back to my channel. So I am so excited to do this video. It's kind of been a long time coming to get my refrigerator organized. But before we dive into all of that, this video is in collaboration with my friend Hannah here on YouTube. She is an Arizona mama of two. And when I think of Hannah, I just think of like sweet and gentle and not like proper 31 woman. She keeps her home. I just love her realness and mommyhood and her content is very similar to mine. She is also doing an organization video and her video will be linked in the description bar. So she's a beautiful person inside and out. So when you're done watching this one, do make sure that you click on the link in the description bar and go and check out her video for more organization inspiration. If you're coming over from Hannah's channel, welcome.  And I have a very busy life. I like to keep myself busy with lots of projects. I post videos daily and I just honestly love YouTube. I love that we can connect as a community of moms and that we can encourage and uplift each other. So with that being said, let's get started organizing the refrigerator. So I thought I would just give you a little overview of our kitchen dining room area if you've never seen it before. So you know where I'm working at here. So this is like my coffee bar, dining room, and then the kitchen's kind of in an L shape. And this is today's project. So I'm gonna go ahead and just give you kind of a before and what's going on in here. I had tried to do some organizing. In fact, I love the way this refrigerator set up. When this one goes out the door, I would almost like to have one that has a big door like this again because there's so much space for stuff on the door, which I love. But it's just kind of gotten all mixed up and I don't like these containers in here. I might actually use them in my freezer. They're just kind of a like rubber made, but they're hard to get in and out. I got something to replace them. You'll see in a second, but I have like meat and cheese in here. Down here is all of my produce and then there's just things all mixed together. I have an X on this because that is my hard-willed eggs and then the rest are just my regular eggs. But I did get something else for the hard-boiled eggs as well. Oh, another thing that we keep in here a lot is like sparkling water. And I feel like it kind of takes up a lot of space, but I got something that I think is going to help that out as well.  But before I do that, I do want to show you what I got for the organization portion of all of this. So this kit, I actually ordered off of Amazon all of this stuff will be linked below for you guys. This stuff here, I'm just going to move it out of the way. I'll show you in a second, a little bit more of that. But if you can see it's inside all its plastic, it's kind of like a clear hard plastic. That type of organizers, they're not always the cheapest. And so the cheapest option I found for those was to buy this kit on Amazon. So what it all comes with is like two large containers like this two narrow ones, which I think are going to work really great for like drinkable yogurts. And then here is my egg container for my hard boiled eggs and has a lid so I can actually stack my other eggs on top of it or vice versa. And then this is a can like holder. So I'm thinking it'll work really great for sparkling water. All of that will do awesome to organize, but I needed a couple more things. So I actually grabbed this stuff at Walmart and I will do my best to find the links for these that I probably will be able to. So these are going to replace the little Tupperware's that I have in there right now. And they're actually a lot longer like the Tupperware's only come to like about here. So there's this gap behind them, nothing's being put back there of course. So these will be utilizing this space so much better. And then on top of it, I didn't realize this whenever I picked these up, but they have dividers that go right in them. So they will work really great to organize things. And I just, I'm really happy with how this looks. And I think it's going to work out great. And then another thing I got is this little refrigerator, I should say big, it's a large refrigerator drawer. And I'm hoping, hoping, not holding my breath, but hoping that I can install this right here. Because as you can see, most everything I put in here is not really high enough to come all the way up. So like we'll have space here that could be used for something. So I'm hoping that little drawer fits right there. And I'm gonna go ahead and get started emptying it all out. I'm driving, you're smiling, just really doing nothing. All right, I have my antibacterial spray sprayed over everything in there and the drawers. If you guys don't know this with a lot of natural antibacterial sprays you really should let them sit like 10 to 15 minutes to do their job. So that's what I'm doing here. So everything else is over here. I'm kind of trying to do this all as fast as I can just because of having things out of the refrigerator, getting everything back in.  And I can drive the whole alone be with you, is that being on the road, you're crazy. It's just the way that I get it. Your laughter takes me to heaven. I just wanna make you repeat it and repeat it again. Yeah, you make the sky so blue. Everything back in here, I'm so happy with how it looks. I kind of reconfigured the door area because it's getting to be summertime and I tend to buy cold brew. And actually just this week, Cory decided that he really likes this cold brew too. So I'll probably be buying a couple bottles of it a week. So that's why I left this open and then just some short guys up here. We'll try this out. I might end up moving it around again. Just some things that we use kind of often here. Some more jars, my butter and cream cheese in here and then most all of the rest of our condiments down here. Up here we have the canned dispenser and then I buy pretty much three containers of almond milk a week. And then these are the drinkable yogurts that my husband takes in his lunch most of the time. I put meats in here. There's bacon underneath of this and I'm actually really excited about putting meat in this because I really feel like it's gonna help with leakage, that kind of thing where I've had some messes before. And I got my hard boiled eggs in here and I can fit three dozen above there, which is perfect because this is often what we have in our refrigerator. Then down here I have lunch meats. I didn't put any dividers in this because there's just a bunch of deli bags and then hot dogs and sausage kind of packaged meats in here. And then this is our cheese container. I have sliced cheese, blocked cheese and then string cheese and baby bells in here, which I love these little dividers for all of that. Took me a second to reread the instructions because I was in a hurry and trying to just put it together on my own. Once I read the instructions, this is like insanely easy to install and it's very adjustable like even the width of it. Like you could really probably put this into pretty much any refrigerator and it's pretty sturdy honestly. I'm very impressed with it. Sorry, my refrigerator keeps beeping at me because the door is open. So I put yogurt tubes in here, Thomas because it just fit well and then I went ahead and put my avocados and tomatoes in here just so that they don't get smushed in the other vegetables. All right, now on the bottom shelf I went ahead and put all of our fruit in here. So the cutie oranges, apples and then lemons and this is the half of a lemon that was cut, I just stuffed it in there. And then here are the girls' drinkable yogurts and all of these things slide in and out really easily. And then this little area I thought would work great for like odds and ends and leftovers. We don't generally have a lot of leftovers. We don't need a huge area for that. And then down here I just did all of like our veggies and in here strawberries as well. And I'm really glad to have a little bit more space down here and putting the loose fruit in this really helped to open this up. So there is a little overview. I hope this gave you guys some inspiration and like I said, I left the links below for the containers also. Don't forget to check out Hannah's video in the description box and if you're new to my channel hit the subscribe button, give this video a like and I'll see you guys in tomorrow's video.


So this lecture is part of an online mathematics course on group theory and will be about the quaternion group and the quaternions. So just recall from last lecture we had a quaternion group with eight elements plus or minus one plus or minus i plus or minus j plus or minus k and these satisfy the relations i j equals k j k equals i k i equals j and i squared equals j squared equals k squared equals minus one and you can represent the elements of this group as matrices so we can put i equals i minus i j equals one minus one and k equals i i and of course one is just represented by the matrix the identity matrix and minus one by that and we can actually form a ring of quaternions so what we do is we take all matrices the form a plus bi plus cj plus dk with a b c and d real so this is isomorphic to r to the four the four dimensional vector space with coordinates a b c and d and we can define a ring multiplication on it using these rules notice this multiplication isn't commutative because i j is minus j i j k is minus k j and k i is minus i k so you sometimes get minus signs whenever you change the order of things so this ring was discovered by Hamiltonian and is called the ring of Hamiltonian quaternions the term quaternion means a group of four things Hamilton may have got it from the from the bible where it says when Herod arrested St Peter he delivered him to four quaternions of soldiers and a quaternion of soldiers is just a is just a group of four soldiers if you want to see this you have to use an old bible because modern bible is just translated as a squad of soldiers or something boring like that but anyway quaternions are a sort of analog of the complex numbers and a lot of things you can do with complex numbers you can do with quaternions so you remember complex numbers you just have things a plus bi with a and b real and we just have i squared equals minus one and there aren't any j's or k's and what you can do with a complex number is you can take its complex conjugate so the complex conjugate of a plus bi is a minus bi and we know that if z is a complex number then z times its complex conjugate let's put z equals a plus bi is a squared plus b squared which is always greater than or equal to zero and this can be called the norm of a complex number z and it has the properties that norm of z1 z2 is the norm of z1 times the norm of z2 so the norm of z is just the square of its absolute value and you can do exactly almost exactly the same thing for the quaternions so if a quaternion is a plus bi plus cj plus dk then we set its complex conjugate quaternion conjugate to be a minus bi minus cj minus dk and again we find z times z bar is equal to a squared plus b squared plus c squared plus d squared which is greater than or equal to zero and you may think when you multiply z by z bar you're going to get all these funny cross terms involving i times j but these all cancel out because here you've gotten i times j and here you've gotten j times i and ij plus j i is zero so they cancel out so and again you can check if you define this to be the norm of z then norm of z1 z2 is the norm of z1 times the norm of z2 and you've got to be a bit careful about proving this because quaternions are not commutative so if we find the norm of z1 z2 is equal to z1 z2 times z1 z2 bar and now conjugation has the property that z1 z2 bar is equal to z2 bar z1 bar and you should notice here that there's a change in order so this is fairly easy just to check explicitly anyway using that we see this is z1 z2 z2 bar z1 bar and now we've got a z2 z2 bar and z2 z2 bar is it's a real multiple of one so commutes with everything so this is now z1 z1 bar z2 z2 bar which is norm of z1 norm of z2 well what can we do with this well if you've got the complex numbers then the complex numbers of absolute value one which is the same as saying the norm is equal to a one form a circle s1 and this is a group so using the complex numbers you can see the circle s1 is a group under because we can just identify it as complex numbers of absolute value one and use complex multiplication we do the same thing for the quaternions we take the quaternions with norm of z equals one or the absolute value of z equals one because of course the absolute value of a quaternion is just defined to be the square root of its norm and these are the solutions of a squared plus b squared plus c squared plus d squared equals one so it's a sphere s3 so s3 is also a group and this is kind of well you may think maybe all spheres are groups but in fact it's very rare for a sphere to be a group the only spheres that are groups are s0 s1 and s3 so s0 is the things of norm z equals one in r so it's just the group of two elements plus or minus one not dimensional sphere is just two points this is the things of norm one in c and this is the things of norm one in the Hamiltonian quaternions and of course this is a non-commutative group whereas these two groups are commutative so how much one of the reasons Hamilton was very interested in quaternions is that they give a very easy way to define rotations in three-dimensional space and Hamilton actually spent a lot of time trying to rewrite all of physics in terms of quaternions using this people rediscover quaternions and Clifford algebra is about every 10 or 20 years or so and get very excited about them latest incarnation is called geometric algebra but anyway so how can we have how can we use quaternions to describe rotations in three-dimensional space what we do is we make three-dimensional space equal to the set of quaternions of the form bi plus cj plus dk so these are the sort of imaginary quaternions where we don't where we take real part a of the quaternion to be zero and suppose we take a vector v in r3 and suppose we take a quaternion g in s3 thought of as a subset of the quaternions then you can see that g v g to the minus one is also in r3 this is quaternion multiplication and moreover it preserves length because the norm of g v g to the minus one is equal to the norm of v because it's the norm of g times the norm of g to the minus one is just one and the norm of v is just the square of its length so this actually preserves lengths so it also preserves parity so this is actually a rotation of three-dimensional space if you do this transformation you get a rotation this is actually turns out to be very useful in computer games of all things because 3d computer games involve large numbers of rotations as you're changing your point of view and so on and the obvious way to represent rotations is as three by three matrices well a three by three matrix has nine entries but you can instead represent rotations as a quaternion and this only uses four entries and furthermore multiplication of quaternions is more efficient than multiplication of three by three matrices so if you represent rotations by quaternions it sort of slightly speeds up your computer game um well you may think this means that s3 is the group of rotations of three-dimensional space well that's not quite true what we get is we get a homomorphism from s3 onto the group of rotations of three-dimensional space this means the special orthogonal group of dimension three over the reals which are just three by three orthogonal matrices that they just as you remember from linear algebra these represent rotations in r3 well it turns out this group has a non-trivial kernel and the kernel is the group of order two consisting of plus or minus one you can see if g is plus or minus one then this is just equal to v and it's not difficult to check that conversely if g v g to the minus one is equal to v for all v then the only possibility is g is plus or minus one and what we have here is called a double cover of s03 of r um double covers of groups are actually quite common in mathematics so a double cover is a group mapping onto this group here whose kernel is order two and well a true way of getting a double cover would just be to take the product of s03 with a the group of order two but this is a different double cover and a much more interesting one um it's um actually a blue dot tree at this point to demonstrate the soup plate trick in order to illustrate this double cover so let me try and do that um so the soup plate trick involves taking a soup plate like this and you imagine it full of soup that this isn't actually full of soup but you pretend it is so it has to be held upright and for some weird reason you wish to rotate the soup plate by 360 degrees anti-clockwise so you do it like this and if you rotate it by 360 degrees anti-clockwise not very surprising that your arm gets a 360 degree twist in it so i'm going to rotate it by another 360 degrees anti-clockwise and you expect your arm is now going to get a double twist in it but instead the twist kind of disappears so what does this have to do with the um double cover of s03 well uh oh here we go um well this uh the group s03 of rotations represents possible positions of the soup plates i mean you you you you you can rotate the soup plate by any element of s03 so s03 is something to do with the positions of the soup plate and this extra factor of plus or minus one is is a group of order two and corresponds to the fact that you can have a 360 degree twist in your arm while holding the soup plate but if you do two 360 degrees then then this then the square of this element is one so that twist in your arm sort of disappears um so another application of this is this group here is actually called by physicists the spin group and it turns up quite a lot in quantum mechanics so in quantum mechanics um if you look at the space of possible wave functions of a particle you might expect that it's actually on by rotations of three-dimensional space this is doing none relativistic quantum mechanics but it turns out that quite often this doesn't quite work um that works fine for the particles called bosons which have integral spin but there are particles like electrons which are called fermions which have half integral spin and you discover that these particles are actually actually on by this group here so this double cover sort of underlies the fact that um electrons exist and we wouldn't exist if this double cover didn't exist well there's another rather useful thing you can do with this double cover what we can do is use another sheet and we take this double cover one goes to plus or minus one goes to s three goes to s o three r goes to one and now inside s o three we can take some sort of finite group of rotations well you could there are some rather uninteresting groups of rotations like cyclic groups but the three most interesting finite groups of rotations are as everybody knows the group of rotations of these platonic solids so we can take the tetrahedral octahedral or icosahedral group so we could have um in particular for platonic solids we get these groups of order 12 24 and 60 well what we can do is we can take the inverse images of these groups in s three so here we now get groups of order 24 48 and 120 these groups here are called the binary tetrahedral octahedral and icosahedral groups and they're all double covers of these groups here um for example we have a map one goes to plus or minus one goes to this group of order 120 to this group of order 160 to one where this is the icosahedral group and this is the double cover of the icosahedral group called the binary icosahedral group and the obvious question is is this group just a product of the icosahedral group with a group of order two and the answer is it isn't the point is s three has only two as it has only one element of order two which is the element minus one and this is easy to see because if z squared if z has ordered two then z squared equals one z is in s three so z is z times z bar is also equal to one and these two equations imply z equals z bar that means z must be real let's be a multiple of a so z is just equal to a for a real and since z squared equals one we find a equals plus or minus one so s three is only one element of order two well obviously that means this group here has only one element of order two which is this element here and if it was the product of this group by this group here there are lots of elements of order two because the icosahedral group has loads of elements of order two so we found some central extension of the icosahedral group which is not a product of the icosahedral group with plus or minus one and we'll be talking more about this group later when we get to groups of order 120 I just mentioned briefly that quaternions can not only be used to describe rotations of three-dimensional space they can also be used for four-dimensional space so I'll just briefly say what we do so we identify four-dimensional space with the set of all quaternions a plus bi plus cj plus dk and now suppose we've got two elements g in s3 and h in s3 now if we take a vector in r4 we can map v to gv to h or possibly h to the minus one and for any g and h this turns out to be an element of s04 of r it seems to check it preserves the norm because these both norm one so it's a rotation so this gives us a map from the group s3 times s3 to s04 of r and it's not difficult to check it's onto and as you can probably guess this map isn't injective it's got a kernel of order two consisting of the element that's minus one in both of these because if you multiply v by minus one on the left and the right then we get the identity map so s04 of the reals turns out to be isomorphic to s3 times s3 quotient out by a group of order two so the next lecture we will be talking about a bit more about the dihedral group and and we'll prove and we'll use Burnside's lemma in order to count orbits of a group on a set


Our unit was conducting a McCree and that's where we get evaluated by our battalion and they assess our readiness level to go forth and deploy. A couple different parts of the McCree. The first part was force on force and for that we were fighting another company really fighting a thinking enemy one that was composed of a hybrid threat. The second part it transitioned to live fire and we're still fighting that hybrid threat so what you saw today was movement to contact followed by an action on objective that objective being range 210 fighting a mechanized infantry for the first portion and then coming in here and engaging the enemy till we could dismount our scouts on the deck and they could clear through range 210 and then I'm consolidating afterwards. A bit of FSCLAR provides a speed mobility firepower within my company I have 18 different MOS's and what that allows us to do is to really do distributed operations where we can load everything up on our vehicles and operate three to five days without much support. Fully confident that we can step down range and take on any enemy that we encounter.


Thank you guys for getting it ready. Yeah, I like that now panic and freak out. I love that So hey, we're gonna start because it's five o'clock. It's watch me work. Whoo. I know we study only show in New York That starts on time Because we're writers And I'm Susan White Park and thank you guys for all coming for those of you Yeah, for you guys for those of you who haven't been here before and haven't heard me say this Again, haven't heard me say this before This is watch me work, which is two things and Drew will correct me if I forget watch me work is a Meta theatrical free writing workshop Watch me work is also a play and the action of the play goes like this for 45 minutes We will do the action together and then for about 15 minutes or so. We'll do the dialogue Okay, so it's it's a free writing class into play the me in the title is you so the dialogue after the work Session is going to be about your work and your writing process Okay, not mine, but yours and We're live streaming so for folks on Twitter who want to tweet in some questions. Drew has the address Yes, if you tweet us at watch me work SLP with the hashtag new play Well at watch me work at At watch me work SLP. That's hard to remember at watch me work SLP Hashtag new play Okay, I don't even know my own phone number anymore, but okay All right, so we're gonna work for 45 minutes and then we're gonna talk and It'll be fun And we're gonna do the clocks because I don't think this one works in one I know it's it's a visual it's a visual thing. Okay start working now work now Very good. All right. That's our time. That's our action time I sometimes wonder about productivity and What an average speed is or what it ought to be because I feel like I tend to work really slowly compared to Maybe compared to most writers I've seen so many writing coaches and such say that just you know Write and write and write and then rewrite later and I can't do that Especially if I'm working on a piece of verse I write a few words and then I revise those words and then I move on so You know and I mean it doesn't really matter in the end I guess not but I I wonder if there's a way to be more productive that I just don't get yet Right, right, right.  I mean like when you live on like overnight, right? You're gonna be slowly accruing interest so you're What's on your side is that you're steady you do it every day or try to And you're steadily building the body of work. Yeah, okay So you're not like quick fast gratification flash in the pan and part of it is we have to get comfortable with Who we are I mean that's another right So it's how to write faster better or not to go crazy And how to be composed who we are Essentially, yeah, I mean when I look in when I look at my bigger projects like my my long-term projects It's and they're in progress and they've been in progress for three months six months or whatever and it's sort of I mean, it's hard to say If it's hard to say when the project will be done, then it's hard to even if I'm working on it every day and just chipping away it's like when's the when's the thing going to finally appear and so it can Get frustrating Maybe that's a different question. So So this is what you can do and it might feel like unnatural, but so many things are You know the bar that we all But it might feel forced Yeah You say, okay, I'm going to be finished. I'm gonna cross the finish line And you decide, you know, if you're working on it just for yourself. Yeah, I do that all the time I say I'm gonna be done by then You know and I get it and good, you know, I try to get it done by that day We're close to it and that does give you because you know something you can spend the rest of your life Because you want to get it out there exactly want to get it out So you have to impose a deadline and it might feel kind of not natural or whatever, but You know, I think there's a law It says I That But if you get somewhere with it, then you get to me if you get somewhere with it, then you get some I mean if progress is progress I Never I Write on the back of like And I so wanted to write about it And what do you do with the If it's it all depends if what I read turns out to be crap when I reread Then it just goes to the track But if it's something that I feel Before I send an email to myself with the play idea or the dialogue so that I keep it there Sometimes it gets integrated When I write on ran a piece of paper Oh, yeah, no It's sort of the sparked by this question about Very very fragmented right now my energy on different projects that aren't really I feel very fragmented I have trouble focusing in this instant I Think it's also so so what is the question I guess it's for folks about about that Like what to do so I have this project I have this other sort of idea thing and another thing that I just started writing that feels like separate to and I'm like Struggling and and none of them have any expectations around them either. They're just things Lee Lee has several different projects and She feels like she wants to work on them all at once. Yes Feel right, you know, you might not feel right, but Choose one project.   It's a discipline, right? Okay, you have to apply the same transferable skill discipline So you have to say I am going to just pick one thing to work on until it's completion and what you're missing. I think it's faith That's You're drawn to things you believe in something And you're drawn to it You know, it kind of holds on to you and draws you back So you have to feel a belief in it So you have to pick one thing or some energy into it Put some time into it with everything decide make a list put it on a, you know, right on the index cards Stick it on your wall. This is the next project Give yourself a month to work on one project Or keep doing this Not right now. Maybe I don't like doing that. Yeah, focus or give yourself a week I'm gonna focus on this one project for a week and then I'm gonna go to the next I've done things like that I've written two screens place at once, but I wrote one what week one and then I switched to another one, too And I switched back and forth and down and both down at a certain in a certain amount of time Okay, so just we just hope When you this is that like production stuff more than writing is that okay? When you're working with the director like the first time you meet like what are some of the questions that you ask a director? When I'm working with a director, what are some questions that I would ask the director? Yeah When I'm working with it, I'm trying to think it depends on the project.  Wow. You see, you know him you're about to embark on a production Yep, and you have faith in this person. You're drawn to him. This faith is gooey and you He has read the script. Oh, he should be asking you the question.  Okay, great. So you're gonna be building your cast I have one person you're building the cast to work with this one person Talk about your play make sure you kind of on the same page as you know far as understanding the play goes Before you get in front of the actors, maybe established if you haven't worked with you before How are they talking about? You know how if you have a disagreement, how do I handle it for the actors? You don't want to have a smack down You might tell him your style and rehearsal and get a feeling of for his style So like that but talk about your play make sure that don't assume just because he's ready and he gets it Like you get Right I I'm wondering if it's a mistake to do as he was, or if they get both of these to draw. Right. One day the audience is going to be those two both of them. I already saw this and that. Right, right, right, that's a great question. No, well, what's your name? William. William. That's good. No, William! It's not. It's not. He didn't shake too. Yeah, right. So William has a question, so he's got four one-acts, he wants to combine them, and he really has a feeling that it will work and it will be a lot of fun. But he's also expanding one of the one-acts into a program to play. I wonder if the other one of the audience will like, feel gentle. I know, you know, they'll end up with two different things. Sounds like they're going to be two different things. Combining one-acts is different from expanding a one-act program. I do this one-act for you. I think it should be both. Yeah, yeah. If the characters are that interesting to you, and that excited to you, then you can do whatever you want. And if people come and they say, I've seen this before.   I've seen this before. Who cares? That's a thing. No, no. So this is also about collaboration. Collaboration? Okay. Okay. I've been commissioned to write a book for YouTube. And the director and I are really good with it. It's been up and down, right? It always is, but there's a lot of mutual respect and admiration, and all these things. And there are changes now. It's like, the script needs to be frozen. Yeah. Right. I'm crazy. And there are just, it's again, it's like this wonderful deep love and admiration. But I'm feeling a little inferior on. He's kind of trying to pull rank about certain changes in the book and certain changes in the characters. Right, right. And I don't know what my, I think I know what my rights are. But I don't want, it seems like mutually assured destruction a little bit. Right. I try to pull rank and he can pull, you know what I'm saying? Right. I can say, well, you can't really change that. And he can say, well, we don't really have to close the book. And then the whole thing floats off. You know, it's like, it's not going to happen. That's not going to happen. That's, you know, you know where we're going. You're going to eat? Yeah. Right. But it's, so I guess my question is, how do I balance this? Like, things feel really good. And, you know, we really respect each other. And we're both, we're both incredibly passionate and sometimes stubborn. Right. And my uncertainty about certain of my rights, certain things like, you know, shares in royalty, points in royalties and all, you know. Right. And my rights to the material. Right. Right. So, okay, so Ricardo's written a musical and they're a week from opening and there's tension, he's written a book for musical and lyrics too. And there's tension with the director. And, right? Yeah. So what, so what do you do? I mean, the points and the royalties and all that kind of stuff, that's your age and your representatives. Probably, kind of drama scale or something.  I know. In your spare time. I mean, if you're asking, if you're asking those kinds of questions, that's kind of a new question. And I, you know, that's okay. Don't worry about that. What I feel is that you're a week from opening and what always happens is you have a lot of anxiety. Always. Pretty much. I mean, almost always, right? And you're excited because you're almost opening and it's anxious and it's anxiety. You're seeing it. The director's a great guy. The director's a great guy. And there's tension. I would say, make the change that you feel is going to be right. And fully break, like you said, it doesn't get anybody, it's going to make the change that you feel is going to be right. If you can stand up for something that you want to have in the look, then stick to your gut. Okay? And the friendship will survive. The book is going to survive, like you said. They're going to use your book. They're not going to pull the book. They're going to use your book. Okay? But it always, you know, you've been through this before. It always is like this. You know what I mean? So it just is part of it. It's part of it. You'll be open to the ceremony. But stick to your gut. Don't let anybody kick you around just because you're with the director. Yeah. Yeah. You're going to be open to the ceremony. We handle getting back into a project that you put aside for a long, long period of time. Is he working on any tricks? Yeah. Yeah. So how long? Getting back into a project that you put aside for a while. How long did you put aside? Since the first watch we worked. Wow. So when was that? I can't remember. A couple of years. I guess a couple of years. I was doing other things. You were doing other things? This is what I was doing. I was doing adapting. Oh, right. Okay. So you were working on that. You put it aside to work on other things? To work on things, yeah. Great. And now you're coming back to it. Yeah. So what's really good is that you didn't put it aside and not do anything. That's really good.  So the muscles are still. It happens. That's good. Just put the time in. Put the time in. And again, it's one of those. Ricardo's at the finish line. You're at the starting line.  You know, it's going to feel weird. It's going to feel weird. It's going to feel like that. So don't worry that it feels like that. Make sure you put the time in the daily thing or you have your writing muscles. So just, you have your writing time. You know, just put that in and don't worry so much that it feels weird. You know. And just again, set a deadline for yourself again. It also feels a little smarter. Smarter? Yeah, I think so. Oh. So you're experiencing this during that time period of learning more about playwrights. Oh, good. Seriously. That's good. That's good. So you can go back with really fresh eyes. And do you start again? Or do you stick up where you left off? Where are you? Are you at the finish line? Are you at the end? No. Do you have a draft? No. I know that. Great. Third. I don't know. It depends. I mean maybe you should start at the beginning if you're really going to finish it this time. You know what I mean? Don't start at the beginning. Only the fifth or third of the way through. I see that. Then continue. Yeah. Then start and continue. Okay, thank you. But I'm doing it. I'm doing it. I'm doing it for life. Then continue. And you can be right. I am. Oh, yes. I'm just saying that you're writing on your type. You're more productive. You're doing something like analog. That's supposed to have a laptop. I didn't know that we did your process. So when I saw that, I was really excited. Like I thought that was just really cool that you wrote on a typewriter. Yeah. And when you said she don't always, but it's really cool. No, I also wrote through my hand. I sent a text to myself. I get all these things on me first. I texted myself. I wrote some things from the pen. Sometimes I write with pencil. Typewriter. Computer. Am I more productive writing on a typewriter? Okay.  Even a fire. Even if we were came to. I'm saying honey.   Maybe get up some kind of special screen. But I don't get like, you know, I just keep ease. Take very little effort. You know, but then I like doing this too. I like, I mean I just, I like to do different things. I'm like. Yes. I have a question. Say you bring some actors together to read a piece for the first time just to hear it. Right. Any tips on how to make the most productive use of your ears and your time to get the most out of it? Are you doing it in your house? Probably, yeah. Snacks? Of course, always. Okay, good. Have they, will they have read it beforehand? I told it or not? You could, you could, I mean you cast it already, right? They all know what part of the play do they know each other? Probably, yeah. Okay, so you might give it to them beforehand. So unless they're really good cold readers. People can read it right off the page. Whoa! Take the character. If they're not, they're like maybe they need to read it once and kind of get a take. An idea of what the character's going to be. But a lot of actors like to read it once beforehand. So you can email it to them. Ask them not to send it all around. Email it to the PDF so that the document won't, you know, change in transit. And have them read it before. And then show up having, at least giving them the opportunity to read it. They might not have the time, but giving them the opportunity to read it. And then, and maybe just if you could email them a few, you know, if you have any questions, email me or hear some thoughts that I had or invite a little bit of conversation beforehand. If you have, say, three hours to do the reading in your home. You can just jump right in. Okay, a little bit of exciting stuff. Can you use the typewriter? What do you then do to try to describe it? It's okay. It's okay. I love these questions. And I said this one before, so people ask this question. Because watch me work is for you. So I'm here for you. And we all have such a hard time giving time to us, ourselves, right? Because, you know, the way the world is set up. So what's always interesting to me and very beautiful is that, at a time where we schedule to focus on your writing process, a lot of time, and this is, every time we have like 10 questions, often, I have a troll who transcribes some of his bills.  And then, it's a long story. A lot of quilting. I don't quit. I'm serious tonight. I don't quit. Thank you. Thank you.


A force is a push or a pull that acts on an object. How many forces can you name? Normal contact force, tension, friction, air resistance, magnetic force, electrostatic force and gravitational force. In this video we will learn how we can use free body and vector diagrams to describe forces. Forces are vector quantities because they have both magnitude and direction and so can be represented by an arrow. Scalar quantities have only magnitude and no direction. When several forces act on an object they can be replaced by a single force that has the same effect. This single force is called the resultant force. For example, look at this car. There is a force of 10 newtons pushing it backwards and a force of 30 newtons driving it forwards. To work out the resultant force we subtract the smaller force from the larger force, so the resultant force equals 30 newtons minus 10 newtons, which is 20 newtons forwards, which means the car will be accelerating. This parachutist is falling through the air at a constant velocity, also known as terminal velocity. There is a force of 800 newtons acting downwards on the parachutist. This is the parachutist's weight or the force due to gravity. At the same time the parachutist experiences an upward force of 800 newtons due to air resistance. These forces are balanced, so she will be falling at a constant velocity. We can also draw these force diagrams without showing you the object involved. These are called free body diagrams. For example, here is a free body diagram of the forces acting on the parachutist. In a free body diagram the object is shown as a point. The forces are drawn as arrows starting at the point. The length of the arrow indicates the magnitude of the force and the direction of the arrow shows the direction of the force. Here is a free body diagram for an aeroplane travelling at a constant velocity and a constant altitude. The weight of the aeroplane is acting downwards towards the earth. The force of the lift acts upwards. The plane is travelling at a constant altitude, so the magnitude of the lift and weight forces must be equal. The force of thrust pushes the aeroplane forwards, but the plane is travelling at a constant velocity, so the magnitude of the drag and thrust forces must be equal. Stable or vector diagrams show forces acting on an object and the angle between them. They can be used to calculate the resultant force. We draw scale diagrams using the following steps. Step 1. Draw the arrows at the correct angles to represent the forces. Step 2. Draw lines to make a parallelogram. And Step 3. Consider the diagonal of the parallelogram. This is your resultant force. Here's an example. A person is running with a force of 10 Newtons. However, the strong winds are pushing her with a magnitude of 8 Newtons. The angle between her and the wind is 30 degrees. Find the resultant force acting on the runner. Step 1. Decide on sensible units. One centimetre equals one Newton. Draw the first force. Step 2. Draw the second force at the correct angle. Step 3. Connect the lines by drawing a parallelogram. Step 4. Measure the line from the start to the opposite corner. Use your scale to work out the magnitude of the force. For example, 17 centimetres equals a resultant force of 17 Newtons. So that's how we can use free body and vector diagrams to describe forces. If you like the video, give it a thumbs up. And don't forget to subscribe, comment below if you have any questions. Why not check out our Fusical app as well? Until next time.


Hi everyone, Joe for Jaspy's CaseBreaks.com coming at you with 2021 Panini Immaculate Football, 2 box, random team break number 11, coming from a fresh case right here. Big thanks to this group for making it happen. We sold most of the spots straight up, which I always appreciate, thank you. Only one filler, thanks to this group for taking the risk, congrats. All 32 teams are in. Let's roll it, randomized names and teams, one and a two, three times. One, two, and three. Got Diana down to Chad, one and a two, three times for the teams. One, two, got Arizona down to San Francisco. All right, Diana with the Cardinals. Mike, you got my Raiders. Greg with the Packers. Nicholas with the Cowboys. John with the Bills. Steve with the Ravens. Michael with the Jaguars. Brian with the Giants. Sean Breen with the Rams. Rory, Lions with last spot, Mojo. 70% of the time, this team hits 100% of the time, so they say. Brian with the Vikings. Matthew with the Broncos. Alex with the Chiefs. Evan with the Colts. Craig with the Patriots. John with the Bears. Andrew with the Chargers. Steve with the Jets. Chad with the Bengals. Jose with the Titans. Julian with the Seahawks. Paul, Texans, Canard, Eagles, John, Buccaneers, Patrick, Commanders. Steve Birch with the Browns. Simon with the Panthers. Rory with the Saints. Thomas with the Steelers. Steve with the Dolphins. Craig with the Falcons. Chad Coleman with the San Francisco 49ers. Let's sort alphabetically by team. I'm going to flip back to the screen in just a second, but first, we're going to see which two boxes we're going to do. All right, so on the dice roll, we're going to select a die. Let's select that one. We'll go one for the top, one, two for the top row, three, four for the bottom row, five, six, one, two, three, four, five, six basically. One, two for the top row, three, four for the middle row, and five, six for the bottom row. I was mixing all those rows up. All right, good luck boxes. And it's one. So it's going to be the top row of boxes right here. Set that on top. Then we'll just save these. We'll probably get mixed up a little bit. We'll just save these for next time. All right, so you can see the X's I marked right here and right there as well. So we all know they're from the same case. We should be able to run these back. Another two boxes back tonight, if you want to. All right, so let's flip back here. I'm going to pause the video. When we come back, we're going to see if there's any trades. Then we'll have the break. Stick around. Be right back. All right, welcome back, everybody. No deals were done. A little bit of trade chatter, but in the end, no deals were done here on Wednesday the 2nd, March 2nd already. Big thanks, everybody, who got in. Appreciate it. Here's the final printout, hot off the presses. And let's see what we got in here. We'll use this blank card right here to slow play the hits a little bit. We've got Lou Keekley, 19 out of 25 for Carolina, for Simon. We've got the standard relic. That's Melvin Gordon. One out of 25. Big piece of his jersey going to Matthew in Denver. Our rivals. We've got a three out of five gloves.  That's really cool. Is that going to fit into a 180 top order? I think so, yeah. Perfect fit. Three out of five. Nice. That's for Minnesota. That'll be for Brian. Brian, out of fives and under. Get the train whistle. All aboard the Big Hit Express. And we got one for the bills. Gabriel Davis, 64 out of 99. Jersey and Autograph. John with the Buffalo Bills. Buffalo. Wrinkly on the top loader there, but secure. And we've got Eye Black Autograph for the Steelers. Heath Miller. Nice. 58 out of 99. Nice silver ink autograph on the Eye Black. And that'll be for Thomas and the Steelers. Tried to trade, couldn't trade Mojo. Oh, nice. Dual relic and Autograph. Mack Jones. 75 out of 75. Craig Thomas with the New England Patriots. All right. That was the first box. Redemption on the bottom. We got a Derek Carr. 21 out of 75. Now, Josh McDaniels, I think earlier today or yesterday, said, yeah, Derek will be the starting quarterback this season for the Raiders. Now, what he didn't talk about is, is he going to get an extension? He's going into the last year of his deal and traditionally, you know, quarterbacks. Don't want to go into the last year of their deal without an extension getting done. Mike Joseph with the Raiders. So we'll see what happens on that front. We got a piece of Kyle Trasklove. Wow. That's awesome. Got the Nike swoosh right there. As of now, Trask is QB1 in Tampa Bay. John with the Buccaneers. Got Eye Black Jersey. Tillon Wallace. 65 out of 99. Two color patch. Silver ink autograph. Steve Birch with the Ravens. Tampa's getting Jimmy G, Tim Singh. 45 out of 75. Jamar Chase. Nice rookie shadow box signatures. That's Chad Coleman with the Cincinnati Bengals. Nice one, Chad. And we have Sean Alexander. Some of you may remember him. 70 out of 99. Old Seahawks running back. Going to Julian and Seattle. Oh, right. That's right. The Brady deal to San Francisco. I'm sure Buccaneers fans will be thrilled with Jimmy G. All right. We've got rookie patch autographs. K, A, D, Cadarius. Cadarius Tony for the New York football giants. That's going to go to Brian and Big Blue. The G, man. That goes to the New York football giants. And that is that, ladies and gentlemen. A nice two box break. A nice start to this case. We've got another two boxes in the store. Plus a couple fillers we've got to do for it. Let's run it back. I'm Joe. I'll see you next time for the next football break. Jaspy's casebreaks.com.


Hi, my name is Leanne Moody. I'm the executive director of the short-term emergency aid committee of state. Our mission is to help low-income families in Yolo County to meet their basic necessities.  It's been really helpful to reach out to all these new donors and get them interested in learning about what life is like for people who are living below the poverty line. Thank you.


In Madurai, India, there was a 30% increase in all cause deaths compared to what would have been expected based on previous years. This increase was largely due to deaths caused by cardiovascular and cerebrovascular conditions, diabetes, senility, and other unspecified causes. However, this increase was also accompanied by a spike in deaths attributed to COVID-19, suggesting that many of the unexplained deaths may be due to undocumented cases of the virus. The implementation of lockdown measures was associated with a decrease in deaths attributed to injuries, infectious diseases, and maternal conditions, while increasing deaths attributed to cancer. These results suggest that the COVID-19 pandemic has had a significant impact on overall mortality rates in Madurai, India, and that further research should be done to better understand the underlying causes of these deaths. This article was authored by Joseph A. Unid, Chandra Mohan B., Gogandikang, and others.


Hi everyone, and welcome back to another video on the Broogly Channel. In this one, I'm going to be talking about Backroom's level 9999 or the Carmeland Amusement Park. This one is a very unique and very mysterious level, it's also extremely liminal, so if you like liminal spaces in the backrooms, then you're really gonna like this video. Without further ado, let's get into the video, shall we? Backroom's level 9999 is classified as a class pending, which means that it's safety is undetermined and there is also an unknown entity count. Pretty much no one is really sure if this level is safe or not. Now the level itself looks like an abandoned amusement park that's covered in a thick fog almost always. The park is on some sort of island and around this island is an ocean, and the ocean is very very deep, like extremely deep, and the water is actually salt water, like real life oceans. Right off the bat it is not recommended to go into the water because nothing is known about it. No one knows if there's any entities in there or if they're just unalive if you go into it. Who knows? Now the amusement park itself is pretty normal compared to real life ones.  There's also a lot of ferris wheels. All of what I just told you is pretty normal right? You know it's pretty accurate to how our life is as well. Except on this level the roller coasters are very weird. They have very strange and anomalous effects that can either be extremely good or extremely bad for you, and I'm going to explain what that means now. Each coaster is an exit from this level, but it's not as easy as just hopping on one and being sent out. Instead the leading theory is that the level itself will choose if you can leave based off of your karma. That's right, your karma. Pretty much the level somehow figures out how good or bad of a person you are based off of your entire life, and it goes off of however good or bad it thinks you are in order to choose which level it sends you to. So when you get to a roller coaster the level will just choose how good or bad you are as a person, and then based on how it chooses it'll either send you to a nice level or a dangerous level, and on top of this whatever it chooses the ride will then turn to be either dangerous, foggy or clear. If the roller coaster turns dark and gloomy like you're seeing now then the level apparently thinks that you're not a good person based off of your life's deeds. The sky will turn dark and then red, and then the ocean around the level will go from water to liquid pain. Since this is all happening you'll be sent to a scary or terrifying level in some way like level exclamation mark or the void or something like that. If the roller coaster does not change and it stays at its normal fogginess then the level thinks you're a neutral person and that you're not that bad but you're also not that good. People on the neutral roller coasters are probably sent to one of the first five levels but it's unknown because we can't tell.  When the level's in this state it looks like a normal carnival from real life and the fog that's normally on this level is gone. It's also thought that you'll be sent to a pretty safe level like level 6999 or level 11 if it chooses that you're a good person. Of course these are all just guesses based on how we think the level reacts to people. It could be something else entirely though, who knows. I mean this is the back rooms, we have no idea. But if none of that makes sense I'm going to explain it in the simplest way possible. You can get on a random roller coaster on this level and then that roller coaster or the level itself will choose if you are a good person or not and whatever roller coaster you're on will then transform into either a dark and gloomy one, a normal foggy one or it will clear up and it'll be lit up and nice. And based off of what the level chooses you'll be sent to either a dangerous, mildly dangerous or safe level. The only entity here on this level is facelings and if you don't know what they are they're just semi sentient humanoid beings with a blank face and on this level they've been seen walking around the rides and riding them except there's never been any scene on the roller coasters. Only people have been there, weird. There are no colonies or outposts here and to enter the level you have to be sent here randomly from the previous level, level 9998. It's really rare to be sent here but you could just be walking along the previous level and just fall through the floor and wake up here so that's cool. To exit you have to do what I said and ride a roller coaster and then it will decide which level it sends you to based off of if it thinks you're good or bad. And no one knows how this level can judge a person's life because that would mean that it would have to have had access to that person before the backrooms or somehow the level has downloaded data about each person that comes here or something like that. There's been no higher power found that's controlling the level, as far as we can tell, and it seems to be that this area as a whole is alive and the entire level is an entity and it acts as sort of a moral compass. The better person you are in its eyes, the better level you get sent to and the worst person you are, the worst level you get sent to. That's it for the explanation of Backrooms of a 9999. I hope you enjoyed it. Thank you for watching and supporting me and thank you for watching to the end of the video. I really appreciate it.  I really appreciate you and I will throw a heart at every comment that I see with that keyword. I'll try to. If so many comments on each video, I might not be able to get to everybody, but I will to as many people as I can. Make sure to check out all the links down below. If you need them, my Twitter, second channel, third channel, you know what's down there. I upload like three times a week on each of those other channels, so go check them out if you want more of me. Also, subscribe to this channel to help me get to 500,000. We are nearing the final push to it and I cannot wait to hit that. I'm going to be buying the Backrooms outfit when I get there. You all know this. Help me get there if you want to. Thank you for watching and I'll see you later.


Do you remember where smells are processed? Do you remember that smell is unique in that it is not processed in the thalamus first? So the information, once we get sensory information to the olfactory bulb and into the olfactory tract, heading back to where, to the temporal lobe. So smell is going to travel through cranial nerve number one, the temporal lobe of your brain. Once in the temporal lobe, now interestingly, there are pathways that will take that information back to the thalamus. There are pathways that will take that information to the frontal lobe so that you can think about it and decide how you feel about it. And then there are pathways.  You're not even aware that that smell is a memory in your brain, but as soon as you are exposed to that smell, it brings everything back. It can bring back all those emotions. It can bring back all those experience becomes really raw and it's really strong because there are hard-wired pathways between the temporal lobe and deep structures in your brain that are involved with memory. Smell, man, it's so cool. That's one fantastic human Newkirk who has that awesome smelly stuff. Like, that's actually a great strategy.  So smart. All right, now I am going to move on to hearing. Let's do the anatomy of the ear next. What a great idea.


I'm the Comic Weekly Man, the Jolly Comic Weekly Man, and I'm here to read the funnies to you happy boys and honeys. Yes, boys and girls, it's Comic Weekly Time.  Right out of the pages of Puck the Comic Weekly, straight into your living room, you're friend, the Comic Weekly Man, the Jolly Comic Weekly Man. Hello, hello, hello. Hello, hello, hello. No one here to listen to me today? All right. Yes, I'll just have to run along. Goodbye, no one. April Fool, I'm here. April Fool, I just left. Well, come back again, please, and read me the funnies. April Fool, I will. I knew you were just playing with me. Oh, yes, April Fool's a good game, isn't it? Yes, I had lots of fun. I fooled lots of people. Oh, good for you. And now let's fool around with the funnies. All right, please. All right. I'll read Puck the Comic Weekly in just a moment. But first, let's listen to this nice man. Now, here we go with Puck the Comic Weekly. And on the first page, Hop along Cassidy. And that we'll read right now. Magic words for the music, please. Very well, my lady. Six guns blazing as he thunders along. Give us music for Hop along. Hoppy, California, and Lucky have been put in jail by the sheriff of Rio Vista on a charge of kidnapping Don Raymond's boy, Felipe. No one will believe Hoppy's story that he saved Felipe from outlaws. In the meantime, Slot and his gang have stirred up the citizens of Rio Vista. And they've all marched on the jail in an endeavor to break it open and hang Hoppy in his pals without a trial. The sheriff steps out in front of the jail, faces the huge mob of men, and asks the ringleader, What's wanted, gents? The spokesman for the lynching crowd replies, Cassidy and his two sidekicks, we don't like Mavericks or their cut wasting the taxpayers' money on long trials. We're taking the prisoners of your hands, sheriff. The sheriff replies, whoever put you up to this had been reading the wrong law books. Mine doesn't favor lynching. Now scatter. One of the men in the crowd yells, You heard his answer. What are we going to do about it? Either the sheriff unlocks the door or we better it in. But the sheriff doesn't give in. He lives up to his duty to defend the men in his jail until they're proven guilty, a thing any honest sheriff will do. Some of the men in the crowd take a huge log and begin to batter against the door. The sheriff slips inside the jail. He tells Hoppy and his pals in the third picture in the third row, I'm turning you loose for your own protection, quick, out the back door. First picture next row, Hoppy, lucky in California, open the back door and start to slip out. When a shot nicks the wall right above California's ear, he shouts, get back, we gotta surround him. Hoppy steps back in, takes a quick look around, and sees the doors beginning to crack. He sees a trap door in the roof. Hoppy exclaims, the roof, it's our only chance. He leaps on the desk and draws himself up through the trap door. The sheriff says, your horses are in the side alley. If you can make it. Hoppy pulls himself up through the trap door, gives lucky in California a hand. And first picture next row, they quietly slip over to the edge of the roof, then let themselves down to the ground.  As they reach the edge of the town, Hoppy says, well, whoever stirred up that lynch movement is afraid of us. Lucky replies, yeah, I wonder what they'll try next, Hoppy. Last picture, they approach a sign which reads, non-remost Madeira property to be sold this Wednesday at public auction, by order of Prentiss Vane, tax assessor, Rio Vista. So that's sure to help Hoppy and his friends escape. It certainly was, because lynching is against the law. You know, one of the wonderful things about this country is that every man has the right to a fair trial. And these people were not going to give Hoppy a fair trial. They were going to hang him. And if they had, they would have hanged an innocent man. And anyone who'd do that, well, they're just as bad as a criminal themselves. I'm glad you feel that way. Yes, so am I, because it is wrong. It's just as bad as being bad. And next week, we'll find out whether Hoppy will find a way to save Don Ramos from having to sell his ranch. Oh, I hope he does. So do I. Now? Now I think it's time for Prince Vane, isn't it? I think he's on page three. All right, let's turn over the page and see. All right. Yes, here he is, just like I said. I'm anxious to know how Prince Vane is, because when we left him last week, he was high up on a mountain, and he had to sleep there all night in the cold in his wet clothes. Had it trying to escape from the barbarians who were after him, Val climbed to a high ledge on the mountain. And there, wrapped in the chamois skins, he settled down for the night. Now let's find out what happens next, with Prince Valiant in the days of King Arthur. Hecket, bracket, gray, mulk, and in quince, music romantic for a fair, fair prince. Don comes, and Prince Valiant crawls stiffly from his snow cave. He survived the bitter night, but in the valley below, the wanderers are already stirring. Val looks down and sees the barbarians trying to get to the place where he is. A crust has formed in the snow overnight, and they begin cutting steps upward.  But Val has one advantage. Shooting downward, he can use the hunter's crouch, showing only his head. While his foes must stand erect to give full power to their bows. Last picture, Val holds his enemy off with a few well-aimed arrows, but the enemy keeps shooting at him, so Val has to stay in this one spot. He had hoped to cross the snow slope while it was still firm, but first picture next row, the whistling arrows keep him pinned to the ledge. Now, under the noonday sun, the snow threatens to avalanche. That means the snow slides down the mountain, carrying everything before it. And Val repeats the word in his mind, avalanche. He looks toward the slope that it creviced under his weight last evening, and thinks if he can shake that snow loose and start a snow slide, it might sweep down on the barbarians below and rid him of his enemy. Last picture of the row, he picks up a huge rock. Then heaves it right into the middle of the ledge of snow hanging in the lip of the cliff. First picture, bottom row, a few tons do slide, all follow. And then as Val watches in horror, the snow far up the mountain side, buckles, heaves, then roars down where the force nothing can withstand. Defend, blinded by flying snow, his clothing rent by the terrific wind, Val clings to his shuddering ledge. The valley can be seen packed from side to side with snow. The enemy can be seen no more. The snow is taken care of them. Val's shoulders is packed, and carrying the skins heads back to the monastery where the monks and his friends are waiting. Because he didn't have enough arrows maybe to fight so many barbarians. No, he might have been there a long time before he got free without the aid of nature. Yes. I wonder if he'll get back to the monastery. All right. Well, we'll find out next week. All right. Now read me down a doc, please. I'd be delighted to. So let's turn over the page. And there on page five under little iodine is Donald Duck. Say the magic words with me. Squeegeum, squeegeum, squeegee, chicka-chack. Let's have music to be a quack-quack. Donald has built a funny-looking contraption and is about to climb up on the roof with it. Daisy, his girlfriend, who has stopped by, asks him what he's doing. He replies, I'm going to do my bit to rid the air of our fair city of smoke, smog, and suit. Daisy exclaims. With that thing, exactly. That is the D Duck, the smogger. Well, I bet you a chicken dinner doesn't work. That's a bit. So Daisy goes along into her shopping as Donald climbs up through the roof with his de-smogger, which he hopes will get rid of the suit and smog, which is pouring out of his chimney. Up on the roof, Donald puts his de-smogger on the chimney. And what do you know? Well, no smoke. Second picture, bottom row. Daisy, through with her shopping, is back at Donald's house. She looks up at the chimney and exclaims. Well, my crazy is not a bit of smoke. She goes up to the door saying. Well, for months, I'll have to apologize. So Donald opens the door. And a cloud of smoke pours out in Daisy's face. She blinks her eyes and sees Donald hidden in the smoke, and he exclaims. Well, toots, you owe me a chicken dinner. I'll claim a chicken dinner. It didn't work. No, it didn't work in the way Donald expected it to. But none of the smoke went out of the house into the city. That's why Donald figures he has the dinner coming. You see, he kept all of the smoke in his house. Oh, that Donald, he does the craziest things. Yes, that's why he's so much fun. Yes, and speaking of funny people, let's see what Dag was up to today. Very well, let's turn to the first page of the second section of Puck the Comic Weekly. Here it is. And here we go with Dag-Win and Blondie. Ram-a-foo, Ram-a-fum, Zim-Zam-Zombie. Conjuring music for Dag-Win and Blondie. Dag-Win receives a telegram, and he reads it to Blondie. Hey, the committee wants me to be a judge at the All-American Beauty Contest tonight. Blondie tells him that they have another date tonight. And she suggests that he asks his boss, Mr. Dithers, to judge the beauty contest. So first picture, second row, Donald asks Mr. Dithers if he'd care to judge the beauty contest. And Mr. Dithers drops on one knee, kisses Dag-Win's hand, and says, of course, dear boy, with pleasure. And I'm so grateful to you for asking me. Dagward comes home and says to Blondie, hey, he was delighted. That'll put me in good with him. And Blondie says, maybe Mr. Dithers will probably give him a raise for that. And Dagward beams at the thought of more money. Last picture of the row, Mr. Dithers is in a store. He has several clerks dashing around waiting on him. And Dithers says, I want a new suit, shirt, tie, socks, hat, and gloves. First picture next row, Dithers is in a barber shop with a beautiful girl manufacturing his nails. The barber giving him a shave, and a man giving him a shine. And Dithers says, give me the works. A haircut, shave, shine, and manicure. A little later in his new clothes and with his face and shoes polished as high as an apple, Dithers comes to the hall where the beauty contest is going to be held. And when he thinks of all the beautiful girls he's going to see, Dithers says, oh, the sweetest job a man can get is to judge a beauty contest. Oh, boy, here goes. Last picture of the row, he comes up to the judging committee.   First picture bottom row, the man says timidly, oh, it's not girls you to judge, Mr. Dithers. Oh, no, no, no. It's all American roses.  Roses. A little later, Dithers carrying four plants of roses is ringing Dagwit's doorbell. He's as furious as a hungry lion in an empty town on Saturday night.   And Dagwit moans, no, not a raise. Poor Dagwit. Well, I don't think Mr. Dithers had any business sitting in with those flower pots. Neither do I. He should have used a feather duster instead. And that wouldn't hurt. That would just tickle. Yes. That's a good way to punish somebody, just tickle them until they laugh. Mr. Dithers certainly was disappointed when he didn't see the pretty girl. I'm afraid you'll have to go to a musical in the movie. I'm afraid so. Now? Oh, look, underneath Dagwit and Blondie. There's Roy Rogers. So it is. And I'll read that in just a moment. But first, here's that nice man again with something interesting to say. Now, here we go again with Puck the Comic Weekly. And on the first page of the second section, Roy Rogers, King of the Cowboys. Magic words for the music, please. A yip-a-yo. Now, here we go with Roy and Trigger. A yip-a-yo. Day of the Wild West show, when everybody in town is waiting for the show to begin. After rescuing his friend Dangerfield from the wild bull, Roy has discovered Handel's Baldwin, the escaped convict, who was sworn to get him. As Roy goes for him, Baldwin runs for a bronc standing nearby and leaps in the saddle. Cowboy yells, hey, get off that bronc. He's trained to work on the arena. The bronc runs for the main entrance of the ring. Roy leaps in the saddle saying, after him, Trigger, we've got a hogtie that escaped convict before he starts a panic. The bronc bunks his way into the center of the ring.  Then with one quick flip, last picture, he snags the bronc's legs, tripping him to the ground and throwing Baldwin. Roy leaps out of the saddle saying, Brace Trigger, keep the bronc on a mischief while I take care of Baldwin. First picture bottom row, he runs for Baldwin, who tries to get away with a quick tackle. Roy brings them to the ground. As Dangerfield exclaims, Bravo! Handel's Baldwin is captured. He'll be delivered to the sheriff as I predicted. A moment later, the sheriff, who happens to be in the grandstand, comes into the ring. And Roy turns Baldwin over to him. As the sheriff says, nice work, Rogers. I'll handle him now. Dangerfield proudly announces to the audience, don't go away, folks. This is only part of the J. Lucian Dangerfield's stupendous wild wester. Go! Last picture, a little later, Roy on Trigger is leaving the Wild West show, and he says, I reckon we can head for the double R bar and a spell of quiet ports hitting Trigger, huh? Hey, what's this? An old friend comes running to him, shouting, Hey, Roy! Roy Rogers! It's me, the awful Hawkins! That nabbered wait up. He adjusts the humry I'm looking for. It's never going to get home if people keep asking him to help them. No, it looks that way all right. Oh, but wasn't it wonderful the way he snagged that bronc and then tackled Baldwin and hand him over to the sheriff just the way I thought he would? And you were absolutely right about it. Yes. I wonder what's going to happen next. Well, if I know Roy Rogers, it'll be a new adventure. Because he's a hero, and heroes always begin new adventures. Yes, they do. Well, now let's turn over the page and see who. Oh, look, Flash Gordon. And he's come back home to Earth, and everybody gave him a celebration. Yes, he's really a hero. Let's see what they'll do for him today. Very well. Here we go on page two of the second section with Flash Gordon. A regga regga dune dunes. Ask him a tache. Let's have music for heroic flash. Flash's landing in a spaceship has made worldwide headlines. A big banquet is being held in his honor, and a great university has created a new degree for him. A great honor. And they call him Doctor of Astronautics. At this banquet, great scientists have come to meet Flash and to talk interplanetary problems over with him. As the dinner and the speechmaking end, Dr. Bright, the world's leading rocket expert, is talking to Flash. He wants to enter as Flash in some recent meteor disasters, shooting stars that have fallen to Earth with such force that they blow open huge holes in the ground, holes almost large enough to bury a city in. So Flash decides to investigate. Last picture at dawn, Flash and Dale are flying with Dr. Bright to study a meteor crater. Dr. Bright exclaims, we think they come from the moon. One oversized meteor lands every day, too regular for accident. And if one ever hit a city, suddenly there's a blaze of light ahead of them as another shooting star hurtles toward Earth. The pilot gasps, I can't see. Last picture, the meteor lands below them with a huge explosion. The plane rocks in the blast, but Flash grabs the wheel. The white-hot meteor blasts out a giant crater in the countryside, shaking houses and knocking down trees. And Flash grimly agrees with Professor Bright. Yes, we've got to stop this summer. When it fell.  Well, does Dr. Bright think that maybe somebody on the moon is doing this on purpose? I think that's what he suspects. You know, that's your Flash who'll go to the moon to investigate. You know, you're right about that. And we'll find out next week. Oh, I've always wanted to go to the moon and see what it's like ever since I saw the man in the moon. Well, next week we're all going to take a trip to the moon with Flash. So be on hand. I certainly will. And now I think it's time for Dick's adventures. So let's go over to the last page. All right. He's on a ship with John Paul Jones in the early days of America. Yes, during the Revolutionary War, the war with the British. Isn't this exciting to be on board a ship with a famous man like John Paul Jones? Oh, you bet it is. So let's see what happens next with Dick's adventures. Say the magic words with me. Rigiddy pack, kazak, zik.  It's Midshipman Dick of the armed frigate ranger. For he's back in 1778 with the early United States Navy, raiding commerce along the British shores, while General Washington fights the British on land 3,000 miles away. Dick Skipper is a man named John Paul Jones. And Dick is standing guard in the crow's nest at the top of the mast. Bobbing on the horizon is a patch of white. Dick yells, enemy sail, hold. He clambers down through the maze of rigging like a monkey. Last picture top row, Dick stands beside Captain John Paul's Jones as he looks at the strained vessel through the spyglass. Jones exclaims, this is a drake of His Majesty's fleet. She's been trying for weeks to hunt us down. Dick asks, how we going to fight her, sir? At first picture next row to Dick's keen disappointment, John Paul Jones crowds all sails on the ranger and hoves her off in a contrary direction, explaining to Dick. We'll fight, lad, but not just yet. We've got other work to do. John Paul Jones roves like a wolf, up and down the British coast, striking terror among the ships laden with supplies for the king's men fighting Washington. Jones' idea is to prevent the ships from bringing the supplies, the food and clothing, for the English soldiers, so they won't have ammunition to fight Washington soldiers. And in that way, Washington will be able to win. And Jones is successful, but always he keeps a sharp watch for the huge and furious angry British ships which are on the search for him, and especially Jones watches for the drake, the fast and dreaded fighting ship. Then one night, a huge gale sweeps the seas. And Jones' ship, the ranger, creeps up through the rich port of Whitehaven on the English coast. Jones calls for volunteers to accompany him and set fire to the British ship snugly tied up a dock. Almost every man volunteers, Dick included, and they slip off in the dock to set fire to the English ships riding at anchor. John, Dick, and the volunteers return. The great flame is lighting up the sky over Whitehaven. The men look back and see the burning ships at the dock. Quickly, Jones, as his ship head out to sea again. But last picture, hardly has the ranger got underway again when Dick, looking off, shouts an alarm. The drake, sir. She's found us. Fire to their ships because they'd have to get so close to shore. Yes, and now the drake has sighted them and is coming after them. Do you think there'll be a battle between the ships? We'll see next week. Oh, that's something I can highly wait to see. Well, I'm afraid you'll have to. But here below, Dick's adventures is Rusty Riley. Oh, yes. And do you remember that man named Mr. Smith, who knows that Rusty has the opinion that he but has got to ride in the truck with them? Yes, so we can keep an eye on Rusty and Tech. And last week, Rusty found the airplane ticket that Mr. Smith dropped out of his pocket. And Rusty is very suspicious. Oh, he is indeed. And now on their first day out, they've stopped for the night. So let's see what Tech says to say when Rusty tells him about the ticket. Here we go with Rusty Riley. Gallop and run till the road is dusty. Give us music for his horse and Rusty. As Rusty exercises big blaze, Tech says to Mr. Smith, OK, folks, this looks like a good place to bed down for the night. Smithy, suppose you go over to that farmhouse and ask if it's all right while Rusty walks big blaze for a spell. So Mr. Smith walks off to the farm. Rusty comes over to Tech's and says to him, hey, Tech's, while Smithy is going, I want to tell you something. I picked up this envelope that fell out of Smithy's coat pocket. It had an airplane ticket to Lexington in it. Tech's exclaims, hm. And he begs a ride and no horse fan. Sounds local. As Smithy walks toward the farmhouse, he says to himself, well, somehow or other, I'm going to get that horse painting without them knowing how important it is to me. If I can only get the kid to show it to me, I can make him an offer. That doesn't work. I'll have to do something drastic. A little later, Smithy has come back to Tech's first picture bottom row. And he says, now the owner says it's OK for us to park on his farm for the night. He wants to know if we'd like some dinner. Tech's asked Smithy about the airplane tickets. Smithy replies, second picture bottom row. Oh, that airplane ticket. Well, you see, I had planned to fly, but when I saw your van, I figured I could get a free ride. Tech's looks at him a minute and says thoughtfully, I see. OK, but it did seem loco to prefer a truck to a plane. Well, come on, let's go eat. Later, after a nice dinner at the farmhouse, Tech's is saying to his hosts, we're right, nice of you to give us that fine dinner. We're plumb, grateful, Mr. and Mrs. Jones. Mr. Jones replies, oh, glad to the company. Said a bit and listened to the radio. And he turns on the radio. It is reported that the police of several states have been alerted following the disappearance of the plans for a top secret device, the nature of which is not disclosed. The engineering department of an Eastern aircraft factory states that an employee who has been working for the company for six months and has been working for six months. Smithy, hearing this, quickly walks to the radio and switches it off. Excuse me, he's the one who disappeared with the plans. And I'll bet you that the plans are on the painting that Rusty has. You're almost as smart as a detective. Where do you learn all of this? From my favorite detective, Nick Carter. Well, next week, we'll find out if this gives Tex any ideas about Smithy. Oh, I certainly hope so. So do I. But now that's all the time I have. And don't forget that next week, we'll have a trip to the moon with Flash Gordon. And now before I go, here's that nice fellow with some more interesting information. Well, honey, and all your boys and girls, I've got to go now. All right, Mr. Connick, legally, man. But I'll be waiting for you next week. OK, that's a date. And the date with all your boys and girls, be sure to meet me with a little friend, Miss Honey. Next week, when I read Puck the Comic Weekly. For I'm the Comic Weekly Man, the Jolly Comic Weekly Man. I'll be back to read the funnies. Do you happy, boys and honey? Don't forget, boys and girls, see you all next week. Your friend, the Comic Weekly Man, the Jolly Comic Weekly Man.


Hi, this is Kate Hess from Kirkwood Community College Library. I am going to show you how to get started using Google Drive. Google Drive is a place where you can save and share documents. If you start from the Google website, you get to drive right over here. Now you do want to use either Firefox or Chrome as a browser. That Explorer will not work well. Now it's going to ask you to log on. If you have a personal Gmail account, you may want to add a new account using your Kirkwood Student Email address. Just to give you a professional address to use. Okay, so this is showing me folders I have already created. To start a new document, you're just going to click New, and there's Google Docs. You'll see there's also spreadsheets and presentations that you can create on here. It's creating a new document, and the menu options are going to be very similar to Microsoft Word. I can type right in here. I can copy and paste, of course. I can change the formatting. All the kinds of things you're used to being able to do in Word. It will automatically save all your changes right here. Then you will want to put in a title. In order to share this document with another student, with your instructor, you click on the Share button. You'll want to make sure that you enter their Google account address, or their Gmail address, so that you give them access to your document here. It will automatically give them permission to edit, but you do have a couple options there. You can print from here. Sometimes it will automatically give you the print option. Sometimes it will have you select where you want to print to. It depends on the browser that you're in. The other option you have is Download As. Let's say that you've been working on this at home, and now you're at school and you want to look at it in Word. You can download as a Word document right there. That will open it in Word. The other thing you can do in Drive is create a new folder and share the folder. Here's that folder. Right-click and share. Now, since I've shared that folder, every document that I put in there is also going to be shared. That's a quick way if you're going to be sharing with the same group or with the same instructor multiple times. That is a great way to do that. Thanks for listening.


The harsh conditions of submarines pose a major challenge to the longevity of offshore wind farms. To address this issue, researchers have developed numerical simulations to study how pores in the insulation material can expand and merge due to the intense electric field generated by high-voltage wires. This phenomenon, known as water-treeing, can lead to plasticization near the pores, which could cause them to coalesce and ultimately lead to failure of the insulation material. The researchers also investigated the influence of various factors such as the distance between voids, the relative size of voids, and the shape of voids on the rate of coalescence. Finally, they simulated a generic microstructure with randomly distributed voids under an electric field. This article was authored by Michel Macelli, Walter Carvelli, and Monsef Drissihafti.