Get this and get it straight. Crime is a sucker's road, and those who travel it wind up in the gut of the prison of the grave. This time a friend with millions, a myopic chemist and a long-haired piano player, but thrown into panic because a brilliant young lady with a gun was taking a big step in the wrong direction. It happened like this. From the pen of Raymond Trantler, outstanding author of crime fiction, comes his most famous character in The Adventures of Philip Marlowe. Now, with Gerald Moore starred as Philip Marlowe, we bring you tonight's exciting story, The Big Step. Yes, sir, Mr. Marlowe, I always figure shoes are just like faces. How's that, champ? Well, they make it old and they make it wrinkled, but they're still okay as long as I got a shine on them. Yeah, it keeps that writing condition, huh, champ? Yes, sir. Hey, let me just spank up this one again, huh? Sure. Oh, come in. Mr. Marlowe? Yeah? Oh, excuse me, I didn't know you were busy. That's all right. Okay, champ. I guess it doesn't. Here you are. Oh, thank you, Mr. Marlowe. I'll see you tomorrow. Right.  Miss, uh... Canter. Mrs. Betty Canter. Oh. I'm a waitress at the Shelton Cafe. I need your help, Mr. Marlowe. There's something you could do for me. You free to take a case. Well, I'm free, depending on the case. What is it? Well, today, this friend of mine, Shirley Vitale, comes into the restaurant while I work. Yeah. She takes her usual table, and while she's waiting for her order, she starts reading the paper. Well, it's all quiet so far, Betty. Yeah, but just when I'm bringing in the tomato juice, it happens. She sees something in the paper that scares her. Scares her bad. What was it, Betty, do you know? I don't know. She mutters something, and then she runs out of the place. Her face was gray like ashes. Later, I got to worrying. I called her at home, then at the lab where she works. Even her husband's studio. No luck. Now, wait a minute, Betty. I don't quite get the connection. You and Shirley Vitale, I mean. Oh, I don't know her social. We're only chummy at the restaurant. She's been eating there for years. Well, that's her basis for friendship. Well, about six months ago, I was in bad trouble. And Shirley came through with 200 bucks when it seemed like more money than I'd ever seen. Yeah. It kept me and my husband together. So, you see, she means a lot to me. I see what you mean. Well, look, Bet, what was this about a lab? Well, Shirley's a technician. She works as an assistant to a chemist named Softman. Abraham Softman, out on Melrose someplace. What about Shirley's husband? Do you know him? Gilbert? Oh, yeah. He comes in with her a lot. He's a piano composer and a real nice guy. He lives for his work. He's unknown now, but he's a real genius, Shirley says. Oh, sure, sure. She'd do anything to keep him and his music going. Yeah, well, tell me, this friend of yours saw something in a paper you said that scared her.  Yeah, and I want you to find out why and help her. Here's 50 bucks, Mr. Marlowe. That's what you charge, ain't it? Uh, more or less, yeah. By the way, Mrs. Cantor, where's your ring? Oh, I sometimes take it off when I'm working. You do, huh? Yeah. Well, perhaps when you're hawk it to raise 50 bucks? Look, Betty, I'm a careless guy. You, um, you better hold the money, huh? Oh, but, Mr. Marlowe... Where did the Vitellos live? Well, hurry, Betty, remember, where's the address? Well, it's 3140 Veteran Avenue. And in case you wanted, Gilbert's studio is Benedict Canyon 510. Thanks, Mr. Marlowe.  And Betty Cantor was gone. I got in my car and drove out to Veteran Avenue.  And with a little effort, she could have that touch-and-glow look. Oh, well. 3140 was one of those small but neat houses that grow like mushrooms overnight on the post-war California landscape. And it was locked, dark, and quiet. I went around to the back and started on the windows. The third one opened when I tried it. I climbed in, turned on some lights, and made the grand tour that ended in the den. The only indication that anyone had been there all day was a current issue of the LA Star crumpled in the wastebasket. I pulled it out and started through it. At age five, I found a hole where a two-column story had been clipped out. And then somebody was at the front door. I started tauted but changed my mind with the sound of a key and the lock. Instead, moved back into the den and washed. I heaved it, belonged on a gopher, wearing a batted fedora and inch-thick glasses above a fur-colored coat peaked in. Gave the place of myopic once over and headed straight for the den. So I stepped out where he could see me. I have never seen you before. What are you doing here?  I'm Dr. Abraham Softman. Softman? Oh, the chemist Shirley Vitella works for. Is that why you have a key? Yes, she leaves unfinished. She leaves work here for me to pick up. It's a convenience for both of us. But now you. You can also explain, maybe? Well, a friend thinks your assistant's in trouble. I'm trying to find out. The name's Molo. Aha! I suspected now I am right. What? Shirley came to the laboratory late from lunch today and very much upset. And soon, right in the middle of our most important crimson test. Your what? Our crimson test. Oh, yeah. Without one word to me she left. Never does this happen before. In all the five years she has been my loyal right hand. Well, tell me, what's the nature of your research, Dr. Softman? We are developing new commercial dyes. Oh, such a beautiful crimson we have now. Really? Shirley knows as much as I do about all of it. Mr. Molo. Hmm? Was it you who opened the desk drawer there? No. I didn't notice it till now. Two boxes of 32 caliber ammunition. Nine shells gone from the top one. She kept a gun there. I've seen it before. That's gone too. What kind of trouble needs a gun, Mr. Molo? Oh, I could think of a few. And they all say we better locate Shirley and soon. Now look, Doc, I want to ask you... Just one moment, please. Maybe you will know if this means anything. I found this under her work table after she left this afternoon. Is it maybe something? I don't know. Let me see. Empty reservation envelope from Federal Airlines. L.A., New York, departure 11.35 tonight. Made out to Ruth Britton. Who's that? I don't know her, but she must be something to Shirley. Perhaps this Ruth Britton is the trouble. Well, the airline number's here. Where's the phone? It's out there in the other room. There on the table. Yeah, I got it. Hudson 28610. Federal Airlines, Agent Frederick Stowe speaking. Frederick, do you have a Ruth Britton listed on your 11.35 flight to New York? Oh, just one moment now, sir. I'll check. Oh, no. Yes, yes, we do. Yeah, well, I've got a locator. Do you have an address or a phone number there? Oh, no, sir. I do not. And even if I did, I'm afraid I could... Look, Freddie Boy, Freddie Boy, this is important. I need that information. I'll describe it to me. What does she look like? Oh, dear, I'm afraid I can. I must absolve the ticket. I'm the only agent on duty, but I just can't seem to think where I... Try, will you think? I am. How do you expect me to remember 75 or 80 faces every day? Now, listen, I... Good heavens. Don't you think I get confused? Yes, I do. Every time nine or 10 jerks come in here at once, all wanting tickets at the same time. Never mind. Skip it. Frederick Stowe. No luck, Doc. No luck. Do me a favor, will you? What is it? Stay right here and wait for Shirley if she comes back. Hold her.  The first stop was a news stand. I bought an L.A. Star, turned to page 5, and found that the missing story was on a man identified only as Denneke, who'd been hit by a taxi on Temple Street at 8 a.m. The only reason it rated two columns was that before he lapsed into unconsciousness, he told the ambulance group in the citizen's emergency hospital that he knew he was going to die and wanted to clear his conscience by confessing a crime he'd committed. It ended with police standing by. I drove on into Benedict Canyon, wondering what kind of a bridge it was going to take to span the gap between a female chemist and a downtown traffic accident. I was still wondering when I got to number 510. All I could see of Gilbert Vitello's studio over the brush around it was something pseudo-Spanish that had been stuck onto a piece of vertical real estate by an optimist in the early 20s. A path had been opened from the driveway to the house and as I walked to the door, piano music from inside got louder, but not better. Even in the long hair circle, that stuff needed a haircut. Hey! Hey! Vitello, break it up a minute, will you? What's the meaning of this outburst? I'm working and I won't be interrupted. Who are you? What do you want anyway? Make it easy, Mr. Vitello. My name is Marlowe. Betty Cantor sent me here because she's worried about your wife. The waitress worried about Shirley, why? Well, she's in some kind of trouble. Have you seen her tonight? No, no, no, not since this morning, but that's not unusual. I often work late. My music is very demanding. Now, what gives that waitress the idea that Shirley's in trouble? Your wife's reaction to a newspaper story has scared the wits out of her. About a taxi hitting a man named Denick. I mean, anything to you? Denick surely worked with a fellow by that name once, I believe, but why would that story frighten her? Well, I was hoping you'd tell me. Do you have a gun? A little 32 pistol is at home. Why? It's gone. See here, what's this all about? Tell me! Tell me the truth and be quick about it!  All right! My wife was shocked by that item on Denick her. She isn't at home, she isn't at Salfman's lab and hasn't been all afternoon. And what's more, she's got a gun. That's all I know except for one thing. Who's Ruth Britton? She's a friend of Shirley's from the east. She's been visiting relatives out here. Why? Nothing. Maybe Shirley's got a plane reservation for her. That's all. Miss Somalo, if that's all you have to offer, why don't you get out of here so I can go to work? I'm quite certain that Shirley was actually in trouble. She'd come to me, if I help. And incidentally, tell Betty Carter to take some, some, some vitamins or something. She's becoming a troublesome busybody! You know, there was a quality about Gilbert Vitello that made me want to sock him on the temperament with the heavy end of his grand piano. But when I started down the path to the driveway, I forgot about him.  I ran to where I could see and watched a girl in a brown suit get out of her sleek new huts and then start toward the house. And she saw me.  I followed as fast as I could, but it was home ground. I heard in 20 yards I was outclassed. I lost her at the corner of a sagging shed and stopped to listen for her footsteps. I heard something else. But not in time to duck. Oh! Mala, what happened, Mala? I heard a car come in with a car.  Well, Shirley, she slugged me. I don't believe it, you're lying. Okay, I'm lying.  She told me personally with a blunt instrument. Play that knee flat, Jack. Did you get something? Lumps. Oh, look at that. How about you, Dr. Suffman? No, nothing. Come in, come in. Yeah. No, no one has come here. You found out something? Have they heard of a guy named Denika, Doc? Me? Here, Maurice Denika? Five times in the past three years, Maurice Denika in Chicago has beaten me by introducing a new dye substance or a new process just days ahead of me. Five times this happened. He's a dye chemist, too. Very brilliant one. I admire him. But why do you ask me... Listen, this is beginning to fit like a rubber glove. Denika's in a hospital right here in L.A. He may not live and he wants to confess to a crime. Here, look. What? Read it yourself. When Shirley saw that story, it threw her into a panic, and now it only figures one way. Your assistant's been selling your new developments to Denika before you released them. No, it is not true. Shirley would not do this thing, not to me. Okay, Doc, we'll see.  I'm going to the hospital now and do some more fast addition. If it comes right, just don't forget you're a scientist, will you? Oh, I would not forget. Now, you remember something, Mr. Marlowe. Two plus two does not always make four, especially when you are adding up human hearts. In just a moment, the second act of Philip Marlowe. But first, Wednesday's wonderful on CBS with Dr. Christian Groucho-Marx, Bing Crosby, and Burns and Allen all coming your way over most of these same CBS stations. This Wednesday, Brother Bob Crosby visits Bing. Gracie Allen stumps the income tax experts. Groucho will be on hand with his ad libs and teams of opposition. And Dr. Christian makes a wily grandmother stick to the truth for once. So be listening this Wednesday, won't you? Now with our star, Gerald Moore, we return to the second act of Philip Marlowe. And tonight's story, The Big Step. It was 20 stop-and-go minutes through the snarled early evening traffic over to the citizen's emergency hospital. All the way, I kept hoping that Denika's confession wasn't going to have anything to do with Shirley Vitello. But when I was there, standing next to Detective Lieutenant Matthews and filling him into date, I racked that hope up under wishful thinking. Morris Denika had already come, too. Yeah, Marlowe, about a half hour ago. He didn't say too much. How much? Only something about this woman you mentioned, Vitello and her formula for some kind of a bleaching agent. Then he went out again. Hey, look, this Vitello girl who currently adds up to something very dishonest. What does she look like? Oh, blonde, about 5'4", maybe 30. Wearing a dark brown suit and all that? That's right. She been around? Yeah, I spotted her here in the hall about 45 minutes ago. I claimed she was a reporter, but she didn't make any small talk with the other news hands. I got a little suspicious. Just then Denika came, too, so I went in there. I came back out. She was gone. Look, you know who we can pick her up? No, I don't, Lieutenant. Doesn't look so good for her. She could be pretty desperate right now. Like a quick trip to the country. Oh, like worse, she's got a gun, Matthews. And now with Denika starting to talk, very little hope left. I better be going. Where? Just going, just going, Matthews. I'll keep in touch. Wait a minute. We have a big organization, Mr. Marlowe. We're equipped to handle all kinds. We could do almost as good a job as you. Just keep that in mind, will you? Yeah, yeah, and I'm glad you said almost. So long. I got back into my car and pointed it toward the Vitello Place on Veteran Avenue again. Because I didn't know where else I could possibly pick up Shirley's trail. I felt like an uncomfortable emptiness was in the pit of my stomach.  He knows he didn't have anything to do with it, but that knowledge doesn't make him feel any better. Shirley Vitello was headed for trouble, bad trouble. And the pathetic little kid, Betty Cantow, who came into my office and started the whole thing, could get hurt in the process. Then I parked in front of the place which, from inside, a desk lamp showed a circle of light the size and color of a lemon lifesaver. And the front door was open inches, as though somebody had left in a big hurry. I walked on eggs as far as the door and nudged it. And I saw it. On the table in a far corner of the room, a note propped up against the lamp and nothing else. I thought I'd told it. Don't move! I'm behind you and I've got a gun. Oh, fine. 32 caliber out of the desk drawer, no doubt. No doubt. Marlowe, why are you mixing into something that's no business of yours? I'm a private detective working for your friend Betty Cantow. She's worried about you, Shirley. Marlowe, what's done is done. Betty can't help me. You can't help me. Nobody can help me. I stole Softman's work and I sold it to Morris Deniker. I didn't count on a deathbed confession. Why'd you do it? I love my husband and he needs money to go on with his work. No. He'll put sin on this with you, huh? Oh, no. No, he isn't. He thought my wages were high, that's all. The note I left there on the table makes that clear. Also it... Also what? It says goodbye. I love him, Marlowe. When I'm gone, he'll have enough money to carry on. Keep the studio. That means so much to him. And nothing can be taken away from him. I've seen to that, legal-like. Just what do you mean gone, Shirley? How far is gone? A long way, Marlowe. All the way. Suicide? Oh, no, Shirley, you can't be mad. Marlowe, let's not talk anymore. Don't bother about that phone. It's only Gilbert. How do you know? When I pulled up outside here after I came from the hospital, he was home. I didn't want to speak to him, so I drove on until I came to a phone booth. Then I called here and told him to meet me at the Saffron Bar. It's an old hangout of ours. You wanted to leave a note for him, but didn't want to face him, is that it? Yeah. He'll keep calling on and off for quite a while before he comes back here. I figured it would be better that way. I didn't want him chasing me. This sea air might give the big lug a cold. It always did. Well, Marlowe, it looks like it's about time to put you away for safekeeping. I don't think so, Shirley. I think the phone is about... No! Next time, Marlowe, it'll be more than a vase, but just as fragile. Now, the closet's seat aligned and strong. It should hold you long enough. Get in, Marlowe. Go on. Okay. And it is, baby. But first... What? The step you're about to take, Shirley. Yeah, I know all about it. It's a big step, isn't it, Marlowe? We'll save your breath. I wouldn't be any happier in prison or running away, believe me. Not a bit happier. Go along, Marlowe. Nobody's home. Shirley Vitillo was mixed up about a lot of things in life, but that doesn't include closets, because the one she put me in was strong. The lining she calls Cedar must have been hand-me-down armor plate from a retired battle wagon. So all in all, I was 45 minutes alternately kicking and resting while the insistent telephone marked the five-minute intervals for me. But finally, it was the wood around the lock that gave way! I was out. Hello? Hello, sir. Who's this? Marlowe Vitello, and save your questions. Do you hear what I have to say? Marlowe is my wife. She was supposed to meet me here at the saffron bind. I said save it. Now, listen.  No, Marlowe. No! No! Yes, tell me, did you two have a favorite spot out near the ocean? I don't see what that has to do with it. I don't care whether you see or not, did you or didn't you? Yes, yes, the Redondo fishing pier below Santa Monica. Good. Now keep listening, Vitello, and do as I say. Come straight home. But, Marlowe, it's surely... Do as I say, Vitello. I'm back here and sit tight with fingers crossed. I worry about the pier. Goodbye. When I was broken, I picked up the phone again, dialed 1-1-6, got through to police emergency operator and from there to Matthews, who was still at the citizen's hospital. I told him to pick me up in a squad con, and this 10-mile drive to the Redondo fishing pier, where surely Vitello was going to kill herself. Then I got outside and waited the four longest minutes of my life, until finally Matthews screeched up to a halt. When I piled in, we took off, siren wide open. It'll be less than a minute now, Marlowe, pier's only a couple of blocks away. Good, better have Mooney kill that siren, Lieutenant. Jack, we want to come in quiet, Mooney. Okay, Lieutenant. Well, there she is, and power's out on the pier. Yeah, Mooney, pull up here, will you? We don't want to scare her into something. What? That crowd there, halfway out on the pier. Yes, so there is. You better drive right up, Mooney. Looks like we're too late, Phil. We were too late, at the center of a circle of the morbidly curious who always stand in gap. We found a lying face down in the greasy planks of the pier dead. She shot herself through the heart and the gun, and the same 32 she'd used on me was lying next to her. Two bullets gone. I explained the extra shot to Matthews. Uh-huh, okay, one bullet fired up at her, placing the other one here. Well, I hope you're satisfied, Mollo. What do you mean, satisfied? I mean, single-handed. You had to leave the cops out of it, didn't you? You had to go up to Veteran Avenue all by your lonesome, didn't you? Now, you wait a minute, Matthews, I was only trying to... Oh, nuts. Hey, Mooney, where's the nearest phone? Over there, Lieutenant, across the street, the Triple Legal Café. The patrolman here's already called an ambulance. All right, tell him she can be moved. Come on, Mollo, I want to turn in a first report on this. Mooney, pick us up at the café. Right, Lieutenant. Okay. So, Shirley Vitello was stealing formulas for those dyes from her boss and selling them to this Morris Deniker. Yeah. Always rosy until Deniker walked out in front of a taxi early this morning. That put him close to death and in a mood to talk. Also, put Shirley Vitello on the spot. Hey, is that the place you want to phone from? Yeah, yeah. Look, one thing more, Mollo. A girl's motive all the way through. She left her husband, he left his work. Yeah, her too? Yeah, after his work. So, since he didn't make any dough, she stole to keep him going and close to her. There's the phone, Phil. Come on, will you. I may need you to fill in the blanks for me. Mollo, I said... I heard you. I heard you. The phone can wait, Lieutenant. Come on over here. What? I want to talk to that piano player. Piano player? What about? The tricky way he has of playing blue skies. What? Hey, bud, that's all right. You got a mean left hand there. Yeah, I open in Carnegie Hall next week. Don't miss me. I'll try not to. It's just horrific what you do with that tune, you know? It's my own particular arrangement. Nobody else's, huh? Oh, nobody. I've been working on this arrangement for a week. That's all I wanted to know. Hey, Mollo, what are you getting at? The phone, I've heard enough. Where'd you say it was, Matthews? Over there at the left of the bar. But, Phil, what time is it, Lieutenant? What time is it, Lieutenant? Five after 12. Mollo, what is it? A switch, a switch, Matthews. A switch?   Listen, Frederick, I'm the party you called before about the reservations for Ruth Britton on the 1135 for New York. Oh, yes, I remember you. Never mind. It's police business, Freddie. Did the plane leave on schedule? Of course it did. But Miss Britton didn't make it, and she didn't bother to call and cancel her reservation. Thanks, I've heard enough. So far, so good, Matthews. Yeah, which means what? The Saffron Bar in Hollywood. Which means what? Shirley Vitello didn't commit suicide, Matthews. She was murdered. Okay, Phil. Where's your man? Right there. That table against the wall. Come on, Matthews. Sentimental rocks. Degredation. Abomination. I don't think it's as bad as all that, Gilbert Old Boy. Marlo, you were caught the most insensitive of all people. What would you know about music? Just for the record, he's not a cop. My question still stands. What do you know about music? As a matter of fact, not much. But you know I'm fascinated by what they're doing with instruments these days. Really? What are they doing that might fascinate you? Well, for example, take that picture where the score is done by only one instrument, a ziffer. What's more, it doesn't sound like a ziffer. To a trained ear, a ziffer is a ziffer. You mean you can't make one instrument sound like another? Well, for example, a guitar like a piano?  Wait a minute, wait a minute. It's not so ridiculous. Why, only tonight I heard a guitar that sounded just like a piano. Real tricky arrangement it was, too. Sounded... You're joking. Oh, no, no. You must have heard it, too. It was while we were talking on the telephone. The telephone? I talked to you? Sure you did. You remember? My, my... You said you were calling from here, the Saffron Bar, but the conversation was being scored by the pianist at the Triple Eagle Cafe at Redondo Beach. A real tricky arrangement in more ways than one. I didn't mean it was, too. All right, what's the rest of it, Phil? He didn't want to quit his work and spend the rest of his life hiding in some forgotten corner of the globe. Which was her plan? Yeah. As I figure it, once Shirley knew she was finished, she decided they should both run for it. He was in on what she was doing all along. In the suicide note? That was part of her plan. Leave puppy here and innocent with the money she got for shenanigans. Then frame her own suicide, a trail that would lead us to the Redondo Pier, her hat and coat, floating in the drink. After a couple of days of searching, we say the tide probably carried the body out the sea. Close case. That's right. In the meantime, she's following New Yorker's Ruth Britton and is heading on from there. Hubby here to join her at a later date. Yeah, finally. Hubby double crossed her and shot her so he can sit tight with the money right here. That's it, Matthews. Please, please, give me another chance.  Wipe and dry Matthews and take them away. Go along with Matthews.  I'd had enough of the kind of person who'd hitch his wagon to a star, only if the twinkly saw on the horizon was the reflection of a dollar sign. Oh, yeah, they were a pair, all right, the Vitellos? A pair who finally canceled each other out. You know what? I'm glad of it. The Adventures of Philip Marlowe bringing you Raymond Chandler's most famous character, star Gerald Moore, are produced and directed by Norman McDonnell and are written for radio by Robert Mitchell and Gene Levitt. Featured in the cast were Gene Bates, Paul Dubov, Vivi Janus, Edgar Berrier, and Peter Leeds. Detective Lieutenant Matthews is played by Larry Dubkin. The special music is composed and conducted by Richard Orant. Be sure and be with us again next week when Philip Marlowe says... This time I tangle with a married Scotchman, a phony English lord in a beautiful blonde corpse in a freight house, all because of a butler who walked on his knuckles. All about tying a metal string around your finger today to remind yourself to file your 1949 income tax return as soon as possible. The 15th of March isn't several miles down the road the way it used to be. It's almost at your front door. And you'd certainly get a scare if you came home one evening to find it sitting right smack in your living room saying smugly, well, you forgot to file your income tax return. What now, little man? So why not set aside tonight as income tax night and file your 1949 return? This is Roy Rowan speaking. This is CBS where Burns and Eleanor heard every Wednesday night the Columbia Broadcasting System.


Hi there, little friend.  I'm eating a cheese ball. And you can follow us on Instagram and Twitter for more juicy content. Ugh! And today... Uh, I think we're supposed to take a picture and follow us on Twitter. It's my Jesus. I can do whatever I want. Uh... And today, we're reacting to a trailer. Do you know what it's called, Rick? Nope. Okay, good. Lana Pracetham. Yeah? Mm-hmm. That's a Malaga Lim film. Note the last dance. It is a 1999 Indian-French-German co-production drama film directed by Shaji and... What kind of sorcery is this? Um, where was I? The film is about an illicit relationship between a Kathakali dancer and a young woman from an uppercast family with results in an illegitimate child. It stars Mahanil, right? Yeah. And the lead. And the film's music is composed by... Shaji's secure his singing. I was waiting for you to get to it.  Huh. And it's a Cannes Film Festival selection. No, it's plastic. Official selection. Cannes. Stupid. It's not a Cannes. Wow. But, yes, so this is the trailer for, I believe... Hey, is this the eye dancing? Yeah. Yeah, this is what it's about in this film. Got it. Cool, man. Yeah.  Thanks for being patient for us to get to it. And the score is by Shaji's secure his singing. And I believe are one of our suburbs of this. Thank you, sub-mariners. Here we go. So, it's a... So, it's a story of a very different performer than we've ever known. Obviously, because we don't... Acting, acting through that art form. So that's really interesting. It's also some malolium film as well. Very interesting. It's an old trailer, so the tone kept throwing me off a little bit, obviously. But, you know, since it's old, that's kind of just what happens with old trailers. They go from like, ah, and then they go to a completely different kind of... Exactly. I don't know how to make trailers back then. But I've heard a lot of great things about it, so that gives me hope. And Shaji... I have the music. I'm assuming he... If he composed it, he played it, right? Probably? I don't know, not necessarily.  Like, I don't think Ravi Shankar played all of the instruments in the open trilogy. Well, no, but he played on it. But he played on it. Yeah, for sure. Like, for sure. Like, I'm not sure the tabloid was played by. Zakir Hussein was composing a film, and there was a tabloid. He wouldn't play it. Of course he would. No, I thought you were referring to all the instruments. How intimidating would that be, if you were the tabloid player, and something that he composed by? Talking about a little bit. Uh... Yeah. I don't... I really liked the depiction of them having had their tryst with his makeup on her face. Did you... At the mirror? And clearly that depicted that they had been intimate. Yeah. Um, and it's said, you saw that he received a national award for his believability in his depiction of the art form. Yeah. Which is incredible because it said, remember, it said 12 years is the standard beginning point of learning how to do that art form. Remember that? Yeah. And that video we watched? Uh, so that's extraordinary to me that he, if he had never had prior experience to this, and took on this role to portray this art form, and the practitioners of this art form gave him a thumbs up, that's, that's astonishing. He was in the 2013 Drisheum. I think that's the original one? Is that the one we saw? I don't know. It's the original. Okay. Okay. It's nothing. Uh, so that actor's in that. Uh, but this came out in 2001, so it said, good 20 years old. Which is sad. Right.  It's hard. That's not what this is about. Yeah. That looked really interesting. Well, we've got to see a mobile film, and we've seen so many of you saying that we need to see my honey old dude work, and we obviously would love to hear a score done by Mr. Ajasekir Hussein, and this may be, you let us know. Is this where we start? Yeah. I know there's a bunch of, uh, Malolium's always screaming in the comments that say you have this film right behind you. Right behind you. Just watch it. We have a lot of them. Thank you for being patient, and thank you to the super big who sent it to us. Yes. Uh, as always. It was really interesting. Should this be one of the first Malolium films we watched? We've actually seen quite a few trailers recently. We have seen a lot of films as well. It looked really good. Takeoff. And then there was the, what was that one? I'm thinking of one with the kids. Yeah. Kumbala night, right? Kumbala G-night. Kumbala G-night. Yeah. Yeah. And I said Kumbala G-night. G-night? Yeah. I said that. That was hilarious. It was so... And it was interesting, though, that we had just reacted to the I-dancing video. I know. I'm so glad. Yeah. And obviously we're dumb. You guys probably have known about this kind of stuff for your entire life. Since you're kids, yeah. We're dumb. Uh, and haven't. We've seen it here. Yeah. But we have no clue what it's about, what the art form is about. Absolutely. That's why I'm so impressed. I'm glad we did watch that reaction to the art form before we saw this film and this trailer because... We appreciate it more now. Totally appreciate it. The fact that he got a national award, it would have meant nothing now that we've seen that little video to think that this actor took on something that other people take 12 years to begin to learn how to do. And how did he do it? I'm guessing he did really well. Yeah. But also, Ustagi's career as a composer, what is his best... I mean, I'm sure they're all amazing, of course, in terms of especially his tablet playing. But like... How many has he done? Let's see. How many scores has he done? Because we've learned from... We know of him first and foremost as an instrumentalist, not necessarily as a composer. Not that he's not a composer, but our understanding of him has been more for his instrument. Hold on. One second. Did he act in Black Friday? What was the movie he told us was his favorite movie? But that was him. It's the one that the people say... Ah, okay. Yeah, yeah, yeah, yeah. No, that's his favorite movie. Look. Well, I thought he made a joke about when he was in. This is on your kashia. And this has a ton of people in it. Right. It's not a composer. It's Inspector... I think he actually acts in it. Why did anybody tell... You probably did. Okay. I'm not going to say you didn't, because I'm sure you did. But this has like... It has K.K. Mennon. It has... Is that K.K. Mennon? Yeah. Oh. I didn't recognize him. What a shock. But this is the On Your Art Kashia film. Yeah. Oh, I know. Yeah, it's a kid who was saying... I remember any time we talk about On Your Art Kashia, that comes up. I know he would act it and stuff, but I didn't realize he was in this film. No. Why didn't you tell me? I'm sure you did. I'm sure you did. I'm sorry. I probably did the first freaking reaction you did to stuff. I'm going to leave now. Okay.


All right. So you're seeing this guy and you want things to turn into a romantic relationship with him. The next step is not to get sexual with him. Nope, the next step is actually to seduce his mind. So a lot of, one of the big mistakes that a lot of women make is that they just associate sometimes with men sex and the act of having sex.  And it comes with you as well. And a lot of times women don't really understand what it is with men, but it's a really important, impactful part of the process with a man. If you wanna keep him interested, if you wanna have that strong, powerful emotional connection when you are romantic and intimate with a man. And so that's what we're gonna be talking about right here, right now, today. My name's Matthew Coast and welcome to today's live stream called Seven Sexy Texts That Men Crave. If you are here today, make sure that you say hi in our chat. Hello, hello, hello. Welcome, welcome, welcome. So we're just gonna jump right into this. So I've got seven texts here that it's not just about what we're talking about today isn't sexting, we're not talking about getting on the phone and having phone sex, we're not talking about any of that kind of stuff.  And so these text messages are for women who are either in a situation where they've been dating a man and they want it to go into a sexual realm or it's for women that are already in a sexual relationship with a man and they want it to be stronger and more powerful. So hello everybody. Hi Jennifer, hi Melissa, hi Amanda, hi Doreen, Maria, Lorraine, Ruth. Hello, hello, hello. Thank you for being here. Make sure you say hi in the chat. If you're here with us, I love it when people do that. So the first text message that we're going to, that I'm gonna give you here, it's a little bit more tame and at the same time it kind of opens things up. It opens things up to him if he wants to start talking about things that he's passionate about if he wants to start moving it. It opens it up. So if he does wanna go into the sexual realm, he can. But it doesn't, it's not specifically designed to kind of take him there. Like I said, we're talking about seducing his mind here. And so this first one, it goes like this. If I were the genie from Aladdin and could grant you any three wishes, what would they be? Right? And the cool thing about this is it allows him to create that whatever direction he wants to go with here. And so like I said, we're talking about passion, we're talking about emotions, we're talking about seducing his mind here. And this one can encourage him to say some things that might charm you, they might make you laugh or they might shock you. So it's a fun one, it's a fun one. Hello, hello, hello, welcome everyone, welcome everyone. All right, so I'm just gonna keep moving along here. If you have questions about anything, make sure that you ask them in the chat and I'll get to them at the end of the live stream. Also, if you're new to our channel, make sure that you hit the subscribe button and the bell notification in order to get more videos so that you don't miss out on anything that we're doing here. So hello, hello, hello. All right, so the second one is moving, we're moving a little bit more into the sexual realm here. And basically you're asking him a direct question that works a little bit better in the later stages of moving into a relationship or if you're in a relationship already. And basically you're creating some sexual tension here and asking him what he likes. And so here's what it goes. Here's how it goes. It's be honest, what about a girl really turns you on? Physically, mentally. And so basically you're asking him to talk about what turns him on, what he likes and getting him in that space of thinking about it and talking about it. And sometimes, especially if you haven't really gotten to a sexual stage with a guy yet, sometimes he might be a little bit hesitant to throw everything out there. Sometimes we have a little, there's a lot of people that have things that they're afraid to share, right? Especially from a sexual standpoint. And so he might not throw everything out and that might be a good thing actually. Initially, if you're not already in a sexual relationship with him and you send him this text message. But it will allow that conversation to get started because I know that I've talked to a lot of women who sometimes they have problems bringing up these topics or talking about sex. And it's kind of a taboo subject for a lot of people. I know in a lot of families and a lot of people's lives they've found that it's very difficult to kind of bring up and talk about the topic of sex. And so this is also something that allows you to kind of bring up that conversation and smoothly flow into that kind of a conversation without it seeming weird or feeling weird about it because it's, this is just a natural way, right? You ask a question, be honest. What about a girl really turns you on? Physically, mentally, right? And so you get to kind of go into those other realms as well and you're kind of giving them a suggestion that you want to hear about other things other than maybe just like body parts or that he's attracted to or something like that. So that one's a good one and it works really well. Hello, hello, hello, hello everyone. Hello Grace, hello Florence. Hello Kelly. Hello, hello, hello. Need to have sexy text or text for long distance relationship, please. Thank you. Okay, so for the text messages, I'm going to put them, I'm going to put them all in the description once we get done with the live stream here. And so you'll get all of them at the end if you missed out on some of them when I'm talking about them here. So just wait for the end and you will get them all. You will get them all. All of the text messages. All right, so number three. Number three is something that we've talked about in some of the other live streams that I've done and some of the other videos that I've done where I talk about text messages. And this one is creating kind of a visual in his mind, right? And so one of the things that is really powerful for men is this thing of experience, right? And kind of hitting these like sensations that a man has, right? His sense of smell, his sense of touch, his sense of his eyesight, like his vision, right? Like in one of the things that, you know, I've talked about a lot is how men are visual and you probably know that ever. It seems like kind of a common thing that a lot of people know. And so this is one of the ways to kind of spark that vision in his mind of you and kind of like being sexual but not really going, not quite going there but kind of getting it into his mind and here's how it goes. Here's how the text message goes. This is number three here. It's really cold in here. I'm covered in blankets and still feeling cold. Maybe I should put some clothes on, right? And so it's kind of like an innocent thing, right?  And then you're kind of throwing in there this last thing where it's kind of like a surprise where it's like, maybe I should put some clothes on, right? And so basically immediately he's gonna, he's immediately gonna see you naked, right? In his mind's eye. And it's gonna get those, regardless of whether, you know, you're saying you should put some clothes on because you already have clothes on but you're saying you should put some more clothes on, doesn't matter. In his mind's eye, he's gonna see you naked and that's what you want him to do, right? You wanna see him to see you naked. I had a woman in the last live stream that we did and one of the things that she mentioned was that she doesn't want a guy to have a one-track mind, right? And that's kind of a phrase that a lot of people have used in the past when they're talking about men, like men have this one-track mind and it's just for sex, right? Well, it's a man's job, especially in the early dating stages to try to move things towards a romantic relationship. And if he doesn't try to move things towards a romantic relationship and if he doesn't push things forward, it's likely that he's never going to get there. That's the likelihood, that's the probability is that most guys end up in the friend zone with most women. So a lot of women, they wanna be friends with a guy, right? And they wanna be friends first and maybe they never wanna get to the sexual realm with him. And for most guys, if they're hanging out with a woman and they're pursuing a woman in any way, they're trying to get it to a romantic relationship. And the longer that he stays in the friend zone, the higher the probability that he'll always stay in the friend zone. And most guys know this because it's happened to him so many times. And so it's not about this one-track mind thing here.  You know, that's one of the things that it's like the bait, right?  And so he needs to feel like that's coming in order for him to continue to pursue you and invest in you and spend time with you and do all these things. And if he doesn't feel like that's coming, it'll probably end because he doesn't want to end up in the friend zone. So that was kind of a long, that was kind of a long rant running off there. So what we're going to do here is okay, so, okay, yeah, yeah, yeah. So we just did number three and so we're moving on to number four. And like I said before, if you're new to this channel, make sure you hit the subscribe button and I'm going to put all the text messages in the description at the end here so you can get all the text messages and you don't have to write them down or anything like that. So here's number four. And number four is another question and it's not necessarily even a sexual question. You might want to, if you've used one of the text messages before this and you've kind of gotten into a sexual conversation, this is a good one to use in addition to that to kind of move things forward and kind of talk about further, kind of what kind of style of sexual, like what kind of sex style he has, like what kind of interest he has in this and kind of how he sees himself. And here's how it goes. So are you more of the romantic leading man or are you the bad boy dirty talking rebel, right? And so basically most guys are a little bit of both of these things and usually sometimes guys will look, think of it in one direction or the other, but this just kind of gets the conversation moving, right? So all we're doing here is just talking about these things, getting him excited about it, getting him thinking about it, getting him talking about it, getting him in those emotions, right? This is over text message. So it's not like you guys are hanging out together and it's about to go into some kind of sexual thing right now, it's you're having this conversation over text and so you're kind of creating these emotions in him that he can't calm down right now. Like he can't get rid of those emotions, he can't quench those emotions because he's wherever he is by himself and so you're doing this thing over text message and he's creating this fantasy in his mind through these conversations that you're having and it's moving into this, it's moving into this realm of sexuality that he places you as a part of and it creates a deeper emotional tie to that sexual bond instead of it just being some kind of like flesh on flesh like just sex and nothing more kind of action and so that's what we're going for here. So, hey, thank you, Jolie. Jolie, is that how you pronounce your name? Thank you so much. So what about long distance relationships? Hey Doreen, I think we talked about this yesterday but we're going to do a whole series on long distance relationships. We're not quite there yet. We're still putting things together for that but we'll talk about the long distance relationship stuff here pretty soon. Yeah, yeah, Melissa. Melissa says, I really like that you expose that men have feelings too and how we can help instead of hurting potential relationships because we don't always understand. Yeah, it's really interesting because we do talk a lot about that whole idea where a lot of people don't really get that men are really deeply emotional beings. We are all deeply emotional beings and there's certain things with being masculine where there's kind of this idea of being like stoic where we don't kind of get, we don't show our emotions as much if there's danger we need to be able to stay calm and stay collected and fight and battle whatever kind of danger is out there. And so yeah, a lot of men don't really expose their emotions as much. And so a lot of times women kind of don't think about men having emotions and even sometimes a lot of men who have shut their emotions down don't really talk about it and don't really think about it. And so which is why this stuff is so much more powerful, because when you start touching his emotions it just makes him feel so different around you than he's felt around other women because all of a sudden he's having all these emotions come up that he doesn't normally experience around other women, which puts you into a completely different category and makes him feel like you're somebody that's really special to him. And so that's what we're doing right now as we're talking about sexuality and emotions and getting into these conversations with men to make it something more and bigger and greater and make that experience not only for you better but also for him and make him more feel more emotionally connected and kind of hit that drive where he wants to move forward and chase and pursue you and invest in you because he knows that it's moving towards something that he really wants to have. And so that was number four. And so number five is another one that's, we're kind of getting here, I'll just go over what it is and then I'll talk about kind of what it what other things there are around it. So number five is what is the most taboo fantasy you've ever had? And then right after that you post, yeah, that one or you send him the message, yeah, that one.  Because unless it's kind of tame, some guys don't have like super taboo fantasies, some guys do. And so basically what you're doing is you're asking him about it and then you're kind of giving him permission, right? So the first part of the text is what is the most taboo fantasy you've ever had?  And basically you're giving him permission. You're saying you're allowed to talk about this, which he may still not talk about the most taboo fantasy he's ever had because it could be something really, really crazy. I've heard some really crazy taboo fantasies from both men and women. And I mean, who knows what it might actually be, but it gets him, again, we're talking about getting him into the emotions, right? We're talking about getting him into these emotions that maybe sometimes he doesn't feel like he can have or he doesn't have permission to have or some of these fantasies that he might think he might feel are bad or wrong or things that he shouldn't fantasize about. And so even if he has a fantasy that's a little bit kind of taboo and he's not talking about it, it still gets him into these emotions and it makes him feel like you're somebody that he can open up to about these kind of taboo things that he's got going on that he doesn't normally share with anyone. And so basically you're challenging him here to unleash this beast and confess his most taboo thing that he can think of in terms of sexuality. Okay, so that was number five and so number six is another fun one. Do we have any other questions here? Yeah, we don't always under, it's true. I mean, here's the reality, right? So Michelle said, that's right, we don't always understand. We don't always understand each other, right? Most of us, so there's a thing going on, right? Where we all have some things that are completely similar, like incredibly similar, right? So like we all want long-term committed relationships, we all wanna fall in love, we all want to find the one and, you know, and I mean, there's some people that don't want that, right? Some people on both the men and the women's side that don't want that. And, but there's also these things that we have that are huge differences too, right? So there's some things like, you know, the kind of these masculine things and being at home in our masculinity and kind of these aggressive things that men have and just different things. And sometimes we look at women, you know, men, us men look at women and we don't really get you. And sometimes women look at men and you don't really get us. And so, you know, really a lot of what we're trying to do here in commitment connection is kind of bridge that gap and build a more powerful partnership where we're on the same team. And even if we don't fully get each other, we're loving and accepting each other as we are instead of just shaming and attacking and trying to, you know, manipulate each other into getting what we want. So that was a plug for the world mission, the big world mission we've got over here at commitment connection. Hopefully you guys are on board because I love that stuff. And I think that we can make the world a better place by creating partnership and being on the same team and loving each other and being instead of attacking each other, really coming from a place of love and healing our wounds and all that kind of stuff. And so I'm gonna get off that soapbox now. And we're gonna hit number six. We're gonna talk about text message number six. So text message number six is how would, it goes like this, it goes, how would you seduce me, you know, if we were alone together, right? And this kind of takes it to the next level, right? And basically you're asking him to have an imagination here and to come up with something. And, you know, it'll get him all excited about this. And at the same time, it's kind of a little bit of a challenge. And you're asking him to kind of talk about this thing that sometimes he might, some men might feel, you know, depending on your age and depending on kind of what, you know, generation you're a part of, a lot of, especially in some of the older generations, they might feel a little bit more like they can't really talk about some of these things. Some of the younger generations, I think it's a little bit more okay to talk about some stuff like this.  And again, we're talking about getting him into this mindset of like actually visualizing how he would seduce you, right? And if you wanted to take this even further, and if he's like, what are you talking about? What do you mean? Or something like that. You can always give him a scenario.  Like, what would you do? Like, what would your first step be, you know? And just kind of have like a fun kind of play along type of thing where you're just in this conversation about seduction and kind of these emotions and these like sexuality and stuff.  You know, like how would you deal with that? Or whatever, you know? And basically you can get to a place where you're creating a hypothetical situation as if he actually feels it as the two of you discuss what it is that he would be doing. So, and you'd also be kind of getting a preview for like what his romantic style is. So Annette says, sorry if the question is out of context, but I'm curious about your chain pin. Oh, this is Ukraine right here. This is me supporting Ukraine right now. Hi, I'm listening. Thank you for the insight. You're welcome. You're welcome, Annabella. You're welcome. Exactly. Met Monk. Met Monk says, we all have sexual fantasies. That's right, we all do have sexual fantasies. It's true. We all do. Some of us just hide from them and some of us don't. You're welcome, you're welcome, you're welcome. Let's get to text message number seven. And so this is something that you can say if you're actually already in these conversations with them, right? You're like texting about this back and forth and you're in this conversation. This is something that you can use then. And it's also something that you can use in other situations because it could be taken sexually and it could also not be taken sexually. And basically the scenario that you'd wanna do this, you'd wanna send this text message is a scenario where he is doing something that's masculine, something that turns you on, something that's kind of manly and he's kind of moving things forward. And it goes like this. Oh, I like it when you take charge like that. Makes me blush or you could say makes me smile or makes me giggle or makes me feel butterflies or makes me turn red or anything you want to right there, right? And basically you're kind of doing this cute innocent to something that might be a little bit X-rated. And so basically what you're doing is you're telling him that his strong masculinity is turning you on and that you'd like to see more of that behavior. I talk a lot about that in my framing stuff where you kind of talk about, you talk about what he's doing and you say that it's attractive. And this is one way of doing that without saying, I think that's attractive. You're talking about an actual experience that you're having, right? Like it's making me blush or it's making me smile or it's making me giggle or whatever, right? And so it's kind of this feminine reaction behavior to his masculinity and what he's doing and him being a man. And it's really, really just powerful stuff. So that's it. It doesn't look like we have any questions for today.  So at the end of this, I will put all of the text messages in the description of this video. And if you're new here, make sure you hit the subscribe button and check out the rest of the videos on the channel because we've got lots of really great videos. And thank you for everyone being here. You're really awesome. We love our community. You guys are absolutely the best part of our community. And thank you so much for coming here and putting your trust in us and allowing us to be a part of your journey and a part of your developing your relationship and attracting the men that you want. And thank you so much for being here. And everybody, I will speak with you again soon.


So the first Grand Slam of the year, not too far away. We've only got about six weeks until the Australian Open is underway. Nick Kiraos has pulled out of the Australian Open, the first player to withdraw from the event. Let's go have a look at why he had to pull out and also what he had to say over on social media. So this is what Kiraos had to say over on his only fans. Hey guys, Nick Kiraos here. Obviously had a really tough year with injury, had that knee surgery and came back a little too soon, which set me back a little bit. Obviously had some wrist issues. So this is a very disappointing time for me, but yeah, I won't be able to compete at the 2024 Australian Open. Obviously, heartbreaking. I've had so many amazing memories there and just want to really get back to playing at the top of my game and doing it right. I need a little bit more time. I was so close to winning a Grand Slam, I want to make sure that my body is going to have the time it needs to come back. So please bear with me. So you have it the first big name to pull out of the Australian Open and it is six weeks away, which is not that far away. And he has had a wrist injury for pretty much the entire season. He had a knee injury at last year's Australian Open or this year's Australian Open at the start of the season. So he's been battling with injury. And of course, 2022, he had such a great season, made the Wimbledon Final, played well at the US Open and now he's just getting injured and injured and injured. And again, pulls out of the Australian Open for the second year in a row. But let me know down in the comments below, when do you think we're going to see Kyrgios again because he has a wrist injury now. He had the knee problems, what he had surgery on last year or last season. And now he's got this wrist problem that keeps coming back. We know a lot of players that have wrist problems, Del Potro being one of them, that really ruined his career. Nick Kyrgios won't be playing the Australian Open, the first big name to pull out of the event.


The 1918 Nobel Prize for Chemistry is probably the most important Nobel Prize ever awarded. It was given to German scientist Fritz Haber for solving one of the biggest problems humanity has ever faced. His invention is directly responsible for the lives of 4 billion people today. But when he received his prize, many of his peers refused to attend. Two other Nobel Prize winners rejected their awards in protest, and The New York Times wrote a scathing article about him. He is simultaneously one of the most impactful and tragic scientists of all time. Perhaps more than any other single person, he has shaped the world we live in today. By weight, most of our bodies are made up of oxygen, carbon, and hydrogen. But the fourth most common element is nitrogen. Nitrogen is part of the amino acids that form proteins, it's part of hemoglobin, the compound that carries oxygen and red blood cells, and it's a central component of DNA and RNA. Nitrogen is essential for all life on earth. We get our nitrogen by eating plants, or animals which have eaten plants, and plants get their nitrogen from the soil. The problem is, if you farm the same soil year after year, you harvest the nitrogen out of it. And eventually, there isn't enough nitrogen for healthy plants to grow. They can't produce enough chlorophyll to photosynthesize, which stunts their growth. Their leaves turn yellow, and they are more susceptible to pests and disease. Crucially for farmers, nitrogen deficiency means smaller yields. The way to fix this is to add nitrogen back into the soil. Nitrogen isn't rare, it's common. 78% of the air is nitrogen. But it's in a form that plants and animals can't use. Two atoms of nitrogen triple bonded together. This bond is one of the strongest in nature. The way to measure the strength of a chemical bond is by the amount of energy that's required to break it. So to break apart two chlorine atoms, for example, would take two and a half electron volts. To break apart two carbons requires 3.8 EV. Two oxygens, 5.2 EV. But to break apart two atoms of nitrogen requires 9.8 electron volts, a tremendous amount of energy. In 1811, Georg Hildebrandt mixed nitrogen and hydrogen in a sealed flask, trying to make ammonia, one of the nitrogen-containing molecules found in guano. When that didn't work, he submerged the flask 300 meters underwater to increase the pressure. That didn't work either, but he was on the right track. Increasingly sophisticated versions of these experiments were carried out over the following hundred years. All of them failed. So when Fritz Haber became interested in this problem in 1904, he was joining a long line of failed chemists. He was 36 years old, working as a low-level academic at the University of Karlsruhe. His idea was to combine nitrogen and hydrogen not only at high pressure, but also at high temperature, and in the presence of a catalyst, something that lowers the amount of energy required to split diatomic nitrogen. To do this, new experimental apparatus had to be invented. Haber worked tirelessly on this project, building equipment that could tolerate ever-higher temperatures and pressures. He also got lucky. At the time, he was moonlighting as a technical consultant for a light bulb manufacturer. So there he had access to lots of really hard-to-find materials, like the element osmium. Osmium is rare. In his day, there was only about 100 kilograms of the refined metal in existence. But the company he worked for was experimenting with using it for filaments in their light bulbs, so they had most of the world's supply. Haber suspected it might make the perfect catalyst, so he brought a sample back to his lab. There in the third week of March, 1909, Haber placed his sheet of osmium in the pressure chamber, and then he pressurized and heated the nitrogen and hydrogen to 200 atmospheres and 500 degrees Celsius. Under these conditions, the triple bonds broke apart, and nitrogen reacted with hydrogen. Of the total gas mixture, 6% turned into ammonia. When the gas was cooled, 1 ml of ammonia dripped out the end of a narrow tube into a beaker. And the lateed Haber rushed from one lab to another, yelling, come on down! There's ammonia! Germany's biggest chemical company, BASF, commercialized Haber's process. Within four years, they had opened a factory in Oppau, producing 5 tons of ammonia per day. Haber all spoke of making bread from the air. With the fertilizer from this industrial process, on the same plot of land, farmers were able to grow four times as much food. And as a result, the population of the earth quadrupled. There's a good chance you owe your life to Haber's invention. The invention made Fritz Haber a wealthy man. He got a promotion, becoming the founding director of the Kaiser Wilhelm Institute for physical chemistry in Berlin. He also befriended some of the best scientists of his day, including Max Planck, Max Born, and Albert Einstein. After Einstein separated from his first wife in 1914, he stayed the night at Haber's house. But if Haber was so well regarded, why was he shunned by colleagues when he won the Nobel Prize? Well, it all comes down to what happened in World War One. Only a few months into the war, the German army was already running out of gunpowder and explosives. Ammonium nitrate, besides being an excellent fertilizer, is also an explosive. Haber lobbied to convert the factories using his process to make ammonia for fertilizer to create nitrate for explosives instead. His superiors believed such a conversion to be impossible, but Haber persisted, and soon his chemical process was at the heart of the German war machine. From bread out of the air, to bombs out of the air. But Haber thought chemistry could make an even bigger contribution to the war. In December 1914, he witnessed a chemical weapons test. He was unimpressed. Haber believed that he could do better. He set out to make a gas that was deadly at low concentrations, and heavier than air, so it would sink into enemy trenches. And after only a few months of work, he zeroed in on chlorine gas. At 6pm on the 22nd of April, with the wind blowing toward the Allied trenches, German troops released 168 tons of chlorine from over 5,000 gas cylinders. The wall of gas advanced across the battlefield. Since chlorine gas is two and a half times heavier than air, it sank into the trenches of the Allied soldiers.  Marine irritates the mucus lining of the lungs so violently that they fill with liquid. The soldiers effectively drowned on dry land. Thinking about this story, it would be easy to paint Haber as a villain, or as a hero, for inventing the process used to feed half the world. But another approach is to regard him as irrelevant to the larger story. Because someone else would have figured out a way to process nitrogen out of the air. And other scientists were developing chemical weapons. Over the past few centuries, science and technology have improved our lives immeasurably, but they have also given us ever-increasing ways to destroy ourselves. So the real question is, how do we keep increasing our knowledge and control of the natural world without destroying ourselves and everything else on this planet in the process?


Just beyond the hills, under a sky studded with lidless glowing eyes, there's a place where the borders of reality grow thin, somewhere between Paseo de Luces and Faraday's crossing, not terribly far away, but closer than you'd like to believe. Even if you count yourself lucky enough not to know where those landmarks are as if the physical remove from these signposts might prevent you from coming into contact with this blurred boundary, you are never far enough. It's a place rarely seen under light of day, even with the sun overhead, the world seems to stretch beyond its normal limits as if nothing were close. As if all monuments to mankind were distant, even that gas station you passed a few miles back becomes distant, it's a place where the night sky seems to vibrate around you and where the air is prenaturally cool and dry, and there is a perpetual hum in the air, barely present, but undeniable. If you tried to record it, your recording would come back corrupted. Only the unaided ear can hear it, and even then, only by ignoring it. The moment you focus your hearing, it will scarper off into nothing. The locals dare not visit, they know enough. There are those who take stock of missing persons' reports. They know not to put themselves in harm's way, leave well enough alone is their motto, and they live longer for it. It's only the out of towners who seem to get into any trouble, and as a result, you're unlikely to find the place by word of mouth alone. No one around these parts likes to talk much about that place. Talk around, and the only thing you're liable to hear is, stay away. Of course, not everyone heeds the words of locals. I've seen far too many wander off into the wilderness in search of that fateful place. I've seen many of them come back, too. Sun burnt and sleep deprived, and badly in need of a shower. Nothing out there but dirt, shrubs, and more dirt, they say, and shake their dusty heads. There's always a faint disappointment in their faces, they'd hoped to have something confirmed. Some belief in the paranormal corroborated by the sky itself, finding nothing. They lose a little hope in the world. To them, life has gotten a little less strange, a little more stable, confirming more and more to the world their pastors and parents first mapped out. They lose faith in the weird, the strange, the ability for life to surprise them still. These are the lucky ones. For what they lose in imagination, they gain in good, solid years left upon the earth. The others? Well now. I suppose no one really knows what happens to the others. They wander out just as far as their tired legs can take them, beneath the blazing sun, the quiet moon, into the distance, further and further and further, and then, thinking about it brings back the old hurts, I've lost too much not to hate that place. Once I watched an entire team of young people drive their van out in hopes of finding the boundary.  My house is fairly isolated, but it's along the way, and I'm friendlier than most locals. It's not uncommon for visitors to stop and ask a few questions before heading back out. These travelers in particular didn't quite know how to tell me at first just where it was they were headed, but I knew already. I always know. A young gang of adventurers like them, well, I've seen their type pass through a fair few times. Two young guys and three girls couldn't have been much more than twenty years old, any of them. Finally, it came out that they were hunting the boundary, the place beyond the hills. Only they might have had some misguided thoughts about what they'd find when they got there. I hear it's a UFO hotspot. One of the young ladies said, crossing her tattooed arms. She looked to be their de facto leader. The others nodded vigorously in agreement. We're going to camp out all week. See what we can see. More if we have to. One of the others jumped in. We're not leaving till we get that footage. We've got supplies for a week. The first woman explained, she ran a hand through her close cropped hair. It was a dyed bright red.  We're hoping we won't have to wait all that long, though. You might not have to wait long at all, I thought. But all I said was, lots of young people like you have gone missing out there. That wouldn't be enough to deter them, it seemed. I should have known better. Never works. I took a long hard look at their van. It seemed sturdy, and it was running well enough for a vehicle out this far. If it were as stocked as they said, I had no doubt they'd manage a week in the desert heat. But even the best vehicle in the world won't help out in the kind of situation these poor fools were getting themselves into. Yeah, well, we're hoping to find out exactly why so many people have gone missing. Someone's got to document it, right? I, uh, I hear there's a mothership out there. One of the young guys called out, hiding in plain sight. I shook my hand if I didn't try one more time to stop them and something happened. I'd have that on my conscience. This was way back before I stopped trying to turn people away back when I thought I could still make a difference. I don't know about UFOs or motherships. I explained. But about ten miles down the way, there's a gas station. Sells hot dogs, charcoal, lighter fluid, beer, too. Don't have much of a selection, but they keep it cold, which is what you'll want. Ice in the freezer, too. If you've got a cooler to carry it, nothing like a dog and some ice cold beers. Yeah, we've already got food, drinks, too. Either they weren't listening, or I wasn't trying hard enough. But I wasn't finished. About five miles past the gas station, there's a stand of cactus, big old things can't miss them. Hang a right and drive till you reach the dry Aroya. No need to worry about flash floods. We haven't had a drop of rain in months. It's a great spot to camp, undisturbed, quiet, prettiest view of the stars you'll ever see. And far as I know, not a soul's gone missing who pitched out there. It was the truth. I've camped out there myself. It's a touch too close to the boundary for my own comfort, but I already live too close to that place to rest totally easy. Ah, um, listen, the woman said. We just want to make sure we're headed the right direction. Can you tell us if this is the road we want? Nothing I could say would convince them. I'd seen it all before. Oh, it's the right road, all right. Not paved all the way to the spot you're looking for, though. This old beast can handle it, she said, slapping the side of the van. She flashed a wink and hopped back in along with her friends. See you on the way back. To her credit, I did see her on the way back. Only her. She drove like a madman, sent plumes of dust skyward behind her as she weaved off and on the main road. I'd been sitting out front that night, enjoying another smoke. Cancers got off a way to go, watched both my parents struggle at the end of their rope with that dread beast. But when you've seen the kind of things I have, cancers suddenly seem small in comparison. When I saw her, small on the horizon first, but ever larger as she sped back down the road, I watched that van come spinning towards me at an inadvisable speed, before bouncing in a shallow ditch and coming to an abrupt stop. Good thing, too, another few feet and I'd have lost my mailbox or perhaps the porch altogether. The van door flew open and she stumbled out, openly weeping, before crumpling into my arms.  Take it from me, a blanket and some hot coffee can work miracles. She still shivered and sniffled, but physically she was alright.  In her soul, I gave her space to decompress. Sometimes people just need to be near someone, especially after they've suffered a shock. In time, she'd open up or not. That was really up to her. My job was to make her comfortable and help her get the van started back up when she decided it was time to go. She sat there uncomfortably, not touching her mug, staring at nothing. A minute or two passed, the stars through the window whirling slowly. You were right. She finally said, course I was right. I thought, only she didn't need to hear that right now. I arched an eyebrow at her and took a sip of my coffee, as if I'd broken a spell that seemed to give her permission to drink her own. She took a long pull before continuing. We never should have gone out there, she admitted. People don't need much encouragement to share what's on their mind. Sometimes it's better to say less. This time, I just said, oh, sure enough, that did the trick. It all came spilling out, maybe too fast. I couldn't slow her down after that. They just disappeared. All of them. I don't have a clue what happened. We didn't see any UFOs or anything either.  Just one second they were there, and the next, gone. There was a flash of light, but what happened? It can't be possible, can it? I mean, people don't just vanish. They can't just vanish.  They have to be somewhere, don't they? I thought hard before I answered that one. Hard enough that I had time to shake free a smoke, light it, and offer one to her, too. She shook her head. I don't smoke. Fair enough. I countered, then took a deep drag while I considered how best to answer. Having this conversation would require a fair amount of delicacy on my part, best to get to know her first. Hell, is there any place else to start? What's her name? I asked. Eh, Ember. Well, it's actually Emily. She met my eyes once, then looked away. My friends call me Ember. You can, too. Ember, huh? It's an inside joke. She spoke very quietly. I can only imagine. Thinking about her friends and the group dynamic at a time like this would have to be very difficult. Then she looked up and said, What's yours? Call me hers. I said, Is that your real name? I ignored that. It's nice to meet you, too, Ember. Fair enough. Ember echoed my earlier sentiment, then hesitated. Um, I changed my mind about the cigarette. A few moments later, and she was taking a deep draw of her own, leaning back in her chair. Immediately she seemed more at ease than before, but I could tell that was just posturing. Behind her eyes, her mind was working a mile a minute, and I could guess her heart was just about there, too. In the calm light of my home, we looked an odd pair of pals, I far older than she, and tall, wide, while she was a slip of a woman, short and willow thin. We were bound by a shared knowledge of the deep, distant place beyond the hills of first-hand experience of its weird terror, and by the smoldering glow of our smokes, we shared a further communion.  They can't just be gone. You must know something that can help. I'm going to level with you. Your friends are gone. It's tough, but you'd be wise to accept it and to move on. I took a drag of my cigarette and watched her. Her expression was downcast, for she already knew it was true. Fresh tears spilled down her cheeks, and she choked a sob. I pitied her.  I sighed and bent to take the mug from her hands. She was shaking now, and I'd rather not lose that mug. Someone close gave it to me. Long ago. There has to be something we can do, please, you have to help me. But I pressed on. There was only one thing for her to do, and I wasn't going to pretend otherwise, no matter how much I had to play the villain. I was firm and stuck to what I'd said.  I continued. Folks around here won't ask too many questions, but if you get back home with four of your friends missing, she broke down completely, sobbing helplessly into her hands. The cigarette between her fingers was burning unnoticed, and I took it from her, set it down in the ashtray. Nothing you can do when someone's like that, but wait, let them cry it out. And that's exactly what I did. I knelt beside her and laid a hand on her knee while she cried. When at last she'd composed herself, we had some more coffee and shared another smoke. When she said to asking her new questions, I should have known she wasn't going to take the easy way out of this. Not everyone's smart enough to take advice, even if it'll save their life. She pressed on with her inquiry. You warned us, she said. Simple enough statement. Not a question either, but I knew it was leading into one. You knew something would happen. You must have some clue what goes on out there. I might. I said it last. This one wasn't going to rest until she had a few answers. And anyways, I thought answers might be the best way to convince her to stay away. Not to go back.  Tell me. I need to know. Tell me. Tell you what? What happened? What, what is that place? That place. I didn't know how best to phrase it. I had a story of my own, and though I'd avoided telling it to others, it might be the only way I could save her. If only I hadn't seen so much of myself in her, I could have avoided getting attached. Would have made what happened next hurt less. Well, no one really knows what that place is. Some say it is UFOs. Some say that the aliens swoop in and take people away.  Other people say it's a vanishing point. The end of the earth? Too many steps the wrong direction and… but you don't think that's true either? I shook my head. And what is it? It's a gateway. I replied and looked away. And you don't want to go through. Believe me. I remembered it all too well, more than I wanted to let on, but I didn't hold back. Not this time. Not if I could stop her. I told her how I'd gone through once with a friend. Natalie was her name. She'd been more than a friend, I suppose, but it didn't do any good to dwell on that. I learned to live with my loss years ago, and those wounds still hurt. We were both too young and too stupid to consider the consequences of meddling with things we didn't understand, or to consider that any of it might be real. But when we got out there that night, we realized that there could be truth to the rumors of odd old places in the world. We could both hear that faint humming, a persistent buzz in our ears, and the cold plucking sensation on our skin. The air around us might have been alive, and the stars overhead might have been watching. We had a million chances to turn back, but we followed that cold air, that low wine, until the sensations grew stronger and stronger, and we knew this was the place. And then we stepped through. The shift was instantaneous, a flash of light. We didn't even have time to blink. It was a dark place, with a floor of stone visible only by a lurid green glow that had no source. Shadows loomed and flickered like beasts. Overhead the roof had crumbled away, and through the open ceiling I saw unrecognizable constellations, a huge moon terribly close. In a slew of smaller moons in the distance. I knew that we had made a terrible mistake, but only I was able to react quickly enough. I turned and saw a shimmering light, and knew without knowing that it must have been the gate through which we'd stepped. I didn't hesitate. I didn't grab Natalie's hand and pull her through with me. I acted only to save myself, which I have since come to regret. Though I do not know if I could have saved her, I know how hard it's been to live with myself for never trying. I tumbled back into the desert, in the place beyond the hills. The humming had gone, the air was still. The stars overhead had lost their alien luster. Before I could climb to my feet, I heard a terrible scream ring across the landscape. It bounced through the hills and echoed against the sky. It etched itself into my heart, forever. When I'd finished my story, I saw that it had had the opposite effect on her. Ember's eyes were twinkling, and her jaw was set, resolute. So you're saying it's possible to come back. This was not at all what I'd intended. I'm saying. They're already gone, Ember. They're gone. Don't play games with this. It wasn't going to be enough to stop her. I should have known. I hadn't been able to stop her from going once, and I wouldn't be able to stop her from going back. What she said next caught me by surprise, though. Come with me. She said, help me through. We can bring them back together. I'm sorry, Ember, but that's never going to happen. We can find Natalie, too. She's still in there. We can save her. I closed my eyes, saying Natalie's name had been difficult enough, but hearing someone else use that sacred word, it was too much. That scream was still ringing in my ears all these years later. I'll tell you one more time. You do best to forget any of this ever happened.  It won't be the same. Never can. Not after seeing your friends vanish through that gate, but you can go back to something resembling normal, and the only way that'll ever happen is if you turn around now and drive away, don't ever come back. She didn't answer that, but she did ask for some help getting the van back on the road and start it up again. I was able to do that much for her before putting her in the driver's seat and sending her off. Then I tried again. I had to. You remember what I said, turn around, drive away, don't come back. She just shook my hand through the window, said thanks for the hospitality.  I was feeling damn sorry for her that night. Worse, I was feeling damn sorry for myself. I talked to Natalie for a long time under the stars. Maybe Amber was right. Maybe she was still out there somewhere. But I couldn't shake that screaming in my ears. In the morning, I took my own car down the road, passed the gas station, passed the stand of Cactus, and off further to a distant place between Paseo de Luces and Faraday's crossing. To a place beyond the hills where the air was alive and the sky seemed to shimmer even under the hot, hot sun. There was a van parked alone, baking in the heat. I walked up to it but already feared the worst. Sure enough, it was empty. Since then, I try to avoid talking to strangers altogether. They don't know what they're getting into, but the kind word of a local is never enough to stop them, no matter how much first-hand knowledge is shared. I've seen plenty come and go, and most often, they do come back, disappointed as I said, but never knowing just how close they came to losing everything. There are places in the world that are gateways. I don't know where they lead, but it isn't any place fit for humanity. One such place is in the desert, not too terribly far away from yourself, and if you go hunting out there beneath the open sky, you might just find where reality begins to open. Without opening, it's mighty thin, even those looking for it rarely get there, but you do best to steer clear and hope that this reality holds you tight. We live a slippery existence, and other realms will swallow you whole without a second thought. Take it from me, I've seen it, and lived to tell the tale. That you might not get so lucky.


Snatch drunk welcome back to a secret a mana secretive mana It's a secret secret to air body That's what he used to say That legend of Zelda thing you'd find a hidden area ha ha ha Yes, the old anime gag of being 200 years old. She's actually Looks like a 20 year old girl except her face is really disturbing there What decision who made the decision to make her face look like that Anyway, yeah, we got evil monsters. We got swords that need to be charged. I guess Plug it into the wall charge it up Electric swords. It's no fairy tale I Typical line and of course there's an empire, but the Empire barely I Guess it gets more involved later in the game Not much of an empire Come on Gemma every time Every time we meet up you just want to leave. It's like you don't want to hang out or something What's with that? What's your problem? Oh, goodbye?  Why me? I want to just some other shmo No way No way. I said in previous episodes the game does explain why This shmuck was chosen It explains like this mom like why his mom had to leave and all that stuff Normally games like this don't really do that. It's just kind of generic like Tra la la Who me? That's impossible. Oh, it's it's a it's a but as H.C. Bailey would say it's a but thou must Scenario like in the first dragon warrior. It gives you the option to say no, but it just re it just cycles past the dialogue again So it's like what's the point of having the option if I just have to pick? Give the illusion of a choose your own adventure kind of thing Did she just say this the seed in the sword were one that's disgusting now When I played this I was probably 11 years old 12 years old That as a kid, but I would have a I got a spear extra weapon cool But I would not have picked up on how You use you use your sword to fertilize the seed Yeah Yeah Anyway No, that won't be necessary. I'm playing on the retron five.   Where are we going? We're going to Gaia's naval and that's where the door villages and that since we have a sword orb from this from beating that First boss we get to a apply that to the sword shake the rust off of it and Use it to smack some more rabbiates and some more Walloping lullabies or whatever these are called Yes, screw off What are they called? Well, they're called like they called something lullaby.  I've played this game a million times, but I Completely forgot about that. I was legitimately gonna hit the goop-doop-doop. Dang. I guess it's my fault Well, this is no good I'm in a smiling pot of Boiling water underneath the fire. Hey, who's that?  Let's blow this pop stand Now who could she be looking for? Is she looking for Gemma?  So looking for me. She's either looking for Gemma or die luck and Let's let us take the long way. I suppose we could go to Take the cannon travel center. Excuse me Sneeze out of nowhere We could take the cannon travel center on their way to Guy's naval, but then we wouldn't have fun Squashing enemies and stuff So let's take the long way and level up Yeah Seeker to Ma, Seeker to Maena, Maena Some people say mana. I say mana. I don't know if there is an actual correct pronunciation or was The word mana reminds me of Magic the Gathering kind of cut this grass here. This guy let his lawn get out of control Yeah, I don't know if if if how the what the right pronunciation is but mana reminds me of Magic the Gathering and I played that very briefly When I was like around the time when I played this game actually I was like 11 or 12 I want to say it was like when 4th edition was out and Ice Age was new that tells you how old I know but Who two of these things extra levels and stuff but I did not enjoy What the original rules of Magic the Gathering were I thought it was way too slow and my friend And I just did not have patience for it. So we just pretty much Came up with our own rules.  I'm not even paying attention what I'm doing Somehow I'm in Pandora. I think we need to go through here to get to guy is navel Yeah, an armor shop. That's cool Or is this guy gonna know he's in a since some kind of stupor something's going on with these people something happened It's like they're all Scandinavian or something What's interesting about Who why what happened?  It's a Scandinavian thing. I'm convinced that when people People from Minnesota people from Michigan. There's a lot of Danish a lot of Norse a lot of Swedes Finland a lot of those people that second third generation from that a lot of Canadians to of course, you know, Canadians come from Scandinavia as well but Get out of my way people of that Nationality of that ethnicity, I guess they Really are quiet. They're not sociable Like in Minnesota, you'd never make eye contact with people on the street not because you're afraid to but because you just don't even think to You just kind of keep walking. You don't say hello. You don't smile when you do talk to people people are really nice But and you go to New Mexico and everybody's just like staring, you know stairs at each other like everybody's always talking and People are smiling and just as friendly here as they are up in the Midwest, but it's just jarring how different it is Old grandma's about to kick the buckets. Oh a clue. Oh grandma's been going to the going to church down south and it's Saptor brain, that's too bad. So, huh, we'll have to look into that later I do like how this game has a certain has like a lot of different things going on right off the bat Like you've got ruins down south that are causing problems in the kingdom of Pandora Ooh, I can actually buy stuff here Do they have anything? But yeah, you've got that going on. You've got the Gemma stuff going on You've got the stuff with the sword you've got the stuff with the girl pretty soon You've got a whole other thing coming up once you get to the dwarf village. So there's a lot going on right away I didn't give this story enough credit. I don't think I think it's pretty I think it's I don't think the characters are that great But I think the story is pretty good It's better than it It never occurred to me that it does it in this manner. Anyway, let's check out Pandora's castle Is there anything up here? I honestly don't remember. It doesn't look like that's just pointless. Anyway calling it an episode Thanks for watching and have a great rest of your day


Indigenous people and local communities are the gatekeepers of success or failure of reducing emissions. They are the most formidable environmental security systems. Therefore, climate finance should be directed to them. How? We can assist them in the formation of Indigenous people community-based organizations or community-based organizations as we commonly know, build strategic partnership with them and together drive the process of assessing these funds. And I believe with these strategy, the funds can be granted to drive conservation action and projects among the Indigenous communities and the local people. Thank you.


My name is Sam Vaknin and I'm a colonist in Brussels morning, and today we're going to discuss my favorite topic Sex Or more precisely homosexuality In the face of fierce opposition by the Christian Orthodox Church and other conservative forces Greece just passed a law legalizing same-sex marriage and parenting The use of the word marriage may be historically inaccurate union would have been better But should homosexuals be allowed to serve as parents? What do we know about homosexuality to start with a? Growing body of scientific evidence links the etiology of homosexuality to prenatal hormonal imbalances and to the presence of endocrine disruptors in other words it has a biological foundation biological template and still though genetically predisposed homosexual behaviors made selection and sexual scripts are probably acquired the outcome of environment and nurture rather than nature The jury is still out admittedly Recent studies in animal sexuality serves to serve to dispel two common myths That sex is exclusively about reproduction and that homosexuality is an unnatural sexual preference It now appears that sex is also about recreation as it frequently occurs out of the mating season and with no reason for procreation and Same-sex copulation and bonding are common in hundreds of species from bonobo apes to gulls see gulls moreover Homosexual couples in the animal kingdom are prone to behaviors commonly and erroneously Attributed only to heterosexual The New York Times reported in its February 7th 2004 issue about a couple of gay penguins Who are desperately and recurrently seeking to incubate eggs together? In the same article love the dare not squeak its name Bruce by Benjamin author of the groundbreaking biological exuberance animal homosexuality and natural diversity Defines homosexuality as any of these behaviors between members of the same sex long-term bonding sexual content Curse courtship displays or the rearing of young Still that a certain behavior occurs in nature certain behavior is natural does not render it moral Infanticide patricide Suicide gender bias and substance abuse All to be found in various animal species It is futile to argue for homosexuality or against it based on zoological observations Ethics is about surpassing nature not about emulating it The more perplexing question remains what are the evolutionary and biological advantages of recreational sex and homosexuality? Surely both entail a waste of scarce resources Convoluted explanations such as the ones preferred by Marlene Zuck homosexuals contribute to the gene pool by natural nurturing and raising young relatives These explanations defy common sense experience and the calculus of evolution There are no field studies that show conclusively or even indicate that homosexuals tend to raise and nurture Their younger relatives more than straights do Moreover, the arithmetic of genetics would rule out such a stratagem If the aim of life is to pass on one's genes from one generation to the next The homosexual would have been far better off raising his own children who carry forward half his DNA Rather than his nephew or niece with whom he shares merely one quarter of his genetic material An often overlooked fact is that recreational sex and homosexuality Have one thing in common. They do not lead to reproduction Homosexuality may therefore be a form of pleasurable sexual play It may also enhance same-sex bonding and Train the young to form cohesive purposeful groups in the army and boarding school, for example Furthermore Homosexuality amounts to the culling of 10 to 15 percent of the gene pool in each generation The genetic material of the homosexual is not propagated and is effectively excluded from the big roulette of life Growers of anything from cereals to cattle Similarly, you is random culling to improve their stock As mathematical models show Such repeated mass removal of DNA from the common brew Seems to optimize the species and increases resilience and efficiency It is ironic to realize that homosexuality in other forms of non-reproductive pleasure-seeking sex May be key evolutionary mechanisms and strategies and integral drivers of population dynamics reproduction is but one goal among many equally important end-results heterosexuality is but one strategy among few optimal solutions Studying biology may yet lead to greater tolerance for the vast repertory of human sexual foibles preferences orientations and predilections Back to nature in this case may be forward to civilization