Hi, everyone. Happy Saturday. I'm Joe for Jasper's case grace.com coming at you with 2021 leaf metal football leaf metal draft Football to be precise draft edition. It's a five box mixer featuring two boxes of the jumbo edition and three boxes of the Hobby edition and it's a random player break So we sold 27 spots. There's 108 players on this list right here And we sold 27 spots and you get four random players from that list below So big thanks to these folks for getting into it. I appreciate it. So now let's multiply it by four. There's one already two three four So there should be 108 on Each list So let's roll it. Let's randomize it six and a four ten times for names and players one There's 108 right there. Perfect one two and we're going ten times three four five six seven eight nine and 10th and final time after 10 we've got PJ all the way down to Jason Six and a four ten times for the teams one or teams for the players one two three four five six seven eight Nine and tenth and final time after ten We got Tylen Wallace all the way down to Joseph Osai Alright, so I'm not going to read off all these names. So I'm going to show you the list Kind of blocks at a time and then I'm going to alphabetize by your first name And then you'll be able to see all your players group together. So we'll kind of do it that way And I'm just doing it this way because when you're rewatching the video you can pause And keep track of the players if you want to do it that way and then I'll for those of you watching live I'll share this spreadsheet with you. So you can see you can also see the spreadsheet directly as well All right, so there's the group right there now. Let's sort by column a by your first names So Aaron Billingsley, there's your block of players right there Barry there's your block of players Colton Daniel Daniel L Daniel s Jamie Jason Jason says ew. He doesn't like his players. So he's got those players up for trade Jonathan Karen Mark Matt Shaw Matthew Slade Michael Mike PJ Steve Wright and Terry Cahill. All right, so I'm gonna share that spreadsheet with you in just a second, but let's also really quick select the boxes We're doing two boxes of jumbo So here are the fresh cases right here There's jumbo right there. Let's slide that hobby case over You know Jason. I remember a lot of people saying ew When they got randomized Justin Herbert and these leaf metal draft products. All right So here are your jumbo boxes two four six eight We're gonna select a die Select that one and we'll go one two three four if I roll a five or a six. We'll just roll again Three one two three, so we're gonna do that selection of boxes here. We'll save these for next time At least it was a QB, but still people said ew It will chargers it would Justin Herbert it will Oregon So don't be so down. We don't we don't know what any of these players are gonna do yet I mean in any of these draft breaks here's hobby right here So two boxes of jumbo and three boxes of hobby in any of these breaks These are really aside from the the quarterbacks Everyone else. You're just putting in a drawer and you're just waiting until the end of the season And hope he gets prized you're banking on Future value especially any any football break over the summer. You're banking on future value not current value Yeah, one of them could be a Hall of Fame lineman All right, so this is three boxes of hobby addition. So let's just make stacks of three There's three There's three You can see I'm all in the top camera as well So we'll go one two three four five if I roll a six I'll roll again like that Four one two three four we're doing that stack right there and these might be mixed up, but we'll They will be mixed up. We're just gonna save save them for next time We'll put mark those with some X's right there. So, you know, they're all from the same case Let's slide these over here the The next five box break is in the store right now. So if you want to run this back We definitely can all autographs And a good chance to kind of get some of some of the NFL's future stars Again, we're banking on on the future possibilities for these players not the current possibilities All right, I'm gonna pause the video when we come back We're gonna see if there's any trades and then we'll have to break stick around All right, welcome back everybody I think everyone's good with whatever they see on the list and there were no trades So let's roll. So we got the three hobby boxes the two jumbo boxes will do the three hobby boxes first Let's see what we got. There's little slider boxes. Oh Yeah, no, these are dangerous boxes These just have like the they don't really click together nicely. So you got to be careful if you're buying these Ladies and gentlemen. All right, we're gonna lead off with Dwayne Eskridge 19 out of 40 these are a little bit on a slightly thicker cardstock, which is kind of nice Better suited in these 55 top Nice 19 out of 49 Dwayne Eskridge goes to Goes to Aaron We've got purple wave Amir Smith Mar set 10 out of 15 and that'll be for Steve right that Warren Jackson blue wave autograph 12 out of 30 and Warren Jackson will go to Mark Mark Casanzo with Alan. We got a pink mojo. We got Ian a book One out of five out of fives and under and get the world famous train whistle. Who's got Ian book? Barry Roberts, Barry all aboard the big-head Express Look at that guy right there first of all Top loader here for Ian book. These are all falling apart. What's going on here? You go Ian book it's yep, it's Trevor Lawrence Nice Wow four out of seven nice low number on that Trevor Lawrence Who got randomized Trevor Lawrence? That's gonna be Daniel Lyman with Trevor Lawrence. Congrats Next box. All right, there's Rakeem Boyd one out of 15 on Rakeem Boyd That will be for Mike Cody we got Jamar Jefferson. I like that pattern in the background there Jamar Jefferson Jamar Jefferson will go to Matt Shaw Yeah, I know where is MMG now? TJ you're right. I probably complain on someone else's channel now. There is a Amon Ra St. Brown five out of ten Jonathan Griffin With the Amon Ra St. Brown Amari Rogers That'll go to Michael Everly with the Amari Rogers 24 out of 30 and nice Kyle Pitts That's pretty strong. Now. I wonder how how NFL ready is Kyle Pitts Steve Wright with the Kyle Pitts meaning if more specifically if the Falcons lose Julio Jones if they really do trade him Does that mean more attention on Kyle Pitts or would have probably would have been easier if Julio Jones was on that team Wow three out of four It'll open up a lot of space for Kyle Pitts, but now I mean Kyle has his work cut out for him now. I want him to do well though That'd be hashtag good for the hobby Steve Wright is happy. It's a three out of four All aboard the big hit express All right another hobby box and then two jumbos And we've got another five box break of this in the store All right, we got DeMonte coxie 27 out of 50 That'll go to Daniel s with the DeMonte We got it Elijah Mitchell Pink cracked ice Elijah Mitchell Six out of 15 nice low number on that where does Elijah Mitchell will go to? We'll go to Michael Everly. You got a Jamie Newman Two out of seven the numbers on the top left right there Jamie Newman will go to Matt Shaw. We got a Shane Bouchel 50 out of 50 autograph Shane Bouchel will go to Matthew Slade. There you go Matthew and back here. We got a Rashad Bateman 14 out of 25 Rashad Bateman going to Jonathan Griffin and Rashad Bateman is With is a receiver for the Ravens According to the Baltimore beatdown Rashad Bateman continues to receive high praise from coaches and teammates People gushing that he's a very special wide receiver CBS Baltimore is saying a day ago So one to look out for that is 14 out of 25 as you can tell you the the last card is usually the bigger name All right jumbo time So the jumbo nine autographs plus one one of one slabbed proof per box Pretty nice. I think I see something nice in there. I'll get more autographs out of here too. All right. We got KJ Costello KJ Costello going to Aaron Billingsley. That is 24 out of 25 touchdown Kings Javian Hawkins Javian Hawkins will go to Mike Cody six out of ten and I really like these state pride parties are always always a One of my favorite insert sets in these leaf products JC Horn and that'll be for Colton and the JC Horn 23 out of 25. What state is that? I guess JC Horn Is that a Georgia flag? He's born in Georgia, but went to South Carolina. Maybe that's a South Carolina flag Well, that's the Georgia flag That's the South Carolina flag. All right. Anyway, it's got the little tree back there. It's pretty cool All right, JC Horn. There you go. Once again that goes to Colton Carver We've got Dylan Moses playing some tenacious D Dylan Moses goes to PJ 30 out of 35 on that one PJ. We've got Chris Evans Chris Evans will be for Daniel S Gets the 29 out of 40 Chris Evans More tenacious D. That's Jalen Twyman Different parallel here as well Jalen Twyman also goes to PJ. That is two out of seven. We've got another Jamar Jefferson for Matt Shaw 10 out of 35. We've got a Chuba Hubbard 18 out of 40 Chuba Hubbard goes to Colton Carver 18 out of 40 and And a nice Kyle Pitts and other Kyle Pitts popping out of here in this metal draft mixer 33 out of 75 And once again that Kyle Pitts will be for Steve Wright and here comes the one-of-one proof and It's autographed and it's a really nice player armed and dangerous Trey Lance Nice. You got a pre-production proof Prismatic purple Trey Lance one of one Nice. Trey Lance who got randomized Trey Lance PJ got randomized Trey Lance PJ All aboard the big hit express Nice. All right and the final box nine autographs or ten autographs One of them Slab and a one-of-one. All right. We got a Tutu Atwell Tutu Atwell goes to Steve Wright that pink parallel nine out of 25 Now Patrick Jones the second also going to Steve Wright 47 out of 50 Terrence Marshall, Jr. Terrence Marshall, Jr. Heading out to Jamie Jamie B With the Terrence Marshall, Jr. A little TMJ five out of 99 Josh Johnson Josh Johnson going out to Barry Roberts with the JJ Nine out of 15 We got a Monras St. Brown. I think that's our second one. Yeah, another one for Jonathan Griffin With the a Monra St. Brown eight out of 50 We got Jason Owen. Oh, uh Jason Oh, uh for PJ all right as long as see okay Steve Wright knows he's behind He like that. He likes that pits car that was pulled We got a Sage Surat Sage Surat That'll be for PJ PJ that is 50 out of 50 We got our second Ian book. I think we already saw Ian book once Yeah, Barry Roberts another Ian book You can book it. Oh and another Trey Lance Got the pink parallel there I think that was PJ again with that Trey Lance. So two Trey Lance is for you PJ very nice 25 out of 25 and the one-of-one is Marquez Stevenson Pre-production proof red wave and a one-of-one Kind of like the blank back of the pre-production proof Marquez Stevenson will go to Matthew Slate. There you go Matthew. Thank you for getting in and All aboard the Big Head Express Thanks for watching everybody pretty nice stuff here and the next five boxes are in the store So if you want to go and check it out Get in there and make it happen on Jasper's case breaks calm Thanks, everyone. We'll see you next time for the next break. Bye. Bye


the Director General of the Food and Agriculture Organization, Deng Yu Xu. Could you please give him a big hand for being here? Thank you. And Deng Yu, there are people in the virtual world from across the SDSN network globally watching as well. So we have both an in-person greeting for you and a worldwide greeting for you. The Director General of FAO is really a remarkable leader. We're going to learn a lot. I always do. Every time we sit down, I was just learning in the back about wetlands. I maybe he'll tell us a bit about that. But he is a terrific, really a great scientist. And he was the Vice President of the Chinese Academy of Sciences. He's been a senior figure in China's agriculture, which has got stupendous successes, many of which he has developed and promoted. And Deng Yu Xu became the Director General of the Food and Agriculture Organization in 2019. And he did it because he won a worldwide campaign saying, we can bring scaled changes to agriculture for sustainability, for food security, for nutrition, for environmental biodiversity, sustainability, for quality of life. So a holistic vision at scale. And I've watched him put that into effect because his management style is to think big and bring everyone together. We had before you, starting in the morning, Gerd Mueller from UNIDO. He said he wants UNIDO to help on the food and agriculture sector. And I said, of course, that's the natural partnership with you because they do the industrial transformation side of things. And I thought that was very exciting. And then President Shisaketti, who was here an hour ago, said that agriculture scaling up for the DRC is absolutely essential. So we're going to hear a phenomenal lesson I guarantee you in the scaling up of sustainable agriculture and solutions to the world's challenges of poverty, hunger, rural livelihoods, and agricultural production and food security. So thank you so much for being here. By the way, when he ran for re-election, of course, it was overwhelming support for being re-elected in 2023 because of his tremendous success as Director General. So we're very honored that you're here. Thank you for coming. Thank you, Professor. You know, Professor Jeff Saks, not only famous in Colombia, he's the famous in the world. You can trust me. Because not only from the media and from the ground and a lot of politicians and farmers and scientists that knows Colombia through him. So that's a real legacy asset for Colombia. And I'm honored to be friend with Professor so many years. I learned from him, from his vision, his critical point. It's very important because we are scientists. Before joining AFL, I was a natural scientist on genetics and breeding for about 25 years.  Of course, I enjoy my current life to have the more people through our enabling policy, science, innovation, and a responsible investment. So I will share with my sword how many minutes I will give. No, we are professors. You gave me five minutes. I talk five minutes. You gave me 50 minutes. I talk 50 minutes. How about the minutes? OK, thank you. Thank you for your generously. I will stay here and they have some slides to follow. Dear my professor, Jeff Sucks, so exciting to come to this famous university as my humble AFL director general. So it's my first time to stand at the stage to give some kind of academic lecture since I become an AFL DG. So I made a special reservation for Columbia University for my friend because I got so many invitation together. I said, no, I wanted to give my first most to you and to this university. I wanted to start with a small review or memory, small history tools. You know, why is a food and a culture so touch America, American government and American people? Because the only UN special agency was initiated by the president of America, that time President Rossfer. And it was established the first meeting United Nations Conference of Food and Culture in Hard Spring, Virginia, 1943, May 19 to June 3. Of course, during the war, the war, and so many people suffer from starvation. That time, I think, 90% of the population. And that's why it's so important that President Rossfer was other founding members from China, from Canada, from Latin America, from South Africa, Europe, Asia. And so an AFL was officially established under the UN. It's become a first UN Spanish agency. So that's why the AFL Buster is October 16. And now maybe some of you are famous to know now for the World Food Day. Let's pick it up, AFL Buster, official Buster. And that's what we should not forget. And then, of course, fortunately, we start the first, the DG is also renowned scientist on the nutritionist. That's why the AFL, we always talk about the food security and the nutrition security. And from earlier, he said that the tone of AFL mandate and the beast. I'm so fortunate to become a number nine AFL DG back to another scientist. I'm a scientist on the genetics and the brilliant culture in general. So it's some one cycle after 75 years. And agro-food systems, where we are and where we need it to be. That's why I wanted to share my thought freshly, shortly with this, 50 minutes. And you see over actually driving of agro-food system, population, dynamics and urbanization, industrialization, and also digitalization. This is above all, not only about the culture, about the economy. All the sector of economy and social and, in fact, globally by urbanization, industrialization, and digitalization. So all we have to transform agro-food system based on that bigger scenario. Otherwise, we lost our self on the middle way. But also, what food is a critical reality is we, especially pandemic, heat, and other crises, and also the man-made crisis, the natural crisis, the war in Ukraine. So maybe they reversed or economists always say off-track. But actually, still a lot of people, I don't want to repeat all these numbers because you can search on the web from FL Flexing Publications online. Because since I come to FL, I established a digital FL. Everything, including the photo with your dean, with Professor Jeff Sachs, I think 30 minutes later, you can download from FL website. And annually, we publish several articles, Sofia, Sofa, Kofia, all related commodities, fishery, forestry, and even last year, we first published a study of situations in rural areas. So we look at all the angles and areas related to agriculture and food and rural development. But the daunting situation is still we have more than 600 million people, even by 2030, suffering from starvation or hunger, in general, or malnutrition. And health deaths, even more people still not affordable, 2.4 billion. And of course, look the figures here, world prevalence and the announcement of the number and the announcement of people. It was somewhere between the year of 2011 to the 2018. It was the lowest during the past three years, about since 2000, this is 2015. So it's about the 20 years already. And it's climbing during the past three years. It's quite complex. And not only because the international bond or sanctioned disruption of the supply chain, but also the pandemic, and also whom may make the crisis, not only war in Ukraine and Afghanistan, Syria, Somalia, Sudan, South Sudan, and Haiti, you name it. So I think that all this and also the food is, in general, is available. So food availability in general is not a big problem, but food accessibility, food affordability, everywhere. Even in the richest country in the world, still have a big number of the people have no money to buy food, to access food, to affordable food. And that's the projection of the global number of the announcement of people. So you can see I hope that the scenarios will be, by 2030, it's less than 500 million. But most probably around 600 million will be still suffering from the malnutrition. And of course, we have to repeat, say, unsale food. I fact, one out of 10 high food laws should be, that's how expected. That's our target. By the 2050, I think Professor Jeff Sucks was very familiar with this also target, where you will be the special advisor to the Secretary of Panguimu at that time, I think. And so all the target is set in there, but the awful track and the reverse, even. And especially look at the health data. Still, it's not so much increase. But the others increased it too much. But it's not good, because non-communicable disease has come from the obesity and overweight. And starting among children should be needed to be decreased significantly. We should recover from lost decade in the rural poverty. So that's why on Monday, the SDG summit, it's a political digression that give the clear message to reach, cite, recharge, and re-emphasize. That's the common science now during this summit. And of course, agri-food system sustainability, we should examine holistically. And the holistically reaching come with a potential synergy between the dimensions and the trade-offs. Agri-food system excessive pressure on the environment. Of course, climate change is there, but agricultural is a sufferer from pollution and also is contributed to the gas emission. And especially from the subset of the livestock and some others. And also bad weather loss is so much, because best of all, professional assessment. As 80% of the threatened terraset species are in danger due to the land use chain driven by the agricultural. In general, agriculture includes the forest management and not only crop and fishing land and water management. And what scarcity. That's why the FAO last minister conference in July in Rome, we focus on the ward manager. Not only water scarcity and water flooding and water pollution. There's three areas we should have looked at at the same time. And pollution from the industry and the pollution not only to the land, lake, rivers, and also Maria for the long term. So that's we have to be more carefully look at the current situation. Just before this lecture, I had a very substantial discussion with Dean, how they map in the wetland. What is the emission, SNR emission, from the wetland globally? Because they have a man made wetland, like a petrious field. We have also natural wetland from riverside, from lakes, from a share of the coast regions. So all this we have to, it's a challenge, but also it's opportunity. Also again, because time limit, I don't want to read all the details information. If you like it, you can download it. And that's a homework for the students, for someone who interests. And the carbon neutralization is the only solution. I said the industrialization and urbanization, digitalization. But the first, we should aim into carbon neutralization. Improved the red dots and increase the blue dots or green dots, reduce the red dots. That's the solution. We needed a package of solution. Improved all the related areas. And the first strategy, what is we should go on? What is the real solution for? We need a growth, yeah? That's why with my colleagues, since I come through the international consultation with the different members, country, and academic people, private sectors, civil society, and we come up with the four betters. Better production, better nutrition, better environment, better life for all, leaving no one behind. That's covered all the different types of countries at a different stage of development. Let's hear. Great America, you are a developing country, but you need a better production to improve your productivity. Produce more with less, yeah? We need more food, definitely. But how? Produce more, more quantity, high quality, more food diversity. In Asia, especially, far East Asia, Southeast Asia, we enjoy so much food diversity. So let's produce more.  So that means the better production, better nutrition. Also, not only nutritious food, we need a more edible fibers, vegetables, fruit, and also more balanced formulae and also good habits, or consumption patterns. And that's better nutrition, and not only for poor and also for rich people. That's, and then the better environment, not only for general environment, and also agri-environment, and also you are living environment, and that's really a better environment in which a culture of forest, a horticulture, you can name it, livestock, all this area officially. We can contribute to the better environment, and then end up with a better life, not only livelihoods improved, better life quality at a different stage, yeah? Professor, we are a little bit senior, but not, but each, but we're still young at heart, right? And we need the health life, and what is health life based on the science, based on nutrition, based on the proper consumption, and with others. So, and we need to accelerate innovation, technology, data, compliments, governance, human, capital, institution. If you are interested, you can visit the FA website. We have released this document about two years ago. But you look at all the linkage between four beds with SDGs, and SDGs 16 and 17 is partnership. So, we build up the handy, handy initiative. We include all the key partners from the public, private, academy, civil society, not only UN system and the international cooperation. We need to work all the key partners together, and then each SDGs, we need a holistic design, and how to work with other SDGs, because the natural is not divided by SDGs 17 or 20. It's even in the small community, you need the holistic design. And of course, COVID-19 pandemic come and other crisis, war in Ukraine, all this, it's really early warning for this planet, for our human being, but we have found the solution based on science, based on the scale deliverable, not based on the demonstration pilot project. That's what the scientist or professor interested. We need to start that pilot and the small demonstration, but for the social, economic, environmental movement, we need a scale deliverable tangible results. That's why I always strengthen collaboration with the local government and the national government. And FAO, it's ready to work with all the key partners with the university, with the academy, with the private sector, with the civil society, of course with the government and others, your agencies. Why FAO is now become more and more important, because our funders and our funding members, we started build on the food security and the nutrition and also look at the agriculture at large. It means relate the environment, relate the life. And we can do more together. And that's why since I come, I started to change FAO, restructure FAO, we established three layers. First is the functional divisions. It's a pillars of FAO and all the related and their office to call it an internal external. And then we have all this platform. I established a Water Food Forum for welcome all the partners and the key players that come to debate, to share your experience and knowledge and also bring the resources and capacity buildings to the members. And all the members, ministers and relevant partners come to FAO to promote their own project initiative, whatever. So FAO become a knowledge sharing center and become the open platform to advocate the new science, new technology and also new partners to beauty. It's a matching, making place for you. So welcome all the students, great from Columbia University, others to use the FAO not the last internship as a resource of knowledge products. Thank you. Thank you for your attention. Thank you very much for showing us how FAO is being really made into the central integrative hub for all of the issues around farming, nutrition, land use, biodiversity, because we need that integrated vision and the UN system sometimes either leaves out major areas or parcels them out in a way that they don't get integrated and FAO is doing exactly what is so vital which is bringing together all of these different components. So I really congratulate you and also say that at Columbia University we have tremendous interest and capacities in this area. My colleague Glenn Denning whom I think you know are lead in teaching food policy and agricultural policy in the School of International and Public Affairs. And we would love to support you in every practical way and to engage in all of this really thrilling work. I wanna ask you from your perspective as Director General of FAO and your previous leadership in China. I know you were assigned the challenge of upgrading agriculture in one of China's poorest regions and you made a major contribution there and a lot of your members are asking you in very poor settings, well, what can we do? And you did that in Ningxia. So could you say a few words for in a low income setting where the people are in agriculture and perhaps just subsisting, what is the right approach and what institutions, government, the farmers' associations, the individual farmer and FAO, how can we put the pieces together to tell these poor regions? Here's how you can approach this scaling up problem. Okay, I have it. So thank you, thank you Professor. It's a complete question, but I want to make it simple and mention several key points. First, of course poor, different region, different even countries, different country. Poor, they have a root cause. Some member, some country, some are dependent on the natural resources for agricultural and food production is not so ideal like near East. But when I went to the poorest province in China, Ningxia is a Muslim autonomous region. The weather is harsh, the rainfall annually is 200 millimeter. So, a lot of people look, I'm a scientist. So I look the whole scale way. Drought is not good for cropping for sure. Even not good for grass, but drought, one advantage. Also not good for disease to grow, right? And then you can divide the livestock because you have no disease infection. The first, most, we encourage them to divide the livestock. Yeah, livestock, you need the buildings inside that give the limited water supply and then keep the march clean. But the tropical, sub-topical, ring, fat areas, it's not good for that because there's so much microorganism also growing flourish. So we have to change the way of thinking. Jumping out of the transistor box. And then water saving. Because years and years, transition want to have enough wheat supply. Wheat is, in that area, it depends on the irrigation. It's a lot of water consuming crop. So, first, change the mindset. Second, find the proper commodities which are value-added, complemented to other regions. Not that you are not allowed to use your disadvantage, condition, compete with some variable. It's, it might be another way, sir. So that's the second. Third, you need a science support. First, the water in that salted lake. It's not drinkable. So local farmers and local people don't like the, ah, that's the lake is useless. But pH value more than 8.5, it's a good place to grow the high quality of fish. But you need the selective problem of species of fish to grow. Like the sea, like the sea water. So people that can catch fish from sea, even develop aquaculture in the sea near east, near coast. But if you're growing the fish in that salted lake, it was, so you turn the negative to the positive impact. That's also that. And last but not least, you need the government to support. First, because no any individual farmers or farmers are just that. The government, the law, you shouldn't give the, create the examples, create the hope. And then the purpose sector will follow. Because, oh, it's open a new window for them. And last but not least, you have to establish an enabling policy to attract the investment. Because any poor country, poor region, they have no money. Definitely, poor families. Yeah, that's the definition. And that's why I started EFL, one country, one priority products initiative. Any country, small, small seeds or LDC, LDCs.  They are so poor, but focus on one. And then they build a whole value chain, not only production then. And then you make money and they can make, copy another proper crops or animal product or fish, fish species. So that's the solution. I think now through the handling hand, through the one country, one priority product and the digital value chain, all this come together. And then you can sell it online. But you need to introduce international standards. So Cortex hosted by EFL 60 years. How to use Cortex to scale up, speed up the high quality production and development. It's not a negative. So a lot of people consider the high standards when we block their opportunity. No, if we jump out, you can slip. Development, south. This is, I hope everybody is hearing very clearly what the answer to the question, this development of an aquaculture industry. It starts with vision, but the vision based on a scientific insight and the local ecology. Well, this isn't the place to grow. This crop, this isn't the place to grow. This crop, this isn't the place to grow. This crop and this lake which you think is useless, that is your new income source if you think what's really possible. And then I wanna underscore because I think it is so essential and in my view, China has proved this time and again. When you have that strategy, it doesn't just implement itself. It's not good enough to say this is a good place for aquaculture. You need to create two things. You need first the government to help lead so that because in impoverished community, they can have the idea, but they can't implement it without resources to start. Almost everything requires an investment at the beginning and then come the results later. But investment upfront when you're impoverished is not easy. So you need the government there to start the process and then as the director general said, an enabling environment. And that means all of the rest of the ecosystem of transport, regulation, guidance and so forth so that this new industry comes together. I love the idea. I was with the president of Malawi yesterday, President Chakwara and he absolutely said we must develop agriculture. He's listening to you. So this is a natural partnership where you can make a breakthrough because Malawi wants it, needs it, the president's very intelligent, very determined and I know that that can make a huge difference for them. Yeah, that's why they committed and determined to come to the FAO because I want to share not only my personal experience, also 40 years experience accumulate in China during the open door and the reform or transform a growth system and the rural development. I think it's a small-holder farmers. I come from the small-holder farmers family. My family eight people, only 14 more, not 15 more. 50 more equal one hectare, a slight one more less. But we have to make life. President Lula asked me, what, how? I said, yeah. But your position, you need the horizontal, you are an economist. Lot of people think of the horizontal way, expanding, expanding from one hectare to 10 hectare. If we get 10 hectare, we'll have enough food. No, you only have one hectare. How to build up a vertical solution? First, it's giving you 1,000 square. If I come to your compass, I ask you 1,000 square, I can make reach. How? Build the one 10 stores of the plastic house, not need a greenhouse because there's no heating necessary in the winter. But you can, I can start building the sprout vegetables. 10 stores. And within two weeks, I can deliver to the hotels. Use all the less germinated quality of seeds.  And there's sprout vegetables, you name it. Brassica, oracea, or taekwong, or even peanuts. Sprout of peanuts. I can sell you one square meat, $2. I can make $1 profit. Only spring water. So you need the business model change based on science. Science is, you can make you reach and happiness. Science is not only scientific paper, printed or not online in the headlines of scientific journey. This is incredible. And we were also reflecting this morning that this coming year, of course, President Lula is president, is the host of the G21. And this gives, I think you also a great opportunity to work with him. And I told him yesterday we will completely support him. And he asked for the support to really make his presidency the world's scale up of these ideas. So I think it's a fantastic opportunity. You met with him. Yes, I had a long discussion with him. And we have a passion. We say he is from poor family and from first day FODG from a small-holder farmers. I'm the first one. I grew up from a small village. So we have to be survivors first. So first time I had enough food because we planned to have the rice in 1973, whatever, as a 10-year-old. Because they increased about 50% of the year to compare the conventional rice that time. So one hectare equal to two hectares. Now, South-South cooperation between FAO have them in Africa, Madagascar or Uganda or others. We introduce a new technology, new varieties. The land of Africa alone, they can feed at least two billion or three billion people. That's the current technology. But we need to invest to improve the irrigation systems, the soil mapping, and then we can use the fertilizer more efficiently, more consistent, more sustainable way. That's why FAO will say support members, the agro-physicist transformation more efficient, more inclusive, more resilient, and more sustainable. Not only sustainable.  But development. But we need the efficiency, to produce more and with less. More inclusive means also share the development with all the families and communities. And more resilient, you need investment in the rural areas to improve the precondition of agricultural food system production and storage, post-harvest. So that's a food loss that you can reduce dramatically. Easily. 30, 40% of the loss before they reach the storage. And then food waste. Also, that's why FAO will advocate the food loss on the west day, 29th of September each year. And that's also its marginal utility, is the highest action globally. Reduce the food loss. Stop food waste. I'd like to, in closing first, to recognize if I could, you have a wonderful team here, and I want to pay tribute to your chief economist, if I could, because economist to economist, Moximo Terraro, really a great leader and supporter of all of this effort. So I really want to thank Moximo for also all of the wonderful collegiality and the leadership. And I'd like to ask Glenn, if he would just say a word or ask a question, because Glenn Denning, you reminded me after the Cambodian disaster in the 1970s, Glenn helped get Cambodian agriculture up and running again with Erie and replanting seeds that otherwise had been lost, but they had been saved, stockpiled. So just to Glenn, just to say a word. I won't climb up on the stage. It's very difficult to say any more than what the director general has already said. But I'd really sort of underline how important it is for FAO's leadership at this time. And as the headlines have been screaming, we have a food crisis like no other. There's no question about that. If you, and FAO's own statistics, the under-nutrition coupled with what I call incorrectly, probably the over-nutrition and all of the diseases that come with that, we're really looking at a world where about half of the world's population, as many as four billion people, are not getting it right in terms of the diet, combining these two and even allowing for some overlaps. So it really is a crisis like no other. And everybody's aware of this now. Why? Because of the price of food and the way it's been increasing. And especially now in Asia with rice, really spiking. So again, a huge role for FAO in terms of policy support. We have countries that are panicking right now and even some exporters are saying, well, we're gonna stop exporting. And all that does is trigger further crisis as a result. We've got a number of countries, I think scrambling to ensure food security in their own countries, sometimes doing it well through social protection programs, less well in terms of price caps. So this is the time when FAO's role is more important than ever. And it's not just Asia, of course, Africa, but as you point out very correctly, there's great potential in Africa for intensification and to do it sustainably. To feed two billion, three billion people is absolutely possible. A country like DRC this morning, the president talked about the challenge of productivity there. The yields haven't changed in 50 years in DRC. If you look at the core staple foods, so much can be done. So all I would say is more power to FAO and working with countries to, I think, create platforms whereby the policies can be coherent across countries, so it's not making matters worse. Learning, providing a way of learning from positive experiences and also some negative experiences. And yeah, I mean, being here to, as you rightly pointed out, we're not gonna hit the SDG2 by 2030, but we should be at least thinking about what can be done 2035, 2040, and beyond. And there's a big role for FAO there. Thank you. Thank you. So let me thank you very, very much for being here. If this is your first lecture, you're not rusty at all. And it was really, it's such an honor to work with you with your reelection by worldwide demand. We have the time with your leadership in the next few years to really make these breakthroughs. And I think politically, what we're seeing at the UN this week is the realization, even the grudging realization of great powers that there is no alternative but to work together. And I heard that from President Biden yesterday. I was happy to hear that. The United States had, okay, we know, we have to partner with everybody on the SDGs. This was good news and a good speech. And President Lula gave a wonderful call to action. And here you are, a person that's gonna lead the action. So thank you, thank you so much. Before I leave, I used to, you are holly stages back with two short comments. First, I'm so happy with my colleagues. Highly qualified colleagues support me. Not only chief economist, chief scientist, also ADG from, DDG from the United States and from all over the world. That's why I'm a big team, right? Without the high qualified team, I'd also appreciate all the members support me. If you're first time in the history, not only because of pandemic, because the crisis of war in Ukraine, we face so much, but the first time in history, we are building one FAO and with strong solidarity. In that aspect, I really appreciate America, government, relevant agencies, university, not only Columbia, also Mississippi or others support me. It's a one FAO, one solidarity. I got support from China, Japan, and Europe, Africa, of course, Latin America, you name it. And also some even, you know, small state. I said, in Chinese, we all joke. Ant, ant, ANT, ant meat is a meat. Elephant meat also is a meat, no matter big or small. So I really appreciate big or small contribution, but here in America, I should the public say, America did the past four years, no $80 delay and double the volunteer contribution. Japan also, China of course, and Europe still keep increase. So I manage in that during challenge time, quite a while, and we can do more and better. I know there's so much and high, especially from FAO, from my side. I won't keep it wrong. Thank you. Thank you so much. Thank you.


Alright, if I could have anything in life, it'd be the four cornerstones, hyper-awareness of my environment, adaptability to my ever-changing surroundings, humility not in words but in action, and force of will.


Hello and welcome to North Dakota 4-H, where youth are inspired to reach their full potential. 4-H is a positive youth development program that teaches young people how to contribute to their communities, make healthy choices, and thrive. 4-H uses a learning model as the basis for challenging and fun learning experiences. This model encourages youth to plan their learning experience, do the learning experience, and reflect on how it went, and also to have their experience evaluated. Youth can explore their interests, master new skills, and develop lasting friendships. 4-H grows confident youth who have the skills to lead for a lifetime. 4-H is the youth outreach program of North Dakota State University Extension and the United States Department of Agriculture. Extension partners with county governments to make 4-H available in every county in North Dakota. NDSU Extension is committed to extending knowledge and changing lives by connecting research-based programs with the current needs of North Dakotans. In addition to 4-H youth development, Extension provides non-formal education to our citizens in the areas of family and community wellness and agriculture and natural resources. Being researched-based sets 4-H apart from other youth programs. Your child's 4-H experience will be fun and inspire a lifelong love for learning. An area like this, that's a rough spot and we know it's been sitting under water for a while. 4-H lets children discover new possibilities. Because 4-H has a rich history of serving rural youth, many people think that you have to live on a farm or own an animal to be in 4-H. But you don't. Today's 4-H is so much broader. While we continue to offer animal and plant science educational experiences, we also offer learning opportunities in areas such as technology, creative arts, food and nutrition and leadership. 4-H offers a variety of contests, trips and leadership programs, not only at the county level, but also at the district, state and national levels. Whatever your passion, there is something for you in 4-H. To get started, contact your local NDSU Extension staff. They can help identify programs that will be interesting to you or your child. They will also connect you to a 4-H club or mentor and will help you find 4-H resources. 4-H welcomes all youth ages 5 to 18. North Dakota State University's non-discrimination policy ensures the 4-H program is inclusive and provides a safe environment where everyone belongs. You may be wondering what 4-H costs. Well, we strive to keep costs minimal. Some clubs and county programs may collect dues or fees, but many 4-H projects can be completed at little or no cost, while other projects will require extra money for supplies. Extended learning opportunities, camps and out-of-school enrichment programs may also have fees associated with them. Costs should not be a barrier for participating. Each 4-H program has strategies in place to help manage financial circumstances, just reach out to your NDSU Extension staff and they will work with you to find a solution. She's really soft, yeah. And she has a yellow spot on her head. Thank you for exploring North Dakota 4-H.  Make sure to connect with your local NDSU Extension staff for support.


From Hollywood, California, the Lux Radio Theater presents George Arliss in The Man Who Played God with Florence Arliss and Dolores Costello. Lux presents Hollywood. Welcome to the Lux Radio Theater, the theater made possible by your loyal purchases of Lux Lakes and Lux Toledo. In the hour to follow, you will be entertained by George Arliss, Florence Arliss, Dolores Costello, Elizabeth Rizden and Ivan Simpson, and acting on the air, Mr. Arliss' great screen triumph The Man Who Played God, from the play by Jules Eckert-Goodman based on the story by Gouverneur Moritz. Our guest is the man Hollywood has just selected as the outstanding film director of the past year, Mr. Leo McCarrie, who, less than two weeks ago, received the Academy Award for his direction of the awful truth. Conducting our orchestra is Louis Silver. This program is produced by one of Hollywood's most famous citizens and pioneers. Your host, ladies and gentlemen, Mr. Thessal B. DeMille. Greetings from Hollywood, ladies and gentlemen. One of the most flattering sensations in life is to be asked for advice. One immediately assumes a dignified thoughtfulness and prepares to blossom forth with opinions. But for me, the dispensing of advice is no longer the delight it once was. For I have a little ghost that haunts me with an occasional reminder that I once advised George Arliss that I didn't think he'd have much of a chance at motion pictures. Wrong before Mr. Arliss became famous, he was acting at a combined dramatic school and theater at Margate, England. There he took notice of a girl who seemed to go out of her way to ignore him. One afternoon, to escape from a drenching downpour, Mr. Arliss dashed into the dark and empty theater and found that the young lady had proceeded him. They looked at each other, they began to talk, and out of the rain and darkness, a kind of magic was distilled. At the end of four minutes, he'd proposed and the girl had accepted. George Arliss and Florence Montgomery have been married now for 39 years. Mr. Arliss' tremendous success in plays like The Darling of the Gods, Disraeli, The Green Goddess, or Theatrical History. The most successful of these, Disraeli, started off as a failure. In one large city, they knew that Disraeli was a man but couldn't remember whether he was in the Old Testament or the New. In another, when Mr. Arliss injured his arm, he played the role for more than 10 weeks with his wrist in the sling. Greatly amused at overhearing people say, I never knew that Disraeli had only one arm. To which someone usually answered, oh yes, Disraeli always carried his right arm in the sling. Tonight, Mr. Arliss plays the role of Montgomery Royal in our adaptation of his brilliant Warner Brothers film, The Man Who Played God. Dolores Costello is featured as Grace Blair and Mrs. Arliss as Milrid Miller. You will also hear Elizabeth Rizden as Florence and Ivan Simpson as Battle. In the Lux Radio Theatre production, The Man Who Played God, starring George Jarlett, Hotel Suite in Paris, the handsomely furnished rooms are the temporary quarters of Montgomery Royal, the famous American pianist. It's the afternoon of his last recital in France and his sister Florence is feverishly sorting the day's mail. Battle, an elderly retainer who acts as a combined secretary and valet to the pianist, opens the doorway and stands there with a handful of mail. More mail, Mrs. Royal. More! Oh, this is getting out of hand, Battle. Yes, Miss. May I come in? Milrid, of course. How are you, Florence? Good afternoon, Battle. Good afternoon, Mrs. Miller. Sit down, Milrid. I'm just trying to get through this mail. This seems to be a great deal of it. I suppose they're Montes' love letters. From adoring French women and hundreds of requests for seats for tonight's concert. Oh, what lovely roses. Are these from adoring French women also? No, Grace brought those. Grace Blair? Yes. Oh, an adoring American woman. Where is Montes? He ought to be resting. Resting? Did you ever know him to rest when he ought to? He's out walking with Grace. She called with those flowers, so he's taken her out to buy her a doll or something. A doll?  Milrid, what are you talking about? Grace is only a child. A child of 25? I come to think of it. Grace must be nearly 25. Florence, don't you ever see anything that goes on under your nose? Don't you know she's in love with Montes? Oh, that's nothing. What about all these letters? But it isn't good, those people, private music lessons. Milrid, I believe you're jealous. Yes, I believe I am. I wouldn't worry. Montes too level headed to fall for a sweet young thing at his age. Of course, you should have married Montes years ago, if you'd had any sense. I hadn't. Well, you're an eligible widow now. It's not too late yet. Florence, there's one very good reason why I haven't married Montes. And I needn't tell you what it is. He hasn't asked you? Well, perhaps he hasn't thought of it. Why don't you remind him? But they recognized you, Montes. Those girls we just passed. Nonsense, my dear. Is it? Well, they have turned around. And here they come. Quick, they'll tell Grace. Monsieur Rol, Monsieur Rol, Monsieur Rol. Je vous ai recollé ceci. Vous êtes un pianiste. Je vous ai rendu jouer beaucoup de points. Vous allez signer nos livres, n'est-ce pas, monsieur? Oui, oui, oui. Votre musique est bien merveilleuse. Bon amie, moi, nous avons des livres pour la signature. Je vous embrouille, monsieur. Yeah, yeah, excuse me. Come on, Grace. Through the lobby, no stopping. Why do you pretend you don't speak French, Montes? It seems answering questions. Look, there's Harold Van Allen waving to us. Hello, Harold. Hello, Marnie. I'm coming to your concert tonight. May I take you, Grace? I'm going with Florence, thank you. Well, you can join the party, Harold. Well, au revoir. Come on, Grace, the elevator's waiting. Monsieur Rol, monsieur Rol. Oh, no, no.  Je vous ai attendu pour vous saluer. Désirer tant, monsieur. Yeah, yeah, yes. Je dirais vous approudir plus fort, naturellement. Oh, yeah, yeah. Monsieur, vous êtes un artiste, si merveilleux. Et je vous ai entendu, si toujours, OK? Excuse me, je n'ai pas compris l'homme de la France, excuse me. Oh, but I speak English too. Oh, oh, do you? You remember me, do you, Met? I crossed on the Olympia with you in 1931. Madame Lavel. Madame Lavel, oh yeah, yes of course. How do you do? Oh, monsieur, it is easy to see the young lady is related to you. I saw the likeness at once. Oh, really, yes, my granddaughter. Indeed. But I thought you were not married. No, no, I wasn't then. No, no, no, not in 1931.  Come along, Grace, my dear. Going up, we miss you. Monty, why did you tell that woman I was your granddaughter? My dear, Grace, you must give the public what they want. She wanted you to be my granddaughter. She didn't. She was just fishing. Besides, you know how terribly young you look. Yes, terribly is the word. Mr. Royal. Hello, battle. Come in, Grace. We were wondering about you, sir. Thank you, battle. Ah, Monty, here you are. Hello, my dear. We just had a nice quiet stroll along the boulevard. Not a soul-wrecking item. Not more than 50 or 100. Hello, Monty. Mildly, dear. Nice to find you here. Just a flying visit. Good afternoon, Miss Blair. Good afternoon, Mrs. Miller. A great chano is my protege. All great musicians must have a protege. So I thought I might as well have a good look out. You also have a sister who's been working her fingers to the bones. Ah, but look how I have to work mine on the bones tonight. Smiting the ivories, hip and thai. Well, good luck to you tonight, Monty. Oh, don't go yet, Mildred. I need your advice, as usual. Well, what is it? I want you to see these drawings come from the architects. Ah, here it is. Don't you think that's a lovely setting for a church organ? There's the inscription. To the glory of God and the memory of Margaret Ruth Royal. To the memory of your mother. I'm going to have it built in the little church in New York that she always attended. What do you think of it? It's beautiful. Good. You know, she was always conscious of the vibrations of the church organ in spite of her deafness. You remember Florence, how it affected her? We used to often see the tears come into her eyes. I didn't know your mother was deaf. Yes, quite early in life. It's the family inheritance. Her father and his father before him. A terrible inheritance. I think she'd like my giving this organ to the church. I beg your pardon, sir. I think you ought to rest. One moment. I've got something rather exciting to tell you all. It's about a king. King? You know I was going home a week ago when I suddenly decided to give this concert. Yes? Well, that was because I was commanded to give it by a real, live king. Nobody can command you.  Well, then he approached me as one king for another and asked me to give one more concert that he might attend in Cognito. But why must he come in secret? I'm not sure. But I've heard that there have been some recent attempts on his life. Heaven's, Monty. I hope nothing will happen at the concert. There's an unfeeling woman for you. A king's life in danger, and all she thinks of is the incidental music. Well, I really must go. I'll see you tonight, Monty. Come back to my dressing room after the concert. Very well. Let me see you to the door. Good day. Until this evening. Oh, Grace, what are you looking so solemn about? You'd better say goodbye to me, too. I won't see you again. Yes, you will. I'm not going till tomorrow. But I won't see you alone. Oh, well, there may be a king or two present, but... Don't make fun of me, Monty. I will be able to follow you to New York for a month. Won't you? Well, mind you, practice five hours a day. I can learn more from you in five minutes than from anyone else in five years. You love music, don't you? I love you. Monty, I love you. Grace, Grace, my dear child. I'm not a child. You'll be foolish. And old enough to be your... You know I'm your grandfather. I don't care how old you are. I love you. No, dear, you don't. You love music. You love the successful pianist, not me. Paris has got into your blood. Everybody gets romantic in Paris. But I'm not just romantic, Monty. I'm an earnest. Wait till you get back to New York. You'll feel quite different. Will you try me? Try you? If I come to you in six months and say I love you, will you marry me? Well, but... Oh, don't you love me at all? Of course I love you. But I'm old and easily shattered. How can I help love you? Then you will? What? If I come to you in six months, you'll marry me? If you look at me with those beautiful eyes, I may not be able to resist you. Don't beat about the bush. Say yes. But... Say yes. Yes. Oh, Monty, darling. What a crowd. Isn't it marvelous? Anybody who looks like a peach? Our four seats aren't together. Harold, will you take care of Grace? With pleasure. No, I'll sit with you, Florence. Oh, no, you won't. You young people will sit together. You come with me, Mildred. Well, we might as well sit down, Grace. May I take your wrap? Thank you, Harold. Oh, I believe I'm excited. You seem to be. After Mr. Royall sales tomorrow, I suppose I may have a chance to see something of you. What do you mean you're always seeing me? I'm always calling to see you, but you're generally otherwise engaged. Harold, don't start that again. I want to listen to the music. Well, there isn't any music yet. Why do you carry those enormous bracelets? I like to watch the movement of the fingers. Here it is. Oh, the painting? No, it wasn't a novation. Never sees anyone who wants to come to the show.  Don't let anyone in. Yes, but Monty. Well, come in quickly. Monty, you are marvelous tonight. Thank you, Grace. How did the king enjoy it? The king, dear lady, didn't turn up. Court man, as I suppose. Then Mr. King really missed something. I've never heard you so inspired. New dream. That's my very nicest compliment. Thank you. Monty, there are at least 100 autograph books for you to sign. Let battle do it. His handwriting is so much better than mine.  Mr. Royall? Yes? His Majesty the King. Your Majesty. Maestro. Never mind, Betel. Excuse me, Your Majesty. I hope you will forgive me. Your Majesty was busy. Busy. My aide can tell you how busy. His Majesty's guard broke down as he was unavoidable. I am overwhelmed with shame. And I would have given my ears to have heard you play once again the Moonlight Sonata. Would you? Well, if your Majesty will lend me your ears, you shall hear it now. That is generous of you. Will you be seated, Your Majesty? But thank you. Thank you. Get away from that window. Your Majesty, are you all right? Yes, but Mr. Royall. He has unheard your Majesty. He saved my life. Mr. Royall. Mr. Royall, I owe my life to you. How can I ever thank you? Your Majesty, will forgive me. But I can't hear what you're saying. What? Mr. Royall. Nondi, what is it? There is no sound. Nothing. Nondi, what do you say? The shock. I shall never play again. Don't say that. Don't look like that.  Finished the first act of the man who played God. And in a moment, George Arliss and our co-stars will be back in act two. But during our brief intermission, we'd like you to come along with us to an amusing place where everybody speaks in rhyme, even the judges, the lawyers, and prisoners in the courts of law. We take you to a courtroom in this strange land of rhyme right now. Here we are in the presence of a jury and a defendant. And the judge is about to enter. Court will come to order. The judge is coming in. Bring the prisoner to the bar. Young woman, what's your sin? Your Honor, I don't think it's bad. But goodness, I am blue. My husband gets so angry, and so I come to you. This court is here to listen to crimes against society. My husband said my hands are a crime against propriety. He says they look so wrinkled and so old and rough and red. Because I wash the dishes. That's not half of what he said. Now let's take up the problem. You wash dishes every day? Oh, why not eat on paper plates, then throw them far away? Why, that's all right for picnics or a quick informal bite. But when dishes are attractive, to keep them too inactive? Well, of course I really might. But do you think it would be right to keep them out of sight? Hmm, that's a sticker. Now let's see, rough hands, spoiled tater-tates. Suppose you have your dinner and just not wash the plates. Your Honor, I'm a housewife. My home is always clean. I wouldn't dream of such a thing. Oh, all you men are mean. Now don't speak like that to me, my dear. I'm sorry. Ah, now listen here. I've now got information on the cause of your mistakes. I put you on probation to wash dishes with luxe flakes. Every wife of every station can now avoid heartaches. Keep hands from your ination by using mild luxe flakes. His Honor is right. To keep your hands white, get luxe flakes tonight. You see, this rhyming business is contagious. But so is the use of luxe flakes for dishes. Women who try it are so delighted with it that they tell other women. You too will find luxe not only makes dishwashing quicker and easier, but keeps your hands lovely, soft, and white. The kind of hands men admire, the kind that every woman wants to have. Use luxe flakes for dishes. And now, Mr. DeMille. The man who played God starring George Alice with Florence Alice and Dolores Costello. Five long months have passed, and Monty has learned that his case is hopeless. But he will never hear again. Embittered, he shuts himself away from the world, seeing only three people, his sister and Grace and the man who instructs him in lip reading. In his New York City penthouse, high above Central Park, he's receiving his final lesson from the instructor. And now, Mr. Royal, I'm going to give you the final test. Yes. I'm going to place my fingers almost over my lips and see if you can read what I say. John, from that window I can see the people walking in Central Park. What did I say? From that window I can see the people walking in Central Park. Good. How did you get that? Mainly from the muscles of your throat and jaw. Well done. Try again. The flowers are blooming, the sun is shining, and God's in his head. The flowers are blooming, the sun is shining, and God's in his head. Splendid.  Thank you. I'm afraid there's no use of my coming anymore. I should be sorry to lose you. Impress on your friends not to try to help you by mouthing their words. They'll only mislead you. I don't allow many visitors. No, you should. Goodbye. Oh, Mr. Royal, try not to be irritable. And don't try to fight against faith. You're not a musician. No, I'm a philosopher. Goodbye. What's the use of it? Words, yes. No music. No music. Monty. Oh, it's you, Florence. Why don't you come straight in instead of creeping up behind me and pushing me? I'm so sorry. You're in battle always talking behind my back. I can't have you left alone.  Monty. Well, Grace come yet? No, but Mildred is here. You wish to see her? No. I guess. I should like to see Mildred. Come in, dear. Monty. Well, Mildred, this is my den. The lion's den, you know. Florence. Sit down. How do I speak to him to make him understand? Do I speak loud or slow or how? Speak naturally, that's all. I can understand you. You heard what I said. No. I didn't hear. I read your lips. Read my lips? How wonderful. Oh, Monty. Why are you crying? Because you find me changed, eh? Haven't I got reason to be changed? But I'm glad you've come. I've missed you. I've often wished to talk to you during these five silent months. You didn't answer my letter. I knew you only wrote because you were sorry for me. You should know me better than that, Monty. But I can talk to you. You've always... Mildred, you believe in God? Yes. I've been studying the Bible lately. Listen. It says here, are not five sparrows sold for two farings and not one of them is forgotten before God? Do you believe that? Yes. If he knows everything, why does he let such horrible things happen? Monty. You've only left me my music. Mildred, I've withdrawn my promise for the church organ. Why?  He struck at me. He struck at my mother. Why should I glorify his name? Perhaps someday you'll learn why. I can't believe that he makes mistakes. Mildred, the Bible is a great book, but I'll tell you what it has taught me. You who... There is no God. You who were so tender, so good. There is no God.  Do you know where this will lead you? Yes, the madness. I thought of that. And how easy it would be to end it all. I thought of that too. Don't say those things. Monty, you've never had to test yourself before. Test myself? I'm not speaking of music. I'm speaking of life. You've had everything, wealth, talent, social position, but you've never really suffered. A man who has never suffered has never lived. This is not suffering. This is a living death. It's your first great test. Are you going to fail? Are you? Hello. Hey, Mrs. Miller. Good afternoon, Brie. I'm so glad to see you. What do you think of Monty? Stop that. I won't have anybody ask what they think of me. I know what they think of me. He's a bad child sometimes. Sit down, Mrs. Miller. I was just going, Brie. Oh, don't let me turn you out. He sees too much of me, you know. But I must go. Goodbye, Monty. Goodbye. Thank you for coming. How are you today, Monty? Why do you say I see too much of you? You know I look forward to your coming. Monty, you make it very hard for me to say goodbye. Goodbye. You knew I was going to Santa Barbara? To the Chittenden's? I'm leaving tonight. But I thought you were leaving tomorrow, Wednesday. Today's Wednesday, dear. Oh, is it? Well, one day's so much like another to me. Well, I've lost a day. That's some consolation. I feel terribly about leaving you. If I hadn't promised... Of course you must go. You need a change. Why should I need a change? Too much of me. Beginning to tell on you. Monty. Why are you carrying those few glasses? Are you going to the races? No, not exactly. Mother and I are... Oh, Monty, you know how I love the piano. We were going to the concert this afternoon. Do you mind? Mind? It's the first piece title I've been to since. Since yours. Does it seem rather heartless for me to go? Why shouldn't you? You are taking these glasses to watch the fingering. I remember. You used to watch mine. Yes, I always watched yours. Well, I don't think I can bear it. I won't take them. Nonsense. Why not? Anyone else going with you? No. Oh, yes, I think Harold Van Allen is going to be there. Oh. Isn't I a young fellow? Do you think so? Harold? He's all right. Well, I won't keep you. Have a nice holiday in Santa Barbara. I'm quite envy of you. Why don't you come? No, thank you. I might read their lips too freely and find out what they say about me. No, thank you. I suppose there'll be crowd. Oh, just old friends, I expect. Van Allen's an old friend of theirs, isn't he? Yes, I believe he is. I suppose he'll be there. Harold, I shouldn't be surprised. Grace, you know, if you turn your head away, I can't tell what you're saying. Will Harold Van Allen be there? Yes. Monty, do you remember what I said that day in Paris? I meant it, Monty. I mean it now. I know. Goodbye, my dear. Enjoy yourself. I'll see you the moment I come back. Goodbye. Goodbye. Don't come away from the window, sir. I'm afraid you'll catch cold there. You'll catch cold with the window open, sir. I was looking down into the street. There's a fascination about height battle. I don't wonder if people are giving way to sudden impulse. Mr. Royl. What's the matter? Nothing, sir. I was about to suggest, oh, Mr. Royl, if you don't try to play again. It's so long since you've touched the piano and you're violent. Play again? I wonder if I could. Sit down, sir. Try it again just once. If I touch these keys, there'll be music in this room. Music. I can't do it. I can't. The strike, the notes in here, no sound. Ghostly. Terrifying. Battle. Have these things taken away. And my violin, I can't bear the sight of them. Mr. Royl, if you don't... Don't argue with me. You want to drive me mad? Don't you know that these things are human to me and they're mocking me, mocking me. Get this piano out of the house. And this, my violin. We've played together, you and I. Well, we'll never play again. Mr. Royl, that was foolish of me. Why did I do that? My violin. My old friend. I didn't mean to. I'm sorry. I've taken your life. I've taken your... Not all? Yes, Mr. Royl. I want to be left alone. Alone, sir? Yes. Alone. Go. Yes. Yes. No voices. Nothing but silence. Forever. The silence of the two. Mr. Royl, come down from that window, sir. Oh, Mr. Royl, for God's sake. Why did you stop me? I have nothing to live for. You have everything to live for. Tell me one thing. One reason why I should live. For others. For those who love you. I'm a burden to those that love me. That's not true. You think I'm blind as well as deaf? You and I see you all groaning and suffering for me? Because you suffered too. We've tried to help you. Can you give me my music? No. Nobody can do that. But there are other things. You are thinking only of yourself. It's cowardly of you. That's what it is.  You ought to set an example of courage to other deaf people, not turn, tail and sneak out of the world.  A coward? Mr. Royl, forgive me. A coward. And I thought it took a great deal of courage. To do what I was about to do. But you're right. It's easier to die than to live. Don't ever try to do that again. There's so much beauty in the world.  The trees and the flowers in the park. Look at them, sir. Nature's beautiful. But it's working as a cruel. I see no guiding hand. No method. No meaning. Here. Look through these field glasses, sir. The flowers. You can almost count the petals through these. Look, sir. Look. Here. Trees and flowers. And cripples and beggars. Hunger and strife. And flowers in hopeless confusion. How absurd to believe in a merciful God. There's joy and happiness too. You can't have just one thing. It's contrast that makes life so wonderful. Yeah. There's sickness too. There's a young fellow walking down there. Looks as though he hasn't long to live. The girl's got a hold of his arm. These are very strong glasses. Very strong lenses. I can read their lips. What are they, sir?  I want you to see and understand them as fortunes of others. Troubles that are worse than your own, sir. They're sitting on the bench. He's telling her that the doctor has just told him. He has to go away. A long rest. He has no money. The girl holds his hand. He's crying a little. It'll cost at least a thousand dollars. There's your God of contrast battle. This boy's going to die. Die like a neglected dog because he has a thousand dollars. It's a wonderful world for some people. It would be for him, sir, if only. If only he had the money. If he had a thousand dollars. If he had a little. Yes, sir. I want you to take a note down of that, boy and girl. Take a note. Sit down and write it. Yes, sir. Ready, sir? If you'll give the bearer your name and address, if you will give the bearer your name, you can't figure it any other way, darling. I need a thousand. There's no chance of getting it. I guess that's all. No, no, I won't let you say that. There must be a way. There must be. I don't see how. We can't get married. I guess we never will now. It's tougher on you, honey. Tougher on you than on me. Don't say anything. Don't speak, Ed. What is it, honey? I'm praying, Ed. Praying to God. Maybe I won't be hurt. Hunch. I'm praying to him now. Honey, don't. It's no use. It's just the way things are. He can't help us. I beg your pardon? Yeah, what is it? I have a note for him. For me? Yes. But you don't know who I am. Will you read it, please? What does it say? If you will give the bearer your name and address, the person who has overheard your conversation will take pleasure in sending you the thousand dollars. Ed. But how could anyone have overheard? There was nobody around here. There couldn't have been. Who wrote this? I'm not at liberty to say. Will you write your address here, please? Shall I? Yes. But I want to know who did this. Who sent that note? Shall we say it was a man who, for the moment, played God. Good luck, dear sir. Ed. A thousand dollars. A thousand dollars. Who did it? Who? Ed. I prayed to God and he heard me. He prayed for it. He prayed for help and he thinks that God, God, at last they've got a good joke on him. I wonder, has he the laugh on me? This is Columbia Broadcasting System. The curtain falls on the second act of the man who played God. And following this short intermission, George Alice continues in Act Three. The awards of the Academy of Motion Picture Arts and Sciences are given each year for outstanding achievement in acting, directing, writing, photography, and the many other arts and sciences that enter the making of a film. A few days ago, the gold statue proclaiming him as the outstanding director of 1937 went to Mr. Leo McCarey, director of Columbia Studios' exquisite comedy, The Awful Truth. Mr. McCarey's genius for comedy is mixed with a rare appreciation of pathos and drama. After directing Eddie Cantor, Harold Lloyd, Laurel and Hardy, and the Marx Brothers, Leo turned round and gave us ruggles of red gap. And more recently, that tear-stained documents of parents and children make way for tomorrow. Welcome, Leo, and congratulations. All great directors like to talk, Leo, so begin. I'd rather hear the third act of Mr. Harless's play. But in the meantime, we want to know something about you. How did you get your start in film? Well, CB, to tell you the truth, when I started directing, I tried to pattern myself after you. I'll never forget the first big mob scene. The crowd made me nervous, but I decided to handle them with a firm hand, like you would do it, Mr. DeMille. The scene was supposed to be the San Francisco earthquake. Excuse me, Leo, but San Francisco people refer to it as the fire. Well, I'm from Los Angeles. The scene was the San Francisco earthquake. I climbed the platform and started explaining the scene to the crowd. On the first signal, I said, I want the crowd to rush in from out of the building, from the buildings on the left. As I said this, a little fellow raised his hand far in the rear. Don't interrupt me, I said. Kindly wait until I've finished. I'm sure that's the way you would have handled it, Mr. DeMille. Yes, that's probably the way I'd have handled it. Then I continued. On the second signal, I want another crowd to run in from the right. And again, the little man raised his hand. Quiet, I ordered. I asked you to wait until I was through. I'm sure that's the way you would have handled it, Mr. DeMille. Now I had absolute quiet. I was the master of the situation, and I felt it. I completed my instructions and sent for the little man. Now, what is it that you wanted to say that could possibly be more important than what I wanted to say to 350 people? He looked me over from my helmet to my patiss and replied, I only wanted to tell you that we couldn't hear a thing back there. I'd have handled that with a megaphone. Well, that's what I thought, so I got one. But I'll be dined if the same little man didn't raise his hand again. Completely out of patience, I asked, what is the matter now? He says, well, I was in San Francisco at the time of the earthquake. It happened to be five o'clock in the morning, but you feel that most of us would be wearing nightgowns. And I call lunch. I'm positive that's the way you would have handled it, Mr. DeMille. Oh, thank you, Leo. Lunch has saved many a delicate situation. Now for the awful truth. Directing that picture, I must have been almost as much fun as seeing it. Well, it didn't start out as smoothly as you might imagine. No. No, I'm sure Irene Dunn would have been happier if the starting date had been postponed. Kerry Grant arrived on the set with his manager and suggested that his part either be built up or cut out. Even an extra man came to me and said, I just read the script, Mr. McCary, and if you don't mind, keep me in the background, will you?  You mean Mr. Smith? Yes, at least he was your friend, wasn't he? He didn't complain about his part. Well, he didn't say anything. He bit me. But don't get the impression that the cast was wrong, because as a matter of fact, they were very right. I sent out a hurried call for the writer, Venya Delmar, and all during the making of the picture, she worked day and night developing the story. Many of the suggestions we used came from Irene Dunn and Kerry Grant, and I mustn't forget Ralph Bellamy. And the only thing that would make me happier would be if I could make another picture written by Venya Delmar with the same three stars.  Well, the scene that stands out in my memory was anything but humorous, CB. It was the... it was Ruggles of Red Gap, and the scene in which Charles Lawton recites Lincoln's Gettysburg address. It's still referred to as one of the finest moments on the screen. And you deserve a world of credit. No, I don't think so. Why not? Well, you see, Mr. Lincoln wrote it, and Mr. Lawton spoke it. I just enjoyed it. Well, during 20 years in pictured Leo, you must have acquired some peculiar habits of superstition that might be very interesting. Well, yes, CB, I do have a superstition. Just one, and it's terrible. I can't seem to overcome it. Well, what is it? Well, I'm superstitious about making bad pictures. I just sort of feel they don't do anyone any good. So long, CB, and congratulations on your fine program and your excellent product. You make a pretty good product, too. The curtain rises on Act 3 of the Man Who Played God with George Alice, Florence Alice, and Dolores Costello. In the loneliness of his room, he is far above the park. Monty has made his peace with God by reading the lips of those less fortunate and giving them aid. It's a few weeks before Christmas, and Monty kneels in the center of the room unpacking a crate of toys, singing as he works. Battle enters and stands beside him. Oh, you old battle-ex. Getting ready for Christmas, sir. Well, what if I am? Singing, too. Was I? Well, I never had any voice you know, and I always wished I could sing like Caruso, and now I can. Can you, sir? In my own estimation? Yes. I sing, and I can't hear a sound, so I imagine I'm singing like Caruso. It's a great thing sometimes not to be able to hear. Ah, well, were the children in the park pleased with the toys I sent them? Didn't you watch them through the glass? It's rather luck in this battle. It's a great work you're doing, sir. Oh, no, not great. It's luck. But I've got a grand idea. I'm going out. Going out? Yes. I thought it all over. I'm not going to be a hermit anymore. Shall I get your hat, sir? No, no. Not now. Christmas. Christmas? You see, Miss Grace is coming back. Is she, sir? I'm glad. Yes. Seems too good to be true. Well, at Christmas, I'm going with her into all sorts of toy shops, and I'm going to watch the children and find out just what they want. I shall be on the inside of the shop, you see, and they'll be outside looking through the window, and I can read their lips. And then you take the toys out of them. It's a great idea, Barton. It's a beautiful idea. A beautiful work, sir. The work will be yours, you see. You'll have to carry the toys. Oh, don't go yet. Sit down. Sit down, Mildred. Here. Let me make you comfortable. Why, I believe you're really glad to see me. I am. But you're so changed. What's happened to you?  Grace comes home today, doesn't she? Yes. You know, Mildred, I used to think I could only bring her misery, but now I'm very happy. What has changed you, Monty? These. Those fields, Barton? Yes. I've learned things up here with the stars. Things that I never dreamed of. What things? The doubts and fears are only shadows. For long months I shut my eyes, and in the darkness I railed against God. I cursed and hated and cried out in defiance. And when my hatred was most bitter, he answered and sent me lead. You look up there and read the stars. No. I look down there, in the park, and read their lips. I hear the despairing cry of those who suffer in doubt, as I suffered in doubt. And you? You answer their call. Yes. I take a hand.  Come out here, Mildred, and see my roof garden. See down there? Those people in the park? They were only strangers to me once. Shadows I passed and never noticed. But I'm close to them now. I know their hopes and their fears, their happiness and their misery. They need comfort and help. And you give it to them? Well, I do what I can. Is little enough. Monty, there's something sublime about this. Only business with kind on earth? Absolute monopoly. It's been your salvation. My salvation? Through God. It was he who did it, Mildred. Now you must excuse me a moment. I must see if there are any more customers down there. These glasses are remarkable. I never get over the one rock. Ah, here's a young couple coming round the pal. The park's a great place for lovemaking, you know. Mildred. Yes? Who do you think it is? Someone you know. Grace. Grace, looking like one of the flowers. And young Van Allen with her. Grace and Harold? Let me look. Wait a minute. What a stunning frock she has on. And the very latest thing in her.  Monty, give me those glasses. Don't snatch. Be careful of them. Don't spy upon her. Talk to me until she comes in. Spy upon her? What do you mean? Your friend. What is it? I told you, nothing. But it seems like looking through the keyhole. Mildred, I don't hear a gossip, you know. Has there been any? Don't talk nonsense. Give me those glasses. If there's anything I should know, it's better to learn it this way. Monty. I'm going to read their lips. It's for her sake, too, you know. Sit down, Grace, just for a moment. I can't, Harold. But I've got to speak to you. I've got to. When I said goodbye at Santa Barbara, I told you that was the end. Why do you follow me to his door? Because I know that once you enter that house, you're lost to me. I flung myself at him when he was well and famous. I can't desert him now. You've no right to gamble your whole life away just because of one rash promise. It's no use, Harold. I can't leave him like this. I can't. But you're leaving me, and you love me. You do, lovely. No, I do. Well, then don't ruin our happiness just because you're sorry for him.  Harold, I'm going through with it. He's been cheated of so much, I'm not going to cheat him now. He's put his faith in me, and I won't be a quitter. Grace. Grace, dear, I won't argue anymore. But don't leave me yet. Sit here with me, please. Just for a little while. Monty, look at me, please. You knew this, Minuted? That she loved him all the time? I wasn't sure. But you see, they're both young, and I was afraid. Yes, and they're both young. I've been very foolish, but she was always so, so dear to me. Does it hurt terribly? It hurts terribly. I'd better go. She'll be coming up here. I wonder what God would do in a case like this. We had a barbeque dinner, and I cooked the steak. Monty, you're not interested. Of course I am, Grace. You've hardly said two words to me since I came. Just sit and look at me. What is it, Monty? I have to look at you to understand you, to read your lips. What did you do while I was away? Nothing, everything. Florence tells me you changed your mind about the organ. You gave it to the church, after all. Monty, what's the matter? Aren't you glad I've come back? Yes. You haven't told me so. Perhaps I was waiting to see if you had anything to tell me. But I've been trying to tell you. I mean about Santa Barbara. Santa Barbara? Oh, there's nothing to tell about that, the usual round. Nice people there. Anybody we know? Mainly their western friends, yes, Harold Van Allen, of course. But let's talk about ourselves. Do you know you haven't even kissed me? That's better. Monty? What? You made a compact with me. I've come to hold you to your promise. Must you, Grace? Monty? Our compact was made six months ago. It's a long time. But I gave you my word.  I'd like to break my word. Monty, why? Because you have such a beautiful nature that I don't want to lose you as a friend. I don't know what you mean. Something has happened to change me. When? Today. What is it? Who is it? You. Me? But how? You remember these? My field glasses? You remember you left them behind? Well, they turned out to be fairy glasses. By looking through them, by looking at people in the park, I can see everybody's life, just as it is. Everybody's thoughts, just as they are. Monty. Don't be frightened. I saw you in the park, Grace. You. You read our lips. Yes. Which mean a pretty bad light, doesn't it? Eves dropping. But you see, I wasn't quite prepared for what I was to hear. Monty, you don't think I've been deceiving you, do you? No, dear. You've just been deceiving yourself. I did love you. I do love you. Grace. Since I've been living up here, close to the sky, I've learned many things, things that hurt me, but left me spiritually better. It was music that brought us together. You know that, don't you? Yes. It was a love founded on perfect harmony that we never looked ahead. Our love was music, but you see, dear, a string snapped and the music ceased. Not all together, Monty. You'll always be my idol. I shall always be your friend. Goodbye.  And perhaps I admire you more than I could ever have loved you. Monty. Goodbye, my dear. Getting to be worried, Mrs. Miller. She said he was going for a walk in the park among his customers, as he calls them. But I expected him back. Do you think he might have gone to look at the organ? He might? He's often said he meant to sneak in one day. Thank you, Baffle. I'll go to the train. Oh, God, send him peace. Send him happiness. Give him strength. Monty. Mildry. I'm so glad. I... I came to see the organ. I did, too. And to pray for something, Monty. What? You might be the first to touch the keys to play upon it. No. No, I can't. I couldn't stand it. It's there, Monty, in the loft. May I go up with you? I'm an organ. Grand. The last time you played, it was for a king. This inscription says, to the glory of God. Won't you play for a king again? Sit beside me, Mildry. Don't leave me, please. Won't you play? Yes. For the king. So ends the man who played God. We'll hear again from Mr. Alice in a moment. A while back, there was a wave of interest, you all remember, on the subject of child marriages. The question arose, what is actually the age of the average bride in this country? Melville Rueck has an answer for you. Here are figures based on 60,000 marriages in a large eastern state. The average age of marriage for girls was 22. 65% of the brides were under 25. Of course, these figures don't tell the whole story. For as everybody knows, women who are truly charming can marry at almost any age. Charm counts a lot more to a man than how old a woman is, how well educated, or how much money she spends on herself. For example, no man knows how much a woman's dress costs. He does know if it's becoming and dainty and charmingly feminine. Undoubtedly, that's why charming women the world over are luxe users. For luxe flakes are made to keep your rocks just that way, to keep the colors and the fabric fresh and new looking. You can count on these gentle flakes to care for anything that's safe in water alone and to keep it beautiful an extra long time. To guard charm, use luxe flakes. Now, our producer. Our debt to Mr. Alice extends beyond his superb performance. He expected to leave for Hollywood this week to return abroad, but altered his plans in order to be with us tonight. I'm sure Mr. Alice that I speak for all your listeners in wishing you and Mrs. Alice on voyage. Very kind of you. Thank you, Mr. Mille. The broadcast of the Israeli on this stage brought me a large number of very charming letters. Very many from middle-aged and elderly people to whom it recalled present associations of their earlier life, about 25 years since I first played it. My wife and I were very gratified to find that the broadcast was able to bear comparison with the stage production. I had one letter of a more personal character from a very young lady who said that her mother didn't care for her to go to the theatre, but she always allowed her to see my pictures because I was married to Mrs. Alice. Of all the response from the film version of The Man Who Played God, the most satisfying was from a group of deaf people who for the first time learned from the picture of lip-reading. They studied it and they wrote to me and said that it opened to them a new and happy life. If our play tonight has given you entertainment, I shall feel very happy. If it has brought to you something a little beyond mere entertainment, I shall feel still more gratified. Good night. Good night, Mrs. Alice. There's wonderful news of next week's stars and play coming to you in just a moment from Mr. De Mille. First, may I say that in our cast tonight were Ivan Simpson as Battle, Elizabeth Brisbane as Florence Royal, Leonard Willey as Mr. Appleby, Evelyn Keyes as Girl in the Park, Reginald Sheffield as Boy in the Park, Vernon Steele as the King, Frank Nelson as Herald, Michelette Birrani as Madame Louvelle, Charles Evans as Usher, Lewis Merrill as a Manager, James Eagles as Aid to King, Edith Nestier and Lou Lorraine as French Girls, and Elizabeth Wilbur and Georgia Cain. Lewis Silver's appeared through courtesy of 20th Century Fox Studios, where he directed music for their new picture, Sally, Irene and Mary. And now, here's Mr. De Mille. A week from tonight, the Lux Radio Theatre will echo to the unforgettable melodies of Victor Herbert. Sweet mystery of life falling in love and Italian street song, all of which tells you that our play will be that tremendous success on screen, Naughty Marietta. Making special trips from New York to be with us, are two of the greatest and most popular singers heard today in grand opera, motion pictures and on the air. Mr. Lawrence Tibbet and Ms. Helen Jeppson. Naughty Marietta is a dramatic play of old New Orleans. Ms. Jeppson will be heard as the runaway French Countess and Mr. Tibbet as the reckless American soldier. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night, when the Lux Radio Theatre presents Lawrence Tibbet and Helen Jeppson in Victor Herbert's immortal romance, Naughty Marietta. This is Cecil B. De Mille, saying good night to you from Hollywood. Here is the Melville Root. This is the Columbia Broadcasting System.


Hello everyone, it is Broogly, and welcome back to a brand new video on the channel. The Broogly channel that is. Today I want to go over Backroom's level 1912, or 1912, aka the Titanic level. Now if you don't know, let me learn you something real quick. This month, the month of April, is the month that the Titanic sank, back on April 14th, 1912. So I decided to see if there was a Backroom's level about the Titanic, and wouldn't you know it, there was. So sit back and relax, and enjoy the explanation of Backroom's level 1912. Let's get into it. Also, stay till the end of the video, because I have a question that I want to run past you guys. Backroom's level 1912 is actually surprisingly classified as a class one difficulty, and is safe, secure, and boasts a low entity count. The level itself is made up of randomly segmented rooms that are exactly like the ones that were on the Titanic. I mean, what can I say? There are actually five sections that make up this level, and those sections are the first class, the second class, the third class, the maintenance boiler room type area, and then the boat deck itself. Now the entire level takes place on the boat, the Titanic boat, which is way bigger than the original Titanic, because this boat is around 25 miles long, and around 330 floors tall. That's huge! And the water that this boat is apparently floating in is actually the same size as Earth, but there's no land masses. So it's just water. It's just a floating water ball with a huge boat on it, like what? The only matter in the water are icebergs. I think I'd go insane if I was on an entire planet made of water with only one boat. I couldn't do it. I couldn't do it. The first class section of this level is made up of the rooms and gathering areas that were on the real Titanic, and is decorated with fancy woodgrain and carpets, just like the real Titanic's first class was. And it's probably the safest section of the level, it's the highest up, and it's the nicest decorated, so I'd be staying here if I could choose. Now following the same theme, the second class is also laid out similarly, similarly to the real second class areas on the Titanic, but it's lowered down in the ship and it has more entities, but not many, because it's still second class, let's be real. On this part there are empty kitchens and dining rooms that are full of old rancid food and longer skinnier hallways than the first class area. Not very fun. Now the third class part of the level takes up 103 levels of the 330 on the ship, and this is probably the worst out of the classes. Obviously it's the third, so you think it'd be the worst, but yeah it's the worst. It's got the tiniest rooms, it's got the most cramped hallways, and overall it's just the dingiest place in the level. Well maybe not, because the next section of the level is the maintenance area, which is the area where the boiler rooms and the engines are, and all the coal is and stuff, and in this section it gets extremely hot and humid all the time, probably from the machinery, so it's not really safe to stay down there, but I don't know why you'd go down there, but whatever. Apparently there's also some food storage and almond water storage in this area, but I'm not sure how long it would stay fresh since it's so hot, but you know what, whatever. The last section of this level is the boat deck itself, and can you guess what it is? Yeah, it's a boat deck, but the weird thing is that it's literally falling apart. The wood on the floor is breaking and splintering, and the fences on the edge are rusty and breaking in half. So that's kind of weird that it's like the most dilapidated area. The entities here, like I said earlier, are typically located on the lower decks of the ship, so the third class and the maintenance boiler areas, and there's actually only a couple of types of entities, which is why the level is only a classified one difficulty. But those types of entities are Smilers and Frowners, and if you were like me and didn't know what a frowner was, they're similar to Smilers, but they're more passive unless they feel threatened or cornered, and then they'll get aggressive. So my advice is to just avoid the lower decks. Simple. There are two groups or outposts that permanently live on this elongated Titanic, and those are the Backroom's Voyagers and the Rezzy Builders. The Backroom's Voyagers have around 30 people in their group, and they're nice and open to trade with anyone. They live in the second class area, and they're currently trying to make a detailed map of the ship's layout, so people can find their way around easier. Now the Rezzy Builders, or the RBs for short, are very secretive, but they're kind of like the security of the level, and they keep it safe, and they also do research on the water in the level to see if there's any dangerous stuff there. But so far, nothing. To enter this level, you can open a door from Backroom's level 5 that leads to the second class area on the boat, or you can do one of the other seven entrances. There's plenty of them to choose from. And to exit, you can just go back through that same door to lead back to level 5, or you can find a door labeled The Hub in the first class area, and it'll take you to, well, The Hub. So yeah, to summarize this level, it's a huge boat that's 25 miles long, 350 stories deep, and is laid out very similarly, I can't say it similarly, to the original Titanic, but obviously it's much larger. The different sections of the level have different decorations and different levels of decay, and there's rotted old food in the kitchens. And for some reason, the deck area is the most falling apart, dilapidated area, which I'm pretty sure would violate some OSHA codes, but whatever. The only entities here are Smilers and Frowners, which live in the lower levels of the ship, and the water that the boat floats in takes up the area the size of the Earth. You got it? Cool. Alrighty, that was the explanation of level 1912. I do hope you enjoyed it. I thought it'd be pretty cool to check it out since, you know, it's Titanic month. Anyways, hope you liked it. Go check out the description below if you need any links for my socials or my second channel, which, by the way, the second channel is popping off right now. Thank you all very much for the support over there. The last two story times are going great. There's many more to come, much more content to come. It's gonna be awesome. I'm excited to focus a lot more on that channel and just keep popping out content. It's great. Thank you for the support. Go drop a sub over there and turn the post on. Because I'm gonna be doing a setup tour of my brand new office setup area. It's gonna be awesome.  I think it's gonna be really cool. And I also hope you're getting ready for May and June for the Brugley Summer Spectacular here on the Brugley channel where I'm gonna be posting explanations on backroom levels 13 through 50. Consecutively, it's gonna be awesome. Get ready for that. It's gonna be just like the Brugmas was where I upload, you know, in a row videos.  At the very end, I'm gonna be combining all of them into like a 10 hour video. It's gonna be pretty cool. So like I said in the intro, I want to run something past the people who are still watching. So during the spectacular, which like I said is 37 videos in a row, I think I want to upload a couple of different kinds of videos that aren't backrooms. Like a few iceberg videos or a few Reddit internet mystery videos or something. Let me know if you'd be interested in those kind of videos, but in the Brugley style. I don't know. I think it'd be pretty fun to do. But of course, like always, the backrooms isn't going anywhere. I love it. That's what I'm known for. That's what I love doing. But let me know if you want me to dabble into some more spooky things. Thank you all for watching till the very end. If you're still watching, comment Bruges to 200K, because we're literally as of recording this less than 8K away. I can't believe it. Thank you all so much. I cannot believe how fast we're growing. And just you guys are the best fans. Wow. Get ready for the summer. It's gonna be nuts. It's gonna be crazy. Go sub to Tukali. Turn the notification on for Boogli. We're popping out this summer, boys. I'll see you later. Peace.