radius down just a little bit. And then I'm going to duplicate this pin one more time to put on the left hand side of the photo. And again, I'm kind of just looking for some of that mossy goodness and something like that looks pretty good. The other beautiful thing about this is when you duplicate the control points, all of the settings that were on the first pin are exactly the same on the other pins. So whatever I set my contrast or brightness or detail extractor to, that's going to stay the same. But because these pins are independent, I could go over say to this pin on the far left and say, Hey, I'm going to turn that mask off. Actually, I'm going to turn all these masks off. I'm going to go over to the pin on the left hand side and say, you know what? Maybe I want that to be a little bit brighter than the other pins. And maybe I want there to be a little bit more contrast than the other two pins. So that side can be independent than the other two pins that I've made. But what about that grouping feature? If we click and drag, we can select both of those pins, the one in the middle and the one on the right hand side, leaving the left alone. And we can go over to our group button. And basically what it does is it turns two pins into one. And the reason for this is that what if I want to make adjustments to the middle and the right hand side of this picture simultaneously? In other words, I want to increase the brightness, but I don't want to have to increase it on the middle pin and then go over to the right hand side pin. I just want to do it at the same time. Well, if you group them together, then any adjustments that I make to the one pin now, because two became one, any adjustments that I make will happen simultaneously to both areas. So if I bring this up, you'll see how now the middle and the right hand side are seeing changes, whether I darken it or increase the brightness, whatever I do. So that's really cool. If you decide at some point that you don't want these to be grouped anymore, that's where the ungrouping will come into play. So the last thing I want to say about the masking that I think is really important is you can look at these independently. So in this example, I have three pins, a left, a middle and a right. And so if I want to see what one pin is doing, whether it's the middle or the left or the right, I can turn that mask on by checking the appropriate box and it'll just show me the mask there. But if I want to see the mask in a group, so to speak, then I can turn on the middle and the right or the left and the right or the middle and the left. You get the point. You can turn these on however you want to to kind of see them. And so the last and final thing that I'll talk about is these control points. They don't only live in the basic adjustments. If you start to do some digging, you'll see that these control points do pop up in other areas. If I open up film type, you'll notice that there are no control points here. If I go in the lens vignette, you'll notice there are no control points there. But if I go into the dirt and scratches area, you will see that there are control points here. And the control points here work exactly the same as they do on the other areas. The only difference is that these control points are controlling the dirt and scratches section. So if I were to add a control point in here, let's say I wanted to drop a control point up here in the rocks, for example, then what I end up having is the texture strength. When we were in the basics panel, we could adjust the detail, contrast, saturation, brightness. Because we're using a control point for the scratches and the dirt, we only get a texture strength option. And that allows us to control how strong or not the texture is. But everything else about the control point is exactly the same, whether it's copying, grouping, masking. In other words, if I go over here and click on the mask, I can see exactly what this dirt and scratch is being applied to. So there's a lot of white there. So I can, I know that all the dirt and scratches is being applied to that white area up there. One last thing. If you're not following us on Facebook, Twitter, Instagram, Snapchat, you can find us all there at PhotonerdsUnite. Thank you so much for watching. My name is Adam. I'm out.


Dear students, in this module, we are going to talk about conflict approach as one of the important theoretical perspectives of socialization process. They are of the view that socialization is a means by which those in power maintain their dominance over those without power. As you know that conflict perspective, proponents of conflict perspective are always of the view that it is a perpetual or continuous struggle between two classes, those who have resources and those who do not have the resources. So socialization process actually perpetuates this class struggle. It is a process which is used for increasing or perpetuating the inequality within these two classes. So it reproduces the social inequality by transmitting the values and norms that justify and reinforce the existing social order. They think that the socialization process is used by societies so that the existing inequalities can either be reinforced, re-inserted, or re-enforced or re-enforced or re-enforced or re-enforced or re-enforced or re-enforced or re-enforced or re-enforced or re-enforced as well. So as a result of this socialization process, potentially such a positive aspect that cannot be seen as a conflict perspective, but in fact if we look at this process from a critical point of view, then this process perpetuates the same inequality in which those on who are on advantageous position who have more benefit from this socialization process and those who are on a disadvantageous position, they consider the same disadvantageous position as normal. In Pakistan, for example, conflict theorists might point to the ways in which our education system perpetuates this social inequality by providing better resources to the wealthy students and reinforcing the values and behaviors of the ruling elite. For example, we have a bifurcated education system here. If we pay attention to this, we see that the elite schools have a different socialization process. The quality of education and standard of education are completely or absolutely different than those public sector schools in which the lower-middle-class students are taking education. So, our education system perpetuates this socialization process and perpetuates that inequality. So, potentially, the students who will emerge from a good education system will be on a disadvantageous position and those who will emerge from a relatively low-quality education system later on in professional life will be on a disadvantageous position. So, from a conflict perspective, this helps us to point out things that potentially exist within the system. So, socialization can also be used as a tool of social control to maintain the status quo and suppress the dissent. The differences of opinion are also related to the fact that our authority is a guiding principle and a guiding force that determines the definitions of right and wrong. Not only is it determined on this basis that right and wrong can be determined on a shared or consensus basis. Your point of view can also be good even if you are not on a subordinate position. But the conflict perspective says that the status quo that is reinforced on a subordinate position does not matter to you. So, in this approach, socialization is viewed as a negative force that perpetuates social inequality and oppression. So, one limitation of this perspective is that it tends to downplay the ways in which socialization can be a means of resistance and agency for those who are at the marginalised position. It is not that the marginalised positions on the subordinate position can never create resistance. In fact, the sense of resistance is created in them. There are changes in the environment. Whether it is created in the situation of conflict but it can play a functional role for the society later on. So, the conflict perspective downplays this aspect and in a nutshell, socialization potentially reflects this inequality as a process of perpetuating it.


Yes, ladies and gentlemen, we've got the names of the winners in the first big jingle contest and we're going to announce them later in this program. So stay tuned while New Postwar Old Dutch Cleanser, famous for chasing dirt, presents... Nick Carter, famous for chasing crime. Every week at this time, two great names are joined. As New Postwar Old Dutch Cleanser brings you one of the most resourceful and daring characters in all detective fiction. Nick Carter, master detective. Nick, you aren't going to let them get away. I don't have any choice, Pat. You'll bet you haven't. You got your name on that confession, sister? Yes, here it is. Give it to me. I have to sign it too. Oh, brother whale, this story gets around town. Nick Carter lets a killer get away and even finishes the car the killer escapes in.  And now, the case of the absent clue, today's adventure starring Lon Clark as Nick Carter. As a good businessman, Jeff Greeley never overlooks the chance to put his merchandise in a new and promising location. The merchandise in this case is little slips of paper with numbers on them. They sell for whatever you want to pay from a nickel on up. And the new location Jeff has in mind is a small suburban candy store owned by Paul Elliott and his wife Ruth. Right now, Jeff is giving the Elliott's a sales talk.  You'll get a big play from the kids at that school down the street. Listen, the numbers game is a racket. When I think so low that I have to cheat school kids out of nickels and dimes and start them gambling with their lunch money. Elliott, you've got the only place in this neighborhood that fits in with my plans. Then you'll have to change your plan. There was another guy that didn't want to cooperate. Somebody busted all his plate glass windows one night. You can't scare me. The other guy wasn't scared either. It wasn't until after a couple of guys slugged him that he decided to play ball with us. Paul, phone for the police. Don't bother, Elliott, I'm going. I'll call around again in a couple of days. Maybe you'll change your mind. That's the place, Bonnie. Slow down till I heave this brick. Easy now. Oh, bullseye. Now step on it. You're staying in the mail, Nate? Oh, not so far, Patsy. Say, what have you got there, a new fountain pen? Oh, no. It's one of those tear gas guns that looks like a fountain pen. Roger Matheson gave it to me. Oh, he did? That was nice of him, wasn't it? Yes, sort of handy to have in your purse, don't you think? Sort of dangerous if you ask me. Tear gas is nothing to fool with. Oh, Nick. Well, what do you know? What is it? This letter. It's from a fellow I haven't heard of since we were kids, Paul Elliott. Oh, I thought it was a case. I may be. You know who Jeff Greeley is. Small-time racketeer, isn't he? He's playing a numbers game in the suburbs now. And a crooked one at that. He's trying to strong-arm Paul into peddling the number slips for him. Strong-arm and how? Paul and his wife have a small confectionary store out in Beechwood. The front window's been smashed twice. Greeley's warned him that next time it'll be a lot more serious unless Paul gives in. Well, can't the police do anything? Not without proof. And Greeley's too smart to let him get anything on him. You know, I think I'll drive out there this evening and talk it over with Paul. Oh, you can't go to Nightney. Oh, why not? Because tonight's the annual banquet of the downtown boys' club. And you're the guest of honor. Oh, yeah, that's right. Well, I'll go afterwards then. I'd want to put this off, Betsy. No telling when Greeley will pay Paul another visit. Well, that's the store there on the right. The one the two men are coming out of? Well, you can park right behind that green sedan that the men are getting into. Oh, yeah, ma'am. They bite joint. Huh? The one with the yellow gloves. That was Jeff Greeley. Jeff Greeley? Well, do you think we ought to follow them? No, not now. I want to see what's happened inside the shop. Okay. Come on. Well, at least they haven't thrown any bombs or smashed another window. That's right. Well, I'm worried. Hmm? Paul said Greeley promised him the next time it would be more serious. Yes, what is it? Oh, my. My husband. He's hurt. Are you Mrs. Elliott? Yes, my husband. He's in the back there. Please do something. I'll go, Betsy. You stay here with her. Yes. For Mrs. Elliott, what happened? That was the man. The two that just left. They hit him. They hit him. Don't worry. Everything will be all right. How is he, Nick? Shall I call an ambulance? No. That won't be necessary. You mean he's all right. I'm afraid not, Mrs. Elliott. Paul's dead. Oh, Nick, she's fainted. Oh, I shouldn't have broken the news to work so abruptly. Oh. Hey, Betsy, take care of her. I'll call Mary and tell her to put out a general alarm for Jeff Greeley on a charge of murder. At least he'll be here in a few minutes, Betsy. How is she? Still unconscious, Nick. I just dipped my handkerchief in cold water at the soda fountain. I'll wipe her face with it. You've got a smirled at makeup. Oh, no. I won't. She isn't wearing any. You mean that peach isn't creamy-faked. Isn't that wrong? Of course it is. Some women are lucky. Oh, she's coming out of it. Oh, Paul. Paul. How do you feel, Mrs. Elliott? What were you? My name's Carter. I'm a private investigator. I used to know Paul years ago. He was a... Please, Mrs. Elliott, try to tell us what happened. Paul, Paul and I, they'd laid to unpack some new stock. He was opening the crates in the back room, and I was in the storeroom when Jeff Greeley and that other man came in. How long ago was that? It was only a few minutes ago. I heard Paul quarreling with him, and I had to see, to see Greeley. The one who was wearing yellow gloves? Yes, that's him. He picked up the crowbar. How about Paul had been using to open the crate? Did they see you? No, I don't think so. When Paul fell the front way... Yes, we saw them leave as we drove up. How is this? Try to control yourself, Mrs. Elliott, please. I just wanted to be proud of it. Of course it was. Mrs. Elliott, if you can identify Paul's killers... I can. I saw them kill him. Those men are in the electric chair. The ledger of Greeley's is the only thing in the whole apartment. Yeah, there's plenty of evidence in it to convict Greeley of running a numbers racket, but that ain't important now. Hey, wait, here's an interesting item. What? October 17th, farm $18,375. Can you imagine a bright-light character like Jeff Greeley buying a farm? What would he do with a farm? Use it as a hideout, and I'll bet that's where he is right now. Hey, you're probably right, Nick, this farm is located. If he bought it for a hideout, the chances are it ain't even in his name. Well, some of his friends might know if we could get them to talk. Yeah, maybe. We'll round up a few of them and try anyway. Oh, uh, how about the medical examiners report, Maddie? Roses, contusions, cut on the left eye. Oh, they must have beaten him pretty badly. And then finished him off with a crowbar. Oh, it's gonna be a pleasure to get my hands on those guys. I don't suppose there were any fingerprints on the crowbar, Sergeant. No, Patsy, not a single one. What? Well, why should there be, Nick? Greeley was wearing gloves. That's right, Greeley was wearing yellow gloves. Well, now look, we don't need a fingerprint. Mrs. Elliott's testimony will be enough to convict those two rats. Yeah, but if anything happened to her, you wouldn't have any case at all against Greeley. Nothing is gonna happen, Patsy. We got her in a downtown hotel under an assumed name. Where? She's registered at the Kemble Arms on East 49th Street, under the name of Mrs. Anna Davis. Yes? Mrs. Elliott? No, no, I... My name's Anna Davis. I know, Mrs. Elliott. It's all right. I'm William Jeffords from the district attorney's office. Oh, I didn't know. There have been a couple of new developments in the case, Mrs. Elliott, and the DA wants to see you in his office right away. All right, just a minute. I'll get my... This is the car, Mrs. Elliott. Here, I'll open the door. Thank you. I... That man at the wheel, that's Jeff Greeley. Give him that. Nice work, Eddie. I got some driving to do. Quickly, Jeff Greeley heads the car toward his upstate hideout. While in the back seat, struggling helplessly is the woman whose story could send him to the electric chair. If she lives to tell it. We'll see what happens next in just a moment. All back to the case of the absent clue. Today's adventure with Nick Carter. Jeff Greeley, racketeer and gangster kidnapped Ruth Elliott, the murdered man's wife, and the only person who could testify that he killed Paul Elliott. At headquarters, Nick and Mattie have just learned that Mrs. Elliott has disappeared from the downtown hotel where they had her registered under an assumed name. Greeley did this, Nick. It's got to be Greeley. The doorman at the hotel saw two men force her into a car, but they got away before he could call a cop. There's no use getting excited, Mattie. How long do you think Greeley is going to let her live, knowing her story will send him to the chair? Well, how do they find out where she was, Sergeant? I checked that, Patsy. They used the old registered letter again. Man went to Mrs. Elliott's apartment for the letter. She had to sign for her personally, and the superintendent told him where she was. The superintendent? Well, how did he know? I told her not to let anybody know. He said that after she found what hotel reporter in, she called him and gave him the address in case of an emergency. Well, we've sure got the emergency. Now, you can say that again. We've got to work fast. Oh, sure, sure. But what do we work on? The location of that hideout Greeley has in the country. Nick, we've been working on that and got exactly nowhere. Mattie, Greeley's brother would know where it is if anybody would. Nick, we questioned him for over an hour this morning. All right, then. We're going to question him some more. Okay, okay. I'll have him brought up. But I tell you, it's no use, Nick. Pete Greeley's dumb, but he's plenty tough. Okay, it's up to us to be just a little bit tougher. Will you guys lay off on me? I tell you, I don't know nothing. Don't give me that, Pete. Your brother Jeff bought a farm last October and you know it.  I'm going to make you tell me where that farm is if it takes me from now until Christmas. I tell you, I never heard of no farm.  Just had an idea. Yeah? We can find where that farm is by consulting the state registrar of deeds. Well, how will that help if he bought it under a different name? Well, we know the farm was bought on October 17th and that he paid $18,375 for it. So what? So we checked the records. It's not likely that more than one farm changed hands for that exact price on that particular day. Hey, Nick, you've got something there. Yeah, Mattie, we'll have the exact location of that farm inside of four hours. Yeah. Well, what about Pete here? You can't hold me. I ain't done nothing.  No, no, no, no. Wait, Mattie. You may as well let him go. Okay, okay. But I hope you come back to see us, Pete, when you can stay for a long, long time. I want to send a telegram. Well, that's what we're in business for. Do you have it written out? Yeah, yeah, yeah, right here. And it's got to go fast, see? Naturally. Our telegram's always... Uh, what is this first word? James, J-A-M-S. It's a guy's name. Oh, yes, of course. James, uh, Crane, is it? That's Crane. What's the matter, stupid? Can't you read? Well, uh... Hey, hey, hey, give me a minute. I'll read it to you. I don't want no mistakes. Uh, yes, that would be best. Uh, James Crane. Rural Route 6. Box 124. Rural Route? Oh, there'll be an extra charge for messenger service unless they have a phone.  So send a messenger. They got no phone. Horton's Grove, New York. Dear James, your friends from downtown are coming up to see you. Never mind that, Pete, I'll take that. Carter, where'd you... I've been trailing you ever since you left headquarters. Why do you think we'll let you go? Just a moment, I'll have to have that paper. Forget it. I'm going to deliver this message personally. Is this the place? This is it. But where's Brilly's car? Do you suppose he didn't come here after all? Somebody's been here. Look at those tire tracks. Then if he's gone, we're too late. No harm in looking around. Better stand to one side. Okay. We're going to knock on the door. We might get bullets for an answer. Well, be careful, Nick. Do you hear anything? Not a sound. Tire tracks prove they had some reason for coming here. And it may have been to the dispose of a body. Oh, Nick, I hope not. Here it goes. Now let's see what we can find in here. Do you hear that? Yes. Seems to be from this room over here. Oh, thank heavens. You untie the gag, Petsy, while I get these ropes off her hands and feet. Right, Nick. There you are, Mrs. Elliot. Are you hurt? I heard your voices now. I started pounding my heels on the floor. That's the tapping we heard. All right, now you're loose. Tell me, did Jeff Greeley bring you here? Yes, he and two other men.  Where are they now? I heard them say something about going into town for cigarettes. Oh, then we'd better hurry. We've got to get away before they come back. What? What's your rush? Really? You can all relax now, because you're not going nowhere till I say so. Greeley stands in the doorway, a revolver in his hand, and it appears that instead of rescuing Ruth Elliot, Nick and Petsy are themselves caught in the same trap. We'll see what happens in just a minute. All for the conclusion of the case of the Absent Clue, today's adventure with Nick Carter. Nick and Petsy found Ruth Elliot bound and gagged in the deserted farmhouse where she had been taken by Jeff Greeley. But just as they were about to leave, Greeley appeared in the doorway, a revolver in his hand. You can all relax now, because you're not going nowhere. You got back from town with those cigarettes in her hurry, didn't you Greeley? I never went. Bonnie and Eddie took the car and I stayed here to keep an eye on things. That was smart. Now keep on being smart and put away that gun. I'll put it away after I make sure that you three ain't going to talk now or ever. Nobody's going to get away with framing me. Framing you? Yeah. If I fry, it won't be for something I didn't do. Well, if that's all that's worrying you, Greeley, you can put that gun back in your pocket. I know you didn't kill Paul Elliot. What's that? He did. He did. I saw him. No, Mrs. Elliot, you killed your husband. She did. It's a lie. That's why you kidnapped her, isn't it, Greeley? Well, sure, I'd been trying to make her tell the truth so that I'd be clear. I can understand that. What chance would I have in a court when it's my word against hers? He wouldn't have any chance, unless you had a confession from her signed and witnessed. Yeah, and that's what I've been trying to get, and I'll get it to or else. I won't do it. I won't. He can kill me first. I see your point, Mrs. Elliot.  You can't prove a thing, any of you. Look, Mrs. Elliot, how about this? If you did sign such a confession, and Patsy and I witnessed it, Greeley might be willing to let you take my car and get away. So why not? I'll hold Carter and the girl here long enough for you to get clear out of the country. No, I didn't do it. It's your only chance, Mrs. Elliot.  You really keep them here long enough for me to get out of the country. Yeah, and I'll give you enough dough to do it with. All I want is to clear myself. Well... All right, I'll do it. Good. Now, here, I got a pencil. And she can use the paper and Patsy's notebook to write the confession out. Oh, but, Nick, you're not going to let her go. Not really. Do you see any other choice? No, but... Then give her the notebook. Oh, Nick, you must be... Patsy. Oh... Here. All right, as I dictate, Mrs. Elliot. Go ahead. I hereby confess that I killed my husband, Paul Elliot, and that Jeff Greeley is completely innocent. Now, sign it. Sign your name as witness, Patsy. Well, I'll... All right. You... You are going to keep them here, aren't you? You bet I am, but not for your sake, sister. I just want everyone to know that somebody finally got the best, a Nick Carter. What do I do with this Nick now that I've signed it? Hand me the notebook and pencil. I have to witness it, too.  It'll be the biggest layer of the year. Better than stopping a bullet, though. Oh, I broke the point on this pencil. Patsy, let me have your fountain pen. My fountain? Yes, you have it in your purse, haven't you? Oh, yes, yes, of course, Nick. Hold it, sister. What's the matter? Just toss that purse over here, baby. I'll get that fountain pen for him. Oh, all right. Here. Ah, it's a girl. I just want to make sure you didn't pull any tricks. Here's the pen, Carter.  Oh, there's no ink in this pen. Huh? Well, afraid I'll have to use tear gas. All right, let's go to the gun, Greeley. Let go. I've got the confession. Don't move, Mrs. Elliott. You keep your hands up, too, Greeley. Come on, through the door, Greeley. We'll wait for the rest of your gang out when there's some fresh air. Nick, with that confession, Mrs. Elliott's sign of hell good in court. Oh, not for a minute, Patsy. It was obtained under duress. But the ones she signed when we got her to headquarters will hold good anywhere, especially with the proof we have to present to a jury. And I suppose that clears Jeff Greeley completely. Clears him of the murder charge, but he still faces a sentence for extortion, assault and battery, carrying a gun, operating their numbers racket, and kidnapping. Golly. It's going to be a good many years until we meet again. How did you know he didn't kill Elliott? I didn't know. But I began to wonder when Mrs. Elliott overdid the heartbroken wife act by pulling that phony faint. Phony? Why, it looked perfectly real to me. Ah, but it wasn't, though. When you faint, Patsy, the blood rushes from the head and you become very, very pale. Oh, so that's why you were surprised that her makeup didn't come off when I bathed her face. Mm-hmm. She still had that peaches and cream expression. But that wasn't any reason to accuse her of murder. You must have had another clue. I did. A clue that wasn't there. A clue that wasn't... Oh, what do you mean? Remember, there weren't any fingerprints on the crowbar that Paul Elliott was killed with? Well, why shouldn't it be any? Greeley was wearing gloves. True enough, but Elliott had been working with the crowbar and he wasn't wearing gloves. His prints should have been all over it. And since they weren't, I knew somebody must have wiped them off. And it wouldn't have been Greeley because he was wearing gloves anyway. Right. So it had to be Mrs. Elliott. Nobody else was there. You mean that after Greeley and the other man came in the store and beat up her husband, she saw her chance to murder him and put the blame on them? According to her confession, they left Paul lying on the floor unconscious, which gave her a perfect opportunity. But why? What motive did she have? Money. She killed him for money? Yes. Paul had a lot of insurance. Oh. And they hadn't been getting along for a couple of years, so she thought she saw a chance to commit the perfect murder. Mm-hmm. Well, Nick, that little tear gas gun of mine certainly came in handy, didn't it? I certainly did. Lucky for us, the Jeff didn't take a closer look and see that it really wasn't a fountain pen.  I still say it's a dangerous thing to carry. But it isn't. Look, Nick, unless you push the little button here... Hey, Ben!  How did I know it would go off? Winners of the four 1948 Super Deluxe 4V8 four-door sedans in the first new post-war old Dutch cleanser contest which closed February 28th. Suppose you do the honors. I'll be glad to, Mike. These folks have won themselves a brand-new Super Deluxe 4V8 four-door sedan. Mrs. L.J. Elman of Route 1, Odessa, Florida. Mrs. J.J. Bartlett of 1705 Summit View Avenue, Yakima, Washington. Mrs. H.E. Brower of 16618 South Woodruff Avenue, Bellflower, California. And Mrs. M.L. Burns of 203 Wilmot Avenue, Bridgeport 7, Connecticut. My only regret is that I can't award these Ford's in person. I'd certainly like to see the smiles that wreathe the happy faces of these winners. So would I, Nick. For all these Ford and other prize winners, congratulations. We'll have more winners next week, so be sure to listen. Nick Carter, master detective, is presented each week at this time by the Cuddehy Packing Company. It is produced and directed by Jock McGregor and is copyrighted by Street and Smith Publications Incorporated. Charlotte Manson is featured as Patsy. Mattie is played by Ad Latimer. Today's script was written by Jim Parsons. Original music is played by Henry Silverne. The program is fictional, and any resemblance to actual persons living or dead is purely coincidental. The Girl Scouts, 36 years old this week, have pledged themselves to send 100,000 kits of clothing to destitute children overseas. To help in this project, call your local Girl Scout office. This is Michael Fitzmorris speaking. This is the Mutual Broadcasting System.


Hello everybody and welcome to the class. Are you all ready to do more Japanese today? Well, we have been doing a lot of new things in all these past lessons. We have learnt a lot of things and in some of our previous lessons, we have been doing adjectives and different forms of adjectives and how to join adjectives. So today, we will do how to make negative for i-adjectives and na-adjectives. But before that, as you all know, I generally check your assignments. So that is exactly what we are going to do now. First we will do the assignments and then actually start on our lesson. So well, let us see what we have here for you. The first assignment, please open your notes and just see the first assignment that I gave you was match group A with group B. So you have some words here in column A and then the meanings in column B, you are just supposed to match the words with their meanings. So well, let us see, shizuka, quiet, shumatsu, weekend, o-i, large number. You have done o-ki, o-ki is for big in size, o-i is large or big in number, please remember that. Then, we have muzukashi which is difficult, tanoshii which is happy, tonari next to tsumaranai, boring, teinei, polite, kashikoi which is intelligent, hoya-hoya, fresh, generally used for fruits and for vegetables, nicely fresh picked fruits right from the orchard, hondana, bookshelf and kantan is easy. So do you find Japanese easy or do you find it tsumaranai? Even if you find it tsumaranai, you have to study so it is okay. Point two was write hiragana for the words given below. Well, lot of words were given, they have been put there basically for you to practice hiragana that is the important part. So well, the first word is shumatsu and hiragana is given over here. You can practice all the hiragana nicely. Kino and you will notice that o has a bar on top and the reading is u which states that it is a long sound as you can see over here with u as well. Now, we write tokyou in English and we pronounce it as titer in English, but in Japanese it is to, tokyou, ashta, megane, muzukashi, kiiroi, kiiroi, iriguchi, tsumaranai. So you have all these words over here, you have the hiragana as well, you can practice writing the hiragana. Now, fill in the blanks with interrogative words from the brackets. So well, the answers are in purple, you can see I will read it out to you once. Rao san wa doko ni imasu ka? Dare, donna, donna of course we will do now in the lesson, dare means who. Mira san wa ashta nani ikutsu nan. Nan and nani mean the same as we have already done, but nani is used at different places and nan is used with numbers. Ikutsu is how many, nan-ji ni ga-koe ikimasu ka, hako ni ikutsu tomatou ga arimasu ka? How many, minasan wa mainichi, dore-gurai benkyou shimasu ka? We just did dore-gurai in our previous lesson, ikura is for how much and doko is where. So dore-gurai approximately for how long, benkyou shimasu ka? Rao san no uchi kara eki made, ikutsu ikura nan-pun kakarimasu ka? So nan-pun, shumatsu ni donata to issho ni picnic e ikimasu ka? Dore of course is choice between two things and doko means where. Sanaka san no atarashii shatsu wa ikura desu ka? Shatsu, shatsu, hea ni nan-nin ga imasu ka? How many people? Anata no musume wa nan-sai desu ka? Nan-ko is for number, nan-nin is for person, jimushitsu wa nan-kai, nan-sai, nan-nin nan-ji desu ka? So nan-kai, jimushitsu is a place, nan-kai desu ka? Donohito wa Rao san desu ka? Donohito is again choice between two or three people, so maybe pointing and asking which one of these two or three people are or is Rao san. Dore-hito cannot be used because with do-re, kore-sore-are and do-re noun is not used. And then dare-hito, again hito will not be used over here because dare itself means who. As we always do, we have kanji over here, kanji is in purple I think and let us see what it is. Okane wa kaba no naka ni arimasu. Baramo hi mo akai desu, he is fire. Yamanomizu wa oishii desu. Go-gatsu wa atsui desu. Ashita doko e ikimasu ka? Tomodachi wa eiga wo mimasen. Watashi wa rainen tokyo e ikimasu. Rao san wa niju kiusa e de wa arimasen. Watashi wa akai skirt wo kaimashita. It is skirt not skirt. Tanaka san wa mainichi okaa san to hanashimasu. Baramo hi mo akai desu. So please, you can check your answers and then we have another assignment for you. Write kanji characters for the words given below. Now these kanji characters are important, it is a good revision, some words are written, you know the words, you have done these simple characters, you should be able to write and of course, for your convenience hiragana is also given with the kanji characters. So please try to do it, kuchi, kinou, iriguchi. So you have been doing these words again and again. I am sure by now you know the words, it is just that you have to remember the kanji characters now, ashita, ashi, kuroi, deguchi, hyaku. Then there is another assignment where you have to read the conversation A and B, read this conversation and then after reading the answer, understanding the answer, you have to make the question over here. So well, asou kono kisaten no kohi wa dou desu ka oishi desu. If it was oishi over here, then the answer would have been hai oishi desu. Kono hon wa anata no desu ka hai watashi no desu. Kono hon wa dare no desu ka hai will not be there watashi no desu. So please, you have to read the answer first and then make the question. Tano gakkou wa doko desu ka watashi no gakkou wa ano danchi no ushiro ni arimasu. Kino nani wo shimashita ka shousetsu wo yomimashita. Anata no oto oto wa nan-sai desu ka oto oto wa hatachi desu. Mainichi nande kaisha e ikimasu ka kuruma de ikimasu. If it was mainichi kuruma de kaisha e ikimasu ka hai kuruma de kaisha e ikimasu. So please, read the answer and then make the question. Now there was a small conversation for you in the previous lesson. This is the conversation. You can now read the conversation and then try to see if these questions you have answered properly. As they are not very difficult, I do not think we need to go over them. You can just do it on your own as you have the conversation right in front of you. Well, we just did this word donna in one of the assignments. We have done the series kore, sore, are and dore, kono, sono, ano and dono. With this we use noun. Kono hito wa tanaka san desu, sono hito wa mariko san desu, ano hito wa gakusei desu. So well, same series but with a different meaning, we have something over here kono, sono, ano and dono. So, this is what we are going to do here and this we will do a little later dono. It is a question word meaning what type of or what kind of it could be a person, it could be a thing as well. So well, let us see the conversation here. Rao san wa donna hito desu ka? Rao san wa shinsetsu na hito desu. Instead of shinsetsu, you can use shizuka, omoshiroi, kirei, kashikoi. So, Rao san wa donna hito desu ka? What kind of a person is he? Rao san wa shinsetsu na hito desu. As we have been doing na adjectives earlier also, just before a noun in case of a na adjective, na is going to be used. So, you can replace hito over here with kata also which is more polite and shinsetsu here with any of these na adjectives. Now you can read over here, you can see donna is an interrogative word, a question word and it means what kind of or what type of and generally it is used when you want more information about a person, a place or a thing and it will always be used with a noun. Now the example over here is Rao san wa donna hito desu ka? What kind of a person is Mr. Rao? Rao san wa omoshiroi hito desu. Mr. Rao is an interesting person. So well you can practice like this, donna hito desu ka? Can you tell me, Tanaka san wa donna hito desu ka? You can use any of these adjectives over here that we have done so far. Tanaka san wa omoshiroi hito desu. Tanaka san wa shinsetsu na hito desu. Tanaka san wa shizuka na hito desu. Tanaka san wa tenei na hito desu. So any of these adjectives you can use, donna hito desu ka? Well, we have also done in one of our previous lessons earlier before adjectives I think mashta and masen deshita. So well, you can look at these pictures and ask your partner what they did yesterday, last week, day before and practice past and past negative form of the verb. Last week, day before, yesterday, last month, they are all time expressions. So you can use these time expressions with past form of the verb. Now, let us see what is happening in the first picture over here. Of course, this gentleman over here is having his medicine. So what should the question be? Kesa, kusuri wo nomimashita ka? Kusuri wo nomimashita, kinou kusuri wo nomimashita ka? So well, if you did not have kinou kusuri wo nomimasen deshita. Now the second one is, kinou shinbuno yomimashita ka? Hai, shinbuno yomi mashita because he is reading. Now you have the kocha over here, the cup is full, so well, maybe someone did not have, so asa kocha wo nomimashita ka, iie nomimasen deshita. Then we have ototoi, puuru e ikimashita ka? Yes, they all went to the pool, so hai, puuru e ikimashita, puuru de asobimashita ka? Hai, asobimashita or if they did not play, asobimasen deshita. And let us see what they have in the end, benkyou suru, kinou benkyou shimashita ka? Hai, benkyou shimashita and if you did not do, well, benkyou shimasen deshita. So you can practice your verbs as well. Now as I had promised, we will do adjectives and how to make negative for i and na adjectives. Listen to this audio conversation and see how much you understand. Rao san, インドは今暑いですか? Hai, 暑いです. Fuyu wa dou desu ka? Atsui desu ka? Samui desu ka? Fuyu mo atsui desu. Minami インドはあんまり寒くありません? Ja, ichinenju atsui desu ka? Hai, minami インドは暑いです. Demo, kita インドは junigatsu to ichigatsu wa samui desu. Ah, sou desu ka? So well, how much did you understand actually? I am sure most of it is understood except for maybe a couple of new words, new vocabulary over here. So, I will read it out to you once and then explain. Mira and Rao, Mira san to Rao san no kai wa desu. Rao san, インドは今暑いですか? Hai, atsui desu. Fuyu wa dou desu ka? Atsui desu ka? Samui desu ka? Fuyu mo atsui desu. Minami インドはあまり寒くありません? Ja, ichinenju atsui desu ka? Hai, minami インドは暑いです. Demo, kita インドは junigatsu to ichigatsu wa samui desu. Ah, sou desu ka? So well, this is very simple. They are talking about the weather, tenki, tenki, weather, Rao san インドは今暑い desu ka? Hai, it is hot. Fuyu wa dou desu ka? What about winter? Atsui desu ka? Samui desu ka? Is it hot or is it cold? Fuyu mo atsui desu. Winter is also hot. Minami インドはあまり寒くありません. South India is not that cold. Ja, ichinenju atsui desu ka? All through the year, it is hot. Hai, minami インドは暑いです. Demo, but, kita インドは junigatsu December to January wa samui desu. Oh really, is that so? That is the conversation over here. We will do samuku arimasen, amari and ichinenju very soon. This is in the script. You can see, we have the explanation for you. This is how you would talk in English. So, it is not a literal translation, it is just what you would say in English. Now, we have done joining two adjectives, i-adjectives and i-adjectives, i-adjectives and na-adjectives, na-adjectives and i-adjectives, na-adjectives and na-adjectives. Now, we will do negative of i-adjectives today. So, there is a small conversation over here. Nihon wa oki desu ka? Iie, nihon wa okiku arimasen. So, well, I will show you how it is made, akai, takai, samui, nagai, oi, shi, chi, sai. So, what do you have to do for a negative? If you have to make negative for i-adjectives, well, you just need to remove this i from here, the last i as in case of i-adjectives and put ku instead. So, akaku arimasen, takaku arimasen, samu ku arimasen, nagaku arimasen, oishiku arimasen. Akaku arimasen means it is not akai, not takai, not samui, not nagai, not oishi and not chi-sai. So, please, this is how it is made. We have the conversation over here. You can practice it. Nihon wa oki desu ka? Iie, nihon wa okiku arimasen. Now, you can replace nihon with any of these nouns over here, ringo kuruma doresu, doresu is dress and hon or any other noun that you want to and replace this i-adjective with any i-adjective that you want, but it should be used properly. So, for example, ringo wa oishi desu ka? Iie, oishiku arimasen, kuruma wa takai desu ka? Iie, takaku arimasen, doresu wa yasui desu ka? Iie, yasuku arimasen, hon wa omoshiroi desu ka? Iie, omoshiroku arimasen. Over here it is a little different, kuruma wa takai desu ka? So, you want to say it is takai or it was takai, but it is not as bendry or as convenient as I thought it would be. So well, kuruma wa takakute, this form you have done, and takakute bendride wa arimasen. So well, this is how you will make for i-adjectives. You see a lot of pictures over here. Let us see what it is. Atarashiku arimasen. So, this is an old system probably, atarashii desu ka? Iie, atarashiku arimasen. Tanaka san, isogashii desu ka? Iie, isogashiku arimasen. Iima atsui desu ka? Atsuku arimasen. Iima samui desu. Then, these two are busy with their exam, shiken, mondai. Mondai is a problem. Mondai wa musukashii desu ka? Hai, musukashii desu. Iie, musukashiku arimasen. Then, shigoto, work, working at office. Shigoto wa omoshiroi desu ka? Iie, omoshiroku arimasen. And then we have this cute looking girl, kawaii onna no ko with a huge daikon. Daikon is a radish. So, daikon wa chiisai desu ka? Iie, chiisaku arimasen. Daikon wa okii desu. Now, we did for i-adjectives just now. So, let us also do for na-adjectives. Practice negative form of na-adjectives. So, well, positive is, mariko san wa shinsetsu desu. And then, mariko san wa shinsetsu desu ka? Hai, shinsetsu desu. Simple answer in the positive. If mariko san is not shinsetsu, then what? Iie, shinsetsu dewa arimasen. Hai, shinsetsu desu. Hai, shinsetsu desu. But in the negative, Iie, shinsetsu, shinsetsu dewa arimasen. Now, do you remember how dewa arimasen was used in our first and second lessons when we introduced the negative for desu? Well, hon desu. Hon desu. Hon desu. Hon dewa arimasen. Over here, you can write hon dewa arimasen. It is not a book. It is a book. Shinsetsu desu. Shinsetsu dewa arimasen. She is not a very kind person. So, na-adjectives and nouns follow a similar pattern. Please remember that. Now, over here, you can replace mariko san with any of these vocabulary, any of these nouns and shinsetsu can be replaced with any of these na-adjectives. Of course, there is desu also and there is dewa arimasen. So, I will just practice one with you and then you can practice it with your partner. Okusan wa genki desu, okusan wa genki desu ka hai genki desu, e genki dewa arimasen. So, well, you can do it in a similar manner with your partner. These are words in hiragana. Now, this pattern we have done, ringo wa takai desu, ringo wa amai desu. How do you join two i-adjectives with kutei over here? So now, ringo wa takai desu, ringo wa amai desu, ringo wa takakutei amaku arimasen. So, we can join this negative over here with this. It is takai and it is not even tasty or sweet actually over here. Well, you can replace ringo again with kuruma or ega or any other noun that you want. Kuruma wa takakutei benri dewa arimasen as we did in our previous slide. Then ega wa nagakutei sumaranai desu. It is very very long and not at all interesting. Now, you can practice this. There is a picture for you over here. You can see this gentleman Tanaka-san sitting and it is very noisy. There is this phone ringing which is disturbing him. There is this picture where two ladies are talking and that is also disturbing him with a rajikase and the music ongaku is also very very urusai. So, well, shizuka na basho desu ka? Iie shizuka na basho dewa arimasen. Urusai basho desu. So, shizuka is quiet and urusai is noisy which is not pleasant to the ear. Ongaku is pleasant to the ear so it is not urusai. But where there is a lot of noise which is not pleasant to the ear it is urusai. Then there is another picture for you where we have sensei and kakusei, juu-ji-han and what happens over here? Kurasu wa omoshiroku arimasen ka? Iie kurasu wa omoshiroi desu. Class is very very interesting, why? Because everybody is smiling and enjoying the class. Now what happens over here? This is a very very simple expression.  Let us see what she says and what happens? Well, they bang into each other, get hurt and then sumimasen and then what does the lady have to say? Well, gomenasai. So, it is actually gomenasai also means sorry and sumimasen also means sorry and when you say gomenasai then you are being extra polite and you are also apologizing for what you have done.   Well, sumimasen arigatou gozaimasu so thank you very much. So, this is a simple expression, these are simple expressions used every day in Japan sumimasen gomenasai dozo arigatou gozaimasu. Now, as we always do, we are going to do kanji today also, simple kanji characters not very complicated. These words you know, you have done these words and we will try to learn them as kanji characters. So, let us see kuni means country. Let us see how many strokes there are 1, 2, 3, 4, 5, 6, 7 and then 8. So, it is an 8 stroke character and in a box. Now, how it has come into being well it is very simple. A man, a king in fact, tries to keep all his treasures in a closed place, stands up and tries to protect all his treasures and thus country is closed. So, this is kuni for you, I will make it once again. One more time, 1, 2, 3, 4, 5, 6, 7 and 8 over here, as you can see it is an 8 stroke character. Then we have karada, karada means body, human body, so well. As you know, this is the character for person hito, so well, 1, 2, 3, 4, 5, 6 and 7. So, it is a 7 stroke character. Well, now we have another one for you, which is Yasumi. Very similar, generally we make a mistake with Yasumi and karada, well over here hito and then just ki, a person sitting under the tree like this and relaxing, is it okay? So, that is how Yasumi has come into being, it is a 6 stroke character. Now, the last one is nen, nen means year, 1, 2, 3, 4, 5 and 6 over here, so it is a 6 stroke character. Now, why nen? Because what happens is, as we were all agrarian society earlier, once a year you sow your grain. So, it takes a certain amount of time to grow, to mature and then again next year you sow it at a certain time. Thus, it is associated with grain and that is how it has come into being. I will just show it to you ichi, ni, san, yon, go, roku. So, this is the correct stroke order. Please remember this order, this is very very important. Then we have kuni over here, it is an 8 stroke character as you can see. This is how it is made, please try to learn this way.  So, that is how kuni is made. And there is yasumi for you, a man sitting under the tree and relaxing. So, this is how yasumi is made. Please remember this stroke order. Now, there are some new words with kanji characters, the ones that we have just done, jintai and the meanings are given over here. You can read the meanings, jintai, daitai, kyujitsu, holiday, hito yasumi, a short break, yasumi chu, shop is closed, san nensei, chu-goku, tai-koku, major power. Now, we have hiragana as we have been doing all along. You have to learn the stroke order, ma, mi, mo, it is very clearly given and you can make it exactly in this manner, me, mo in the end. So, please remember, mo is like this right till here, you have to take it right till the top. And then you have them all in one for you to memorize. Now, you will see over here that the stroke order points this side and the point, the tip of the dot is on top. This happens when you use a brush, you just put the brush on the paper and lift it. So, the tip will always be over here at this point. Well, now you have vocabulary. The vocabulary that we did in our lesson, haru, spring, natsu, summer. You can also repeat after me, aki, otam, fuyu, winter, north, minami, south, one step, isogashi, busy, urusai, noizi. So, you can also practice at home, but please practice loudly. Whereas last time, we just started doing row verbs, which is kotowaza in Japanese, kotowaza. Well, you can see this kame-san and you can see a long, long, long, long michi, which is a road. So, well, even a long journey begins with a single step. Senri no michi mo ippou yori, sen is 1000, ri is the measurement, how you measure distance, no, michi is road mo ippou yori, you have to take the first step even for a very, very long journey. So, your long journey will always begin somewhere with a first step. So, well, our journey also of learning Japanese, it has already begun. We have already done quite a few. We have taken this one step, this single step, long, long back and we have been doing a lot of things. We will do lots more and lot of things we will learn in class, but for that you really, really have to work hard. Well, now my work ends over here. You have to do the assignments. There are quite a number of exercises that you have to do. The first one is match group A with group B. These are sentences broken, make good sentences. Then kanji characters write hiragana and correct reading for it. You have the words over here write kanji characters, then you have blanks over here. I want you to write verbs, verbs that we have done previously. Then kanji is given meaning is given match the two and of course, tick the correct kanji character and again a similar exercise which you did last time make proper questions to fit the answers given below. So, you need to read the answers first and then read the question and then put whatever word fits in over here. And also, this time there is something different for you. Well, there is a passage over here, I want you to put particles in these blank spaces. So, please you will be practicing your particles as well, do that. So, well with this lot of assignment and homework, I leave you here today. Practice all of this at home, do all that we have done so far, revise loudly, revise with your partner and then we will do something new in our next class. Till then, mata ashita or whenever we meet, mata aimashou, arigatou.


Daily Tech News show is made possible by its listeners. Thanks to all of you, including Johnny Hernandez, Hi Tech Oki, and Martin James. Coming up on DTNS, can Twitter be the next WeChat? 3D printing gets fast and high-res, but not furious. It's very happy. And how close is Facebook to becoming Yahoo? This is the Daily Tech News for Wednesday, Cinco de Octio de 2022 in Los Angeles. I'm Tom Merritt. And from Studio Redwood, I'm Sarah Lane. In Salt Lake City, I'm Scott Johnson. And I'm the show's producer, Roger Chang.  And also Twitter and Elon Musk. Let's start with a few tech things you should know. Overwatch 2 launched on October 4th, with many players reporting inordinately long wait times. Blizzard president Mike Ybarra confirmed that a distributed denial of service attack did hit Overwatch 2 servers, causing connection issues for users trying to play the game. Overwatch 2 or Overwatch No. Reviews are out for Intel's ARC A750 and A770 GPUs. The Verges Tom Warren found the A750 has some pretty good 1080p performance on most games with high settings. The A770 can play some titles at 1440p. And he found Intel's ZSS upscaling tech improved frame rates 9% at 1440p compared to a 24% increase with Nvidia's DLSS on an RTX 3060 Ti. Pricing wise, both cards offer good values compared to the RTX 3060, although Warren noted the cards are optimized for DirectX 12 titles and have some pretty significant driver bugs at launch. Been quite a month for security in Australia, the country's largest telco Telstra confirmed it suffered a data breach at a third party organization which exposed employee data dating back to 2017. It estimates 30,000 people were impacted with names and email addresses leaked. This comes two weeks after another telco in the country, Optus, suffered a big data breach impacting up to 10 million accounts. Yeah, that Telstra one's pretty small, but with the Optus one recently people are like, not another one. Amazon discontinued its kid focused video calling appliance Glow, which if you don't remember launched last year from the company's grand challenge moonshot lab. It was the one that had a video screen camera and then a projector that would project things down in front of the kid. A lot of kid-oriented apps. Amazon said it will share updates and guidance with existing Glow customers soon. Starting this month, all Tesla Model 3 and Y vehicles built for North America, Europe, the Middle East and Taiwan will replace 12 bumper mounted ultrasonic proximity sensors, relying instead on cameras and software. This move follows Tesla removing radar from the vehicles last year. It plans to remove these same sensors from Model S and X vehicles next year. Speaking of Tesla and the letter X, let's talk about what's going on with Twitter and Elon Musk. Now, we told you briefly on Tuesday show that Elon Musk had sent a letter to Twitter offering to buy the company after all. And we now know in the letter were the words provided that the Delaware Chance Recourt enter an immediate stay of action and adjourn the trial and all other proceedings related there to pending such closing or further order of the court. Musk also filed this with the SEC, reaffirming that he's willing to risk securities fraud if he backs out at this point. So it does seem that he's fairly serious about it. However, there's been no move since that filing, meaning the court case is still proceeding. The Delaware Court of Chancery has authorized Twitter to conduct a limited investigation of former Twitter security lead Peter Zacko, aka Mudge. The reason Twitter is investigating Zacko has little to do with his SEC filing or congressional testimony. There's an email found in discovery that was sent to one of the lawyers on Musk's team from Quinn Emanuel. Quinn Emanuel is a law firm. It's from a proton mail account, and it says it is from a quote former exec at Twitter leading teams directly involving trust and safety slash content moderation. So that could be Zacko. It also could be someone else. It doesn't say and Musk's team denied that it ever responded that it has ever been in contact with Zacko. Zacko has stated under oath that he did not contact Musk or his team. But Twitter wants to subpoena more documents to see if they can find any evidence to the contrary. And the judge is letting them look. That will all be stopped though. If the two sides do agree to settle, which Reuters says could happen at any time. It also couldn't. It may have happened by the time you hear this. In fact, the court case isn't scheduled to begin until October 17th. And Musk is saying things that indicate he really means it for now. He really wants to buy Twitter. He tweeted Tuesday evening that buying Twitter is an accelerant to creating X the everything app. Now, MarketWatch notes that Musk started an online bank called x.com just the letter X back in the 1990s. It eventually merged with another company and that formed PayPal. Musk reacquired the domain name X.com in 2017. The company created the handle. The company was created to handle the acquisition of Twitter for Musk called X Holdings. The Verge reminds us that when Musk met with Twitter employees back in June, he said, you basically live on WeChat in China. If we can recreate that with Twitter will be a great success. I explained this to Scott on the morning stream today. Pending the far from certain given the players in this outcome that by Friday, Twitter has agreed to sell itself to Elon Musk for the aforementioned price and all that. If it were anything else, I'd say that seems very likely. I guess at this point I would just say 51% chance that it actually happens. It seems more likely than not slightly. But let's say that happens. It does look like what Musk wants to do to me. It looks like what he wants to do is probably follow through on those discussions that he had with Dorsey that came out in the text messages that were part of the court case to make a platform that is independent of Twitter that would provide kind of a free speech area and anybody could build on that platform and Twitter, the social media message sharing part of the company might not be a company. And that what Musk would like to do is take the business of Twitter on that platform, create a WeChat for the United States. And he is not the only one who's been trying to do this. Facebook has been trying to do it with WhatsApp for the longest time. They haven't been able to get the momentum to do it. They've actually had more success in India doing something like that. Although they have to fight Reliance Geo for that privilege in India. Everybody thinks there could be a super app in the United States. Some people say it the United States is too different. It's never going to get a super app. Other people say, nope, you just need to hit the right formula. Sounds to me like Musk wants to try to hit on the right formula. Maybe I have so many personal issues with this whole entire thing that I will put to the side and not talk about today because I don't think they're relevant. I am like overly curious to see what happens to Twitter if he buys it. And how quickly things start to change or be added or removed or created adjacent to or whatever his plans are. But to the larger question of whether or not there can be a super app in the states. I mean, of course, anything's possible, but I just feel like if that nut has not been cracked yet, I don't know that it will be. I think we've got too much diversification in how we pay for things, how we communicate. And we like having that diversification. We like saying, well, I'll contact you here, but I'll just email that guy and I'll slack this dude. Oh, I don't like that. I'll interrupt you to rudely to disagree. I don't like having to do that. You don't think people like having to? I don't think they like having to, but I know that people don't like having all their eggs in one basket. That I know. And that's where I'm kind of headed with this. And I'm not saying it's insurmountable. It's probably possible. But I bet you could find, at least in the technology world, the cultural reasons why it works in other places and less so here. Why were that way? I don't know, but all those eggs in one basket, I think make people nervous, makes me a little nervous. So it makes me nervous too. And at the same time, every time someone explains to me how much easier it is to do it this way, WeChat being the most obvious example, but there are others. I go, yeah, that is pretty cool. Yeah, it's pretty convenient. Everything in one place. But yes, there's some American way. And it's not just this country that we happen to live in, but there's something about that where people go, no, then it's too much consolidation of power. And it's not fun anymore. And then the company can do whatever they want. And we're all just having to go along with it. And there's a little bit of a, Scott, I know you didn't want to get into it, but there's a little bit of a, well, if we are going to get a super wrap, we want Elon Musk to be the one in charge of it. And that is a question I think, you know, you're going to get some different answers. I don't like the idea of that all that much. And I don't have any real problem with any one of his companies specifically. I wish I had enough money to buy a Tesla. I'd do it tomorrow. But yeah, the idea of the super app and that being what Twitter is part of the fact that, you know, he certainly has made good on, you know, financial companies and that sort of thing. He might also be the one to do it. I hate to say it. I don't know. Also to the point, Americans love to complain about consolidation, but their behavior seems to indicate they prefer to behave with consolidation, like Amazon for all their shipping, like Google for all their searching, right? So, you know, people may complain all the way to consolidation, but it still seems to be happening in a lot of other areas anyway. And also if they get big enough, it's hard to turn on them and make a difference, right? Like you can hate Facebook up and down till the end of your days. And still you're probably going to have to use it because how are you going to talk to grandma? Like it's just, it's so big. It's so there. And maybe that's what's app is in China. Maybe that's why it's so, you know, we chat or we chat. Sorry. If Facebook wishes. But yeah, maybe that's why. And maybe we get there, but Parley Twitter into that? I don't know, man. All of it feels weird. And that's why I'm kind of weirdly excited to see if any of this can happen. I mean, Facebook is, well, Meta has tried to be a super app for quite some time with some success, but it's also so hated by so many folks that it's like, probably not going to happen. Yeah. I shall see. Yeah. Anybody can do it though. I almost think that's maybe he can. It's good. The money anyway. Let's talk about a big advance that doesn't involve Elon Musk. Indeed. Scientists at Stanford. Stanford rather university published an article in science advances describing a 3d printing process that is up to 10 times faster. That's a lot. Then the fastest high resolution printer on the market currently can also use different types of resin in a single object that uses continuous liquid interface production or clip. Love that. In 2015 by professor Joseph DeSimon's team. DeSimon is one of the authors of the new paper clip. It uses a layer of oxygen to stop the resin from curing. So it doesn't harden keeps it a nice liquid pool. And then it uses ultraviolet images transmitted through the resin to harden it into the proper shape. So so the images will like basically set the pattern so that it the proper parts harden as the solid protein rises. The liquid resin fills in behind it following a smooth continuous printing source. So it just flows on in one of the downsides though to clip previously was a reliable relied on passive suction to put the resin where it was needed. And it doesn't work real well if the resin gets too sticky or it's too viscous or if the object rises too fast. So it slowed it down. Yeah, this is this is a known thing to a lot of printer folks who love their resin printers. So for this new process, what's the difference? They put a syringe pumps or syringe pumps on top of the rising platform. This adds extra resin where it might be needed. They call the modified process I clip a little lower case I for injection continuous liquid interface production. This improves the overall reliability of the process allows for using more this viscous resin and adds to the ability to print with different types of resin. You need that just that syringe for each type. Each type of resin gets its own syringe. Yeah, so you can you can actually print with different types of resin in the same block. You just need you just need a syringe for whatever types of resin you want. So to test this process, the scientists use three syringes with three different colors of resin just to demonstrate that they were really, you know, bringing them together. They successfully printed a bunch of things among them a red, white and blue model of St. Peter's Basilica, a blue and yellow model of St. Sophia Cathedral. And printing proceeded at 50 to 80 millimeters per hour. Yes, for high res multi material printing that's fast. That may not sound fast if you've never done this before, but that's faster than the other stuff. They expect it could be used for more complicated items. Maybe if you need a different optical properties like printing lenses, advanced sensors, energy absorbing lattices, stuff like that. Well, it seems like the world of the printing world 3D printing world has really moved in the direction of resin in general. People like the finish, the resolution, the ease of use. That's a little bit more complicated in terms of the production because you got a lot of chemicals and curing and all of that need to wear a mask and all that stuff. But I feel like the writings on the wall kind of resins where we're headed. No more big roles of PVC or whatever it is you're using. The big hang up though in the past has always been twofold. One is how do we get better resolution and bigger objects and this sort of stuff. But the other has been how do we get more speed out of this thing? And that has been where the rubber has not met the road. It's just been slow going. It's like think 24 pin dot matrix printers compared to your fast laser today, but even slower than that. This represents a huge jump potentially in speed. And that's the big bottleneck right now for a lot of production needs.   But if your goal is to really beef up your Etsy store and sell a ton of these things, let's say Kyber crystals, although don't tell Disney you're doing it. But let's say you're making them. This means you're going to get them a lot quicker potentially. Yeah, I think 50 to 80 millimeters per hour certainly is faster, certainly better than overnight printing for a hobbyist. Certainly something if you were to get several of these together, maybe 20 or 50 of them, you could start cranking out at a good clip. And it seems like it's great technology. It's still not where I think a lot of people who aren't involved in 3D printing's imagination is, which is press a button and in five minutes, I've got my thing. The science fiction version of this, which we've all seen in various films or whatever. We're not there yet, but I feel like this is a really important step in that direction. Maybe the biggest so far because up till now nobody's had any groundbreaking speed advances. They've had advances in materials used. Yeah, yeah. Multi-materials, food even. A big industrial materials like steel and titanium and all that. Those are all great advancements and I'm sure will benefit the entire world of 3D printing now and down the road. But let's get it out quicker, man. This looks like it's it. What about like a full 3D printed home? Like 3D printed coffee too. I think it exists. 3D printed chairs. Yeah. Probably. The 3D printed homes require big large cement printers and they're basically printing prefab that require a little bit of assembly. But yeah, they're doing that in Austin. It's very cool. I mean, yeah. The more quickly you can do something like that, the more or the less daunting a project could be as long as you have the right material. So you know what? What was it? 50 to 80 millimeters per hour? May not sound fast to you, but I bet it resonates with 3D printing fans. Resonates. It resonates. At a fast clip. If you'd like to complain about these puns, you can get in touch with us on social media. We are at DTNS Show on Twitter and DTNS PIX, DTNS PIX on Instagram. Facebook is adding show more and show less buttons. Sarah, tell us about them. Yeah. So the show more and less buttons are below posts and a user's new newsfeed. The buttons temporarily affect the ranking of similar content. So you can also find the buttons in the three dot menu on individual posts in the feed preference settings and eventually on reels. This is going to join the many ways a user can take it upon themselves to give feedback and have a little bit more control over what they see in their own newsfeed. You can hide posts, you can add favorite friends, you can snooze posts from users or groups or pages that you're part of, or you could just constantly change the view to chronological. Facebook does allow you to do that, or you could just be like, I don't use Facebook. I like TikTok or Be Real. Facebook seems to be fighting a rearguard battle here to keep users while meta itself buys time to shift to its future bets like VR headsets and whatever the metaverse ends up being. For example, Bloomberg has a story that political advertisers feel that Facebook offers less return on investment than it used to, partly because of limiting ad targeting, but also because of a stagnating and aging user base. Scott, you mentioned earlier that, you know, Facebook is one of those things that people think of as a way to keep in touch with their grandpa. Is that the way that your kids keep in touch with you? Well, there's actually no, that's what's funny. Interesting. I do keep track of a lot of other relatives that way, and honestly, Facebook and I don't have a very frequent relationship, but when I do check it, I do check in with my mom there. She loves Facebook, she's super into it, but she's 83. I'm not saying everybody's 83 using Facebook, certainly not, but it's more, for my family, even extended family, it's things like Be Real and Instagram, Twitter. To some extent, it's just straight up texting. We do a lot of groups and group texts, and so a lot of iMessage, occasionally a green bubble will be in there as well, and that's fine. We don't care, and that's kind of how we do it. In fact, my daughter just had a baby yesterday, a little daughter of her own. Oh yeah, it was breaking news on the show yesterday. I heard, yeah, somebody said it came up on the show. Amos told me, but it, and thanks for all the nice words, everybody, but anyway, she had this baby, and so what's the first way we all get to see the baby? Nobody's in the room with her, except her and her husband. We get to see it in this big, huge family group text, and then we disseminate it from there. I feel like that's a lot of people now. So again, it kind of goes what I was saying earlier about diversified communication methods. There's just so many other ways that people choose to do this stuff. I'm not sure Facebook is the end all be all, even for this kind of thing, even for private groups. So yeah, we do it different ways. I'm sure everybody's got their own way, and some people, maybe all they do is Facebook, and to them I say good job. They do seem monolithic and huge, and when you have billions of users, it's kind of hard for you to crumble, but maybe these are some of the cracks in the late stages. I don't know. I certainly have, I know family members are a good example, but there's people I know, whether it's friends or family or even an acquaintance that I used to work with type thing that are clearly on Facebook all the time. I mean, they are in my feed constantly, and it's like, even if I'm not seeing half of the posts, because I'm rarely going to someone's actual profile and kind of looking at things that way, I just sort of check in, make sure there's nothing burning down that I have to deal with as far as somebody trying to get a hold of me, and then I just am kind of out of there. I use Facebook Messenger a little bit, but as far as giving people more options of how their newsfeed is customized and works the best for them as an individual, that's all fine and good. Some of it though, I don't know, in the past, and I hope this makes it better, in the past, I would see too much from someone that I don't interact with. I'm not commenting on their posts enough for, and I'm not really interested in the pictures of their family. No offense to them. To the point where I'm like, well, I don't want to mute them, because we didn't get in a fight or anything. I can say, see fewer things like this, and that's never really worked very well. In fact, I can think of one person in particular who I will not out. I could say, see less of this a hundred times, and those posts just keep coming up, so maybe this is just designed to work better. This just feels like requiring your users to do work, or possibly just signaling, like y'all say you want this, we know you don't really, so we'll give you a button that temporarily works. I don't know. I don't want to have to work that hard. If your algorithm works, it should just work. It should work well, and maybe an up and down button, right? Everybody's got them. That's fine. Let me do that. But so many do. You can go into the settings here. You can hide it. You can say show me less of this. You could use the show more or show less buttons. It just shows that there tend to throw things against the wall. And I don't know. I think Scott summarized it great. He's a grandpa, and maybe Facebook is for great grandparents. Maybe. I don't know. I feel like the youngest grandpa on the planet, but when I get in there, I just can't wait to get out of there. I mean, here's why I think TikTok has such an advantage, and I think this is the reason why everybody's chasing TikTok right now. And they all are. They're all trying to do it. They're all trying to make TikTok, including YouTube, the big boys. They're all doing it. Why? I think the simple answer is they have an algorithm. Everybody else has a hard time competing with. It's really good at giving you what you think you want. And if you don't want it, it's really good at just flicking past it. I'm done with whatever that is. I don't even have to look at it. And it's smart enough to go, he didn't stay there very long. So we're not feeding them those things anymore. So now it'll be these other things that he does seem to spend time with. And boy, even looked at that guy's profile and checked out his other videos. That must mean he likes animation. More animation, please. I'm not saying that these are equal comparisons because they're not Facebook feeds a very different kind of content than something as simple as these are all videos in a row. So I know that they, you know, it's not the same and they're not comparable, but a great algorithm and an okay algorithm, there is a chasm of difference between those two things. Well, Hackaday and ours Technica both passed along. Pretty fun project from IncBox software, which released a graphical operating system, the NESOS for Nintendo's NES console. Yes, it's a real OS. It's a limited one. Really only has two apps, a word processor and settings, and eight, eight 32 byte files. But you've got a pointer. You can move icons around. You can customize some colors. NESOS is tiny, 48K in size. And the files have to be inside 2K of NVRAM that keeps data when the console isn't on.  Graphics memory had to deal with the NES only having two sprite memory grids. So it can only display 64 sprites at a time. So IncBox had to combine the sprites into larger shapes to not get some of that flickering that many of us remember. The project is available in a ROM. You can use it to an emulator, but you could also make your own cartridge if you wanted to go a step further. This is so cool. It's so rad. I do a show all about retro gaming called Play Retro, and we will absolutely talk about this thing happening. I mean, in some ways it's a little bit of a, you know, it's kind of a goofy gimmicky, hey, look what we could do. Kind of like somebody, I guess, recently built all of Minecraft in a map of Minecraft. In other words, a playable version of Minecraft is crazy. And I love that kind of stuff. It's not always practical.  It's a little like that. But man, I love this kind of stuff. I love it. I love it from a preservation standpoint. I love that people are this creative. Like, I kind of want to get the ROM and play with it. Well, I will actually get the ROM and play with it. And I'll report back here what I thought, but love it. No, we're not going to see a bunch of apps and are going to have their own developers conference, but I love the idea that you can take this old hardware. You say that now. This could be just the beginning, Scott. Never know. NESOS 2024. Did the NES need an operating system on a cartridge? No. Are we glad it's there? Yes. Yeah. Let's check out the mailbag. Jeff wrote in, Jeff had some fun using character.ai for text adventures. In fact, we were talking with you, Scott, about this last week. Jeff said, I described the scene of waking up on the beach surrounded by a shipwreck. But to see what the AI might do, I said there was the large footprint of our carnivorous dinosaur in the sand. It described the footprint perfectly. Added details about how the dinosaur had circled me and left. After searching the wreckage, I left with a gun. It had five bullets left in it. Fast forward about a dozen interactions, and I'm in a village where the chieftain's daughter, who the AI even gave a name, is translating between me and the village shaman, who's insisting I throw my gun that the AI gave me into the fire so to not anger their god. Also was holding a totem of a dinosaur.  Just blows my mind. Give me this AI plus dolly or stable diffusion to generate images of the scene, and I may never need to buy another video game again. I'm completely in agreement here. I streamed an hour of one of those bots, specifically the adventure game one, and to a bunch of people in my streaming audience, and I was trying to throw stuff at it to throw it curves, to really mess with it. By the time that thing was done, I was the Hulk. No, I'm sorry, I was half Hulk, half Batman, and I was fighting the Gorn, who Kirk helped me fight the Gorn, but then Kirk turned on me and we had to fight Kirk. Oh no. Picard showed up. I didn't even tell it to. He just showed up. I summoned four lights to try to stop Picard. It was all a big thing. Anyway, it was a total blast, and I came away from that going, yeah, it's a little weird. And yes, you know, there aren't exactly the kind of progression type things we think of in video games, especially RPGs in this. They easily could be added though, and you've got a very unique experience. You add in image generation to this? Suddenly I'm all on board on AI image generation, because that sounds like a wonderful application for that sort of thing. So I couldn't agree with this email more and I had the same experience. I recommend people go check this character.ai thing out and just mess about. Let your imagination roll, and you'll be surprised what comes out of it. It was awesome. The only limit is your imagination. It's like ZomboCom. The only limit is yourself. Like what you throw at it, it will then play on. It's so fascinating.  No, no, I don't. You're not scraping the Internet properly. And then I realized that is not the point. I already know what I am. This is the other Sarah in the fun world doing other things. Yeah, just the idea that you can come who apparently works at addiction recovery center. The fact that they have nothing and you can turn nothing into something, it just felt like new frontier to me. And maybe I'm just being tricked by the tricks of AI, but it felt immersive and emergent in a way that I haven't felt in a while. It was awesome.  What was that thing? Character.ai. Go check it out. Also, we made an offhand comment about finding cheap gas on the show with Rod Simmons. And Todd, helpfully recommended gasbuddy.com gasbuddy.com slash USA will help you find the cheapest gas near you. Thank you, Todd. Thanks, Todd. If only there was cheap gas near me, but hey, it's got to be somewhere around here. Thanks to you, Scott Johnson for being with us today. And congratulations on the granddaughter. Very exciting for the fam. Let folks know what you've been up to lately. Well, other than feeling like I've aged two decades in one day. Other than that, I've been really busy working on a show called core. We have this show that we do every week on Thursdays. It's all about the video game business industry and the games that we're all playing. And if you're like, man, some of the stuff I hear you guys talk about on DTNS, I'd love to hear maybe broader discussion on some of those topics. That's exactly what we do. And I think you're going to like it. So check it out. It's over at frogpants.com slash core or just search for core wherever you get your podcast. Very cool. Special thanks to Dan Colbeck. Dan, you already know this, but for everybody else, Dan is one of our top lifetime supporters for DTNS. We thank you so much, Dan, for all the years of support. Yeah, thank you to Dan and everybody. There's all kinds of benefits you can get by becoming a patron, not the least of which is an ad free feed. Don't let that go to waste.  Patrons, stick around for the extended show. Good day, internet. We roll right into it when DTNS wraps up. But just a reminder, you can catch DTNS live Monday through Friday at 4 p.m. eastern twenty-hundred UTC. Find out more at dailytechnewshow.com slash live. We're back again tomorrow talking the Chips Act and Google's Pixel announcements with Jennifer Briney and Rob Dunmuth joining us. Talk to you then. This show is part of the Frog Pants Network. Get more at frogpants.com