I thought they were better. They were better. They were better. They were better. Wow. Definitively better. Getting at you. I'm just telling y'all, I ain't saying that y'all ain't going to like certain things at other spots a little bit better than the Salt Lake, but as an overall experience, meet for me, I don't know if it's going to be there. What's going on everybody? We're here at the Dallas airport in Texas and you know barbecue is world famous in Texas, so we had to come here and before our flight try all of the most famous smoke houses here at the Dallas airport. Our first spot is the Salt Lake and Jack, you were trying to get us to go here. Y'all was trying to get these guys to come. We were in Austin. It was like raining. It was kind of cold. I heard Salt Lake's really good though, so I'm really glad they got at the airport because this is our first time trying. Do you think that the airport location would live up to obviously, you know, it's difficult to say, right? It can't be too far off. Well, they don't want to compromise the brand. Guys, terminal A, Salt Lake, let's get it. All right, so we got our barbecue plates, David. Tell the people what we have. We got the pork ribs. We've got the sausage. We've got the brisket and the pulled pork. Ooh, and then some seasoned fries. You have the coleslaw and... Potato, potato. You guys, we are in Texas. We've got to start with the brisket. Let's go. And I will say this, the service at Salt Lake was amazing. They were very, very nice. Jack, you were getting fed? I was getting fed. All right, guys, this is brisket at Salt Lake. Ooh, look. Ooh. No, that was pretty good. I mean, generally, you think the chains at the airport, they're not going to do it as good of a job. And obviously, I don't know how it tastes at Salt Lake in Austin, but it was amazing. Pork ribs. The flavor is really good. Wow. If you can tell by the amount of sauce on my face, it's good. It's really smoky. Very sweet. I like that aspect. Man, that's good. I think about the airports is they could keep the sauce the same as the actual Salt Lake in Austin, but cooking it is always going to be different because it is an airport. Sausage. I like the skin, the exterior. Yeah. It was very juicy, very fatty on the inside. I could see when I was biting into the sausage, it was kind of like melting my mouth. I wouldn't say it blew me back. That was more similar to a Polish sausage. I felt like a Microwave. That was more of that Czech like grainy sausage. Pork. Wow. It looked dry. That was surprising. Do you know what it is? Don't call it Salt Lake for no reason because the salt and pepper flavor is really pronounced on everything. All right. Big beans. Wow. No barbecue flavor. Just straight elementary school cafeteria beans. I think it's going to be tough to beat the Salt Lake on the flavoring. I give this Salt Lake a four out of five. What was your guys' favorite? Most surprising was definitely the pulled pork. Obviously I knew the brisket was going to be pretty good. I knew the ribs were going to be pretty good. The pulled pork. Yeah. This was my favorite. Probably far. That little curve ball, the pepper flavor because that really was on everything. Before I had barbecue, I asked Texans, what makes good barbecue? And they say the whole experience is not just the ribs, not just the brisket, but the corn, the french fries, the beans, like it has to all fit well together. Okay. So I would rate this a four out of five. I got to leave a little bit of room for improvement, but I was pretty impressed. I'm going to give this a four point five out of five. David, do you want to throw in a bit of a Texan accent to it? Okay. I'm just telling y'all, I ain't saying that y'all ain't going to like certain things at other spots a little bit better than the Salt Lake, but as an overall experience, meet for me, I don't know if it's going to be there. David, our next spot is Terminal B. It's called Cousin's Barbecue. Let's go. All right you guys, we have boarded the DFW Skylink to Terminal B, where there is more BBQ. All right you guys, we've arrived at spot number two, Terminal B, Cousin's BBQ. You guys, this is local to Fort Worth. Yo, they do it a little different here. They're serving it cafeteria style. All right. All right. Let's check it out. Cousin's Barbecue plate, we got four meats. Usually they only give you three, but we had to get an extra quarter pound pork ribs, brisket, jalapeno cheese sausage, pulled pork, mac and cheese, and then the broccoli cheesy rice. So you know what's funny is growing up in Kent, we had this thing at school, at the school lunch called cheesy rice, and I had no idea why they were eating that, because I was like, how are you going to serve cheesy rice at an American school, because I'm eating rice at home. And everybody would make fun of the kids who wanted seconds on the cheesy rice. Right. Maybe cheesy rice is a Texas thing. All right guys, we got to go in, man, all that brisket looks incredible actually. They said they never freeze their meats. It's all natural. I said, is it any good? It's a Texas style barbecue. Okay. You know, we've been doing it for 35 years now. I like that answer. This is the brisket at Cousins. Oh wow, it tastes different. It was really good, but it tasted a little bit too much like corned beef in my opinion. It was almost charred to the point where it was a little bit bitter, a little bit too fatty for me. If you're really in a fatty brisket, I think you would prefer the one here at Cousins. Here we have the pork rib. I'm really excited about this one. See how that pulls off the bone. Ah, not bad. Pork ribs. I can tell the meat quality is really high. Really, really easy to eat for the bone. And it got the job done. The jalapeno cheddar sausage. I asked the guy when I was ordering, I was like, yo, which sausage should I get the German one or the jalapeno? He interrupted me right away. Jalapeno cheddar sausage.  It tastes a little bit like you got it from the store. So I'm not like impressed by it. You said it might go away a bit. It might go away a bit. It's getting with pulled pork. Salt licks were shredded up into smaller pieces, and it like melted in my mouth. This one, I get more of the pork feel. Almost like a, like a carnitas. Macaroni cheese. Macaroni's a little soft. It kind of tastes like kind of a Stoffers type deal. Not bad, but not in love with that. Yo, we had to get the broccoli and cheesy rice. Oh my gosh. I haven't had cheesy rice since elementary. Let's get it. It's nostalgic for me. I never had cheesy rice before, but it's not bad. All right, Jack, you were talking about peach cobbler. On the way here. Dude, this peach cobbler is busting out of the shell. Ooh, you see the crunch? I just remembered that one scene from Deuce Bigelow, Metal Jigolo. Peach cobbler. That's good. No, I got it going for a second bite. For a second one, too. My goodness. Banana pudding. I give the desserts here, our cousins. A five out of five. This is my major takeaway. I thought all the meats were really high quality. Like the way it was never frozen. What was your guys' favorite? Oh, me? It had to be this. Oh, the desserts were crazy. Okay. I actually kind of like the broccoli cheesy rice. Okay, y'all saying everything but the meat. I have to actually give it to the brisket. Even though I said it kind of tasted like corned beef, I actually really like corned beef. That's not a bad thing. Well, I'll give it a three out of five. I'm a 2.5 out of five. I would have given it a two if it wasn't for this dessert. Dang, y'all, we're harsh. I was going to give it a 3.5 out of five. Wow. Now we are headed to gate E for our last two barbecue spots. Let's see if any of them can top salt lick. All right. So we've made it to terminal E for sunny Brian's smokehouse. This spot was actually started in 1910. I read that from the sign, but it is actually from the Dallas, Texas, Fort Worth area. So this is like a local chain. I think the prices are like a little bit cheaper than all the ones. We are in terminal E, I mean. Yeah. It's where they fly spirit.  So I think we have to take that into consideration. Taking it into consideration. We have the same plate as we've always been getting. We have four meats. We have the sliced brisket. We have the pulled pork. We have the pork sausage. And then we have the pork ribs here. Beans, mac and cheese and the special dessert at the end. Guys, it was 1625. Obviously, what? $6, $7 cheaper. It was cheaper, but it does look like less food. So it kind of evens out brisket. 1910. It kind of tastes how you imagine it would taste. Honestly, I'm a gas station. Let's just move on. Let's do the pork rib. Let's see the pulled test. Pull test is nice. Pork rib. That's a boiled rib, by the way. It was soft, easy to eat. I had like a light little pepper flavor to it. This actually looks pretty good. Juicy, not dry at all. Cut up in nice small pieces. So pulled pork. It tastes like the inside of a chashu bao. Yeah, you're talking about the sweet pork flavor. I guess extra points for that. Pork sausage, guys. I like that better than Cousin's jalapeño cheddar one. Easily. This one actually, the sausage is shining. I'm actually trying to think if I like it better. Salted? Yeah. I might. It was juicier than salted. You know what? I do. Mac and cheese and beans. Cousin's mac and cheese was really bad. But this wasn't that great either. It wasn't that great, but I like the firmness of the macaroni. Yeah, the other one tastes like mush. Tofu. Yeah. Beans. No bueno. Okay, the question is now. For dessert. Oh, yeah. We have peach cobbler a la mode. So it's kind of warm from helping the ice cream. Obviously, I would say Cousin's set the bar pretty high for peach cobbler. These places at Peach's are way bigger too. Not bad. It's no Cousin's, but... I feel like I can make this. Overall, I give Sunny Bryant a 2 out of 5. I give it a 2.5 out of 5. I think I'm at a 1. I get why I've never heard this place, but... by far, this definitely is ranking number 3 out of 3. On to the fourth spot. All right, you guys, we have arrived at the Big Dog.  We're here right now. This is our fourth spot. We got to see where it ranks compared to everything else at the airport. Since 1941, let's check it out. This is what allowed Dickies to grow from one store to 500. We have two three-meat plates here. We have the brisket. We have the pork rib. We have the pulled pork. We have a homeless sausage. We have the jalapeno cheddar sausage that we're going to compare to Cousins. And then you have the smoked turkey. I'm just saying that they got to beat Sunny Bryant. All right guys, basically, I would say right off the bat, this is a crumbly brisket. There's nothing wrong with that, but it's not the floppy brisket that's sticking together. That's tough. Really lean, really dry. The flavor wasn't bad, but it wasn't that flavorful. Probably ranks number 3. Just only ahead of Sunny Bryant. All right. Yeah. It looks like it kind of came from like a mid-tier steakhouse. Hold on. Look at this. This looks good. I'm actually excited about this bite. Pork rib here at Dickies. Really soft. Really just disintegrates my mouth. I would say flavor-wise, maybe not as flavorful as I would have liked, but texture-wise, I loved it. We moving on, guys. We have pulled pork. Visually, I would say it looks pretty good. I really like the texture, but the flavor wasn't crazy. You couldn't really sense what was Texas BBQ about it. Like, if you would have just got that pork at like a Cuban spot, one of those Sophie's Cubans or whatever. It would have been good. Dickies sausage. I like that better than cousin's. I mean, that's not better than cousin's. It's better. I would say that tastes like an old Boy O'Burdo beef stick. Now, this polis sausage is going to be compared to the Sunny Bryant's. Sunny Bryant sausage. I liked it. Sausage is good. I don't know, man. Dickies has kind of surprised me today. I don't know. All right, guys. This is smoked turkey. I'm excited about this one. How do you guys compare it to the barbecue we had at the Houston Rockets game? I mean, that turkey was good. At the Houston Rockets barbecue, that turkey was so juicy. This is actually not bad. It was good. To make cheese. I like this one, actually. Really? Yeah, the texture was better, but the flavor of the cheese was... All right, beans. Not better than cousin's though. Not better than cousin's. We got the waffle fries. We got the waffle fries. It's a little peppered. Well, these are fresh out of the fryer, so they're really good. Wow. I like it. It's on some crisp. All right, guys, pecan pie. All right. Oh, that's so sweet. I'd say that was pretty good.  All right, you guys. Real quick, what's the ranking of desserts that we have? This is number two. The peach cobbler and the banana cream is number one. And Sunny Bryant is... All right, you guys, we have to assign a rating to Dickies. I give it a three out of five. I feel like it really deserves a 3.5 out of five for me, which is the same score that I gave cousins. I'm with you, Andrew. I'm a 3.5. I'm a little disappointed by the brisket. Right. But everything else was on point. I'll give you this. The decor at cousin's is better than Dickies. Where does it rank in order from the best barbecue at the DFW airport? To the worst barbecue. All right, DFW airport. Obviously, we got to go Salt Lake. Salt Lake. If you have time and you're even in a different terminal, take the Skylink train to terminal A to get Salt Lake. It's actually worth it. Let's talk between Dickies and Cousins. I mean, I'm going to say Cousins because you can find Dickies. Anywhere. All anywhere. I do think they talked a big game. Talked a big game. That maybe fell short a little bit. But at the end of the day, it was close, but then Dickies third. And then obviously Wade coming in. Yeah, Sunny Bryant. No, I agree. I agree. I would put Cousins a little bit over Dickies. Just overall, the five was better. I think they had more options there. They had the pepper sauce on the table. What did you guys like take away from trying for barbecue spots in a row? Because I know for myself, being from Seattle and then living in LA, barbecue is not a priority. I guess you kind of compare it to like Chinese food, right? Like you have some Chinese food made for a certain demographic and then you had Chinese food made for a higher demographic. The way they kind of talk about it and argue about it, it's almost like our parents would argue over which spot had the best... Peking duck. Yeah. Or char siu. Steam crabs. Yes. I want to ask you guys, what is by the desserts at the barbecue chains? Dude, I will tell you this, man. I don't know how much butter and sugar they pack into those things, but those are delicious. Save some room for dessert, man, for real. Get dessert. It creates the whole experience. Obviously, this video was about barbecue. In the airport, we tried four different levels. You guys decide what's right for you, but I do want to end this since this was our last video in Texas. Your favorite and your least favorite thing you had on the whole trip. Ooh. Well, least favorite, I already know what it is. Sunny Bryant. Okay, we just ate it. All right. I was not really a big fan of torchis tacos. Oh, I was going to say something from that first concession stands at NRG Stadium. Oh, at the Texas Game? Okay. Some of that hot dog. Yeah. And then I would say the best thing that I ate, the bone marrow for $495 at FUT54. Ooh. Thinking of Namgow, there's two dishes that I'm really thinking about right now. It was one, the small crispy pancake, which was essentially the smaller version of the bun seo. And then the pork and shrimp crystal dumpling. For me, I would say my favorite is, we had the, in the Texans game, killings, the brisket. Oh my God, I still remember that brisket. Number two would be that Chinese Vietnamese restaurant we went to. Vin Hoa. Vin Hoa. Oh, that rice. You were going in on the crab rice. That rice was just hitting the spot. Okay. What was the most overrated thing?  The fries that hopped out of you. Yeah. I do not like those fries. Yeah, I told you. They came cold to, they came cold. Say they didn't come cold in the middle. The metal's cold, so the metal even ate more heat away. That's my opinion, man. I kind of understand. It was a little cold. They could have heated up a bit. Because we had the Parmesan fries at a chop house in the house. I thought they were better. Ooh, they were better. They were better. Clearly, definitive. Wow. Getting at you. Getting at you. Getting at you. No, half of your heart is hop-dotty. Just take the knife out of my back. I swear. Take it out. The next tattoo you get is hop-dotty. Right across the 400. Okay. I appreciate the realness. The fries at hop-dotty. The fries at hop-dotty. Okay. Torchies. I didn't know what to do with that. I just didn't like any of the flavors. I liked the egg for the breakfast taco, but that was about it. I just think it was super overrated. I don't know if it was the timing, but microwave. I had heard so much about it, man. Now it could have been because it was cold. The people at microwave are so nice. It just didn't quite meet the expectation. Jack, which one's overrated? It's going to be McAway. Because to torch these tacos, I wouldn't eat it. I get it's not like super fancy. It's not like trashy tacos. There was a lot of macros in it. A lot of protein. A lot of egg. The next one is my macros. It's like $6 for all that egg. We said a lot of good food in Texas, man. I think people don't expect there to be such good Asian food in Texas. They really don't. Now, did we eat the best Korean food in Texas? No. Was it the best Chinese food? No. The best Asian food in Texas, I think it's really, really good. All right, guys. Thank you so much for watching our travels through Texas from Houston to Austin to Dallas. Now it's time to go home. I think I'm going to talk to people more. Yeah. I don't know if it'll work. What do you mean in LA? Yeah.  Until it wears off, we're bringing that Texas friendliness back. We were saying that we ran into not as many people in Texas, but we spoke to more people when we were here. All right, you guys, thank you so much for watching.  Just give it a like, subscribe, turn on your notifications, and until next time, we're out. Peace. Yo, what's going on, everybody? Just want to let you know we do have a brand new podcast called the A3N Podcast. We're talking about all types of stuff. We're going to have all types of guests on the show. Obviously, if it's me and David, we're going to get really deep and personal and real. Also, we have a highlights channel. If you guys don't want to listen to the whole entire podcast, there's going to be the highlight clips there that you guys can just check out. Check out the podcast on iTunes, Spotify, Himalaya, A3N Podcast. Leave us a review and a like. And listen to it. Peace.


Before we get started, I want you to take a moment to ask yourself what art and culture are. How specifically would you define them? It's a little harder than you might think at first, despite using both terms all the time. Is art just anything people create? Well, that would include things like cookie cutter housing and mass-produced screwdrivers. Is art just supposed to look beautiful? Well, what about things like Wind River which are supposed to make you upset while watching? Is that not art? Does it only count if it's part of a pre-approved list of media that's considered art?  Clearly, art is just stuff that I like, and if anything gets popular that I don't like, it's not art. Culture is even harder to pin down. Part of the reason is that cultures don't have rigid borders. They constantly change and mix together in ways that are hard to measure. Is culture a shared set of beliefs? Well, if that's the case, then why do individuals from the same culture have different sets of morality? Is it sharing the same religion or language? Well, that brings up questions about where you draw the line. Are Lutheranism and Catholicism in the same religion? Because people have killed each other over that before. Is it producing the same kinds of art? See above for the issues there. I'm not asking these rhetorical questions as a way to get you thinking like some pretentious video essay, although that is a byproduct. I'm asking to make you realize that this is an incredibly broad topic. Covering this in a simple YouTube video is like trying to fire a bullet without the gun. I'll come right out and admit that I'm not an expert in these sorts of topics. I'm not an art historian or an anthropologist, but I do understand how much these things make world-building pop. If you think about most fantasy settings you've seen, the ones which stand out usually stand out for cultural reasons rather than geographic ones. Sure, the high storms are cool, but the fascinating bit is how the Alethi and others adapt to them. Building their homes facing west, utilizing storm light in their economies, constantly fighting over land because so little is arable, all of this is bigger and more interesting than the magic hurricanes. Hell, the change in culture is the whole point of dystopias. Showing off how society has become some sort of hellhole because of the kids and their iPhones is essentially just showing a negative change in culture. sci-fi is a bit different from dystopia since that tends to be dominated by the settings available technology and the way society reacts to that as opposed to showing off how cultural changes on its own. Basically, culture is such a ubiquitous thing, both in the real world and in artificial ones, that we hardly think about it as a whole. We only focus on pieces of it at a time. So that's what I'll attempt to do here.  Otherwise, it's easy to wind up making it feel like you're just telling a tale in the same pseudo-medieval European world that everyone else has already done. Before that, sponsor time. Hello, I'm James Tullis. I was supposed to film some sort of intro for this video's sponsor ad read because this video is sponsored by Campfire Blaze. Unfortunately, the footage for that was lost or maybe I just forgot about it because I've been busy or maybe I forgot about it because I've been playing video games all month. You'll never know. The important part is that I'm just gonna play some funny clips from bad movies, you know, the way every hacky YouTuber does it because that gets those youngings rolling in the aisles, right? I want him dead!  I want his head on this piano!  Campfire Blaze is a browser-based suite of tools that keep track of all your worldbuilding and story notes with character sheets, maps, timelines, encyclopedias, and more. This sort of organization is great for worldbuilding, RPG campaigns, and any other sort of writing you can think of. Your creations can be shared publicly with others, but only if you want to. Even real-time collaboration on projects is possible and it's way more intuitive than something like Google Docs. All these modules can be yours or you can pick and choose the parts you need. At either a one-time purchase or a monthly subscription, Campfire Blaze can be customized to suit whatever purposes you need it for and whatever price you can afford. Not sure if you want to commit to paying for all this? There's a free tier so you can try everything without paying a dime. It even has a month-long free trial and a refund option so you can change your mind at any time. Click the link in the description to see if Campfire Blaze is right for you. Alright, we are... we're good. Now, where's my check? Part 1. Games, Food, and Miscellaneous. A great way to get people into a new setting is to show off a mundane part of it and how the characters interact with that. Just taking a brief moment to mention what they're eating for breakfast gives a bit of depth to the place they inhabit. Someone who subsists on a diet of rats and tree bark probably lives in a much different place than someone who eats steak and eggs every morning.  Starting off with a lecture about the history of a town and what sorts of industries sustain it is a dull way to try and show off what the place is like and what the people have to deal with. Keep in mind when I say mundane, I mean mundane for the denizens. It can still seem bizarre to us. For example, if a large part of a country's diet comes from dragon meat, that would seem crazy to us, but totally normal to them. Or what if the sports they play all carry the death penalty for losing and none of them find that odd because that's just how life has always been. As much as we want to believe otherwise, we're all a product of our environments and if we were raised somewhere different, we might have views that we find abhorrent now. This can easily play into the plot, too. Whether you're writing a book or creating an RPG campaign, if something happens to affect the food supply, then that can be a great way to kickstart the adventure while also showing off how various aspects of the world interact. Keep in mind food is basically whatever is available for consumption. If it's not outright poisonous, humans will scarf it down eventually. Oftentimes because we don't have a choice. Before modern transportation and refrigerators, we were more limited by climate. Oranges and bananas won't grow in Alberta any more than you can raise millions of cattle in the Sahara. Tomatoes didn't come to Italy until the 16th century and now they're a massive part of all sorts of dishes over there. Plus, Italian-American food is quite a bit different from Italian-Italian food since immigrants added ingredients that they didn't have access to back home, like meat and sugar. These are clear cultural differences that can be shown in a simple, inobtrusive way. As for games, those are a bit less important than food since, you know, we require sustenance for life, but they've existed in every society in history to one extent or another. Board games, video games, sports, anything you can use to take your mind off the fact that you are a speck of dust stuck to another speck of dust floating through a void so large that we could all collectively scream in anguish for an eternity without a single other being knowing of our existence. Sometimes they can be a reflection of socioeconomic status. Sometimes they can be a way to bridge that gap. Sometimes they're a massive part of the economy, yet they're always present.  As long as you keep it in perspective, sure, sometimes certain games can be extremely popular, but they'll never overtake an entire society. This isn't Yu-Gi-Oh! It's time to duel! Part two, combining cultures. The phrase cultural appropriation has only entered the general lexicon in the past few years and immediately became one of the best things to say to start a fight. The thing about that is that cultural appropriation isn't inherently good or bad. It's what happens when members of one culture adopt elements from another culture. Taco Bell is a form of cultural appropriation and most would agree that it's harmless. I'm not here to discuss the ethics of real-life cultural appropriation. I'm only here to discuss how it works. Basically, whenever two groups of previously isolated people meet, they exchange things. These include technology, agricultural products, knowledge, ideas, and, of course, art and culture. Sometimes this is amicable, oftentimes it isn't, but it's guaranteed to happen to one degree or another. And once this contact happens, neither culture will be quite the same afterwards. Take a moment to think about whatever setting you're currently creating and the history they're in. You've probably already thought about a few different countries, wars, discovery of new planets, things that alter the status quo and how they lead to the present. That's all well and good, but how did all of that change the way people act and think about the world around them? Did being conquered cause them to slowly give up their old language or religion? Did the founding of a new country foster a sense of nationalism or resentment among the people living there? If they're resentful, maybe they would try and emphasize how different they are from the others and stay separate from the main population, kind of like Germans during the Napoleonic Wars. Say you have a setting where humans made contact with a wider community of a few alien species. Most of them might start to think that they're less important in the grand scheme of things. Others might dumble down on the jingoistic fervor and try to make sure humans are in a supreme position in the universe. Don't just think about what sorts of daily rituals and ideals define a culture. Think about how those came into being to start with. You don't need a long history of it, just a basic idea that you can build from. And obviously art inspires other art. Things like paintings, film and music have inspired artists in other places forever. Look at things like Celtic metal, mafioso rap, Viking metal and martial arts movies for some easy examples of art styles from different cultures mashing together to create something different. When cultures meet, both sides tend to start off by seeing each other as exotic and mysterious. That's why weaboos exist. And the many, many western subcultures that exist in Japan, like Chicanos and Gyarus. When they find something exotic that they think is cool, they try to incorporate it into their own media. That's how we get Japanese video games that utilize a western aesthetic. That's how we get American comic books that combine mutant animals with ninjas. That's how we get the president of China being compared to a yellow animated bear. These ideas and concepts influence one another as they evolve alongside the people that create slash consume them. Because that's the thing. No culture is ever truly stagnant. Sometimes they change slowly, but they never stop changing because the world never stops changing around them. And that forces people to adapt. If they fail to do that, they die out. Part three, propaganda. Don't worry. People you agree with don't make propaganda. That's something only insert enemy group here does. Your side only does messaging or outreach. Whatever the time period, rulers need a way to convince those they rule over that they're doing a great job and they should continue to obey. The exact messaging and manner of that messaging very considerably, but it's always there. Ancient rulers used to claim that they were literal demigods who kept the harvests coming. If you believe that, you're less likely to try and overthrow him or even ask for proper political representation. The bulk of primary sources from ancient times are political propaganda, which makes it hard to suss out exactly what's true.  During the third crusade, King Richard took a detour to conquer Cyprus from the Byzantines and later had his chroniclers claim that the Byzantine Emperor was a Satanist who mixed his blood with Saladines. This is obviously untrue, yet it gave Richard Acasa's belly for the conquest and helped salvage his reputation. After all, even in the modern day, people think of him as a glorious honorable warrior rather than a brutal conqueror. Ever notice how most Hollywood movies portray the American military as perfectly benevolent, altruistic, and professional? That's partially because the US government funds their films. It lets them use equipment in exchange for having veto power over the script and they've used that power plenty of times to make sure no one sees any unfavorable depictions. The same way they tried recruiting kids by starting a Twitch channel and banning people who talked about American war crimes in the comments until the courts ruled that governments couldn't censor people and they stopped streaming. While writing this, I learned that a video game called Six Days in Fallujah, which was cancelled in 2011, has been rebooted and is coming out soon. It's hard to say from the trailer whether it'll try to sanitize war crimes or the Iraqi war in general, but the developer has denied the military's use of chemical weapons in the conflict, so that's pretty obviously what's going on. The publisher claims that the government has no involvement in the game's development, which I straight up don't believe. We're supposed to believe it's pure coincidence that this is coming out at a time when the military is having recruitment problems. Governments don't even need direct control over media to mold it. A big issue that's been raised in recent years is how the Chinese market has become a major source of income for movies, but the Chinese government certainly isn't going to allow anything that goes against their narrative to be broadcast to their citizens. Claim Taiwan is independent? Banned. Mentioned that Tibetan people exist? Banned. Bring up that hundreds if not thousands of protesters were killed by the army in 1989? Banned. Point out their ongoing cultural genocides in Tibet and Inner Mongolia or their regular genocide in Xinjiang? Banned. Because of this, film studios have begun altering their motives to appease Beijing. Ever wonder why the ancient one Dr. Strange was a white woman instead of a Tibetan man? Or why Top Gun 2 has removed all the Japanese and Taiwanese flags from Tom Cruise's jacket? Now you know. No force was used here. The studios all changed this on their own because they wanted access to those 1.4 billion customers. Ironically, Chinese influence has been spread by global capitalism. What I'm getting at is that the messaging changes because the culture changes.  Take a moment to think about what sorts of values people have had in your setting. Then think of ways to appeal to those values. Is it a martial culture that focuses on how good people are at killing each other? Does it value being crafty in terms of business or finance? Individualism? Taking care of your family? Loyalty to the state? Social conformity? All these things exist in every culture to some extent. So which do the people in power or who are seeking power want to focus on? Whatever they think will get people to do what they want. So if you're trying to write say, a war, then take a few minutes to consider who benefits and how they can convince others that it's in their benefit too. After that, think of how the message could be effectively brought to as many people as possible. This is dependent on technology. Ramesses and his stone tablets wouldn't reach many these days, but the internet certainly does. Radios, television, film, mass media that can only be utilized by a literate populace, even new media that you can think up can be used to spread propaganda around. As long as you have the means, you can make whatever you can imagine. And propaganda that looks cool is more persuasive than stuff that's boring, which is why the creation has always been outsourced to artists. Now, media is only a part of this. Education is also a big part. Things like schools are great for making sure that more citizens buy into whatever values you want to press on to them. If there isn't any sort of mass education, then at least the wealthier classes can be brought into the fold through things like tutors and universities. And once that's been established, it tends to continue under its own momentum for a while. At least until the world shifts around it. Cultural values change over time, but there will always be more traditional people who resist that change. So take some time to think about how you would impose values on your people if you were in charge. Not just for moral reasons, but for the express purpose of keeping yourself in power. Then think about how that has changed over time to match with the shifting landscape. Then remember that not everyone will be convinced by this. So, how are they received by society at large? What sort of subcultures developed to counter this? How well are these subcultures tolerated? Propaganda isn't even necessarily lying. It's just designed to push your buttons and get you to think a certain way. And that's part of what makes it so dangerous. Part 4 Communication. One of the biggest and most fun in my opinion, parts of first contact stories is how both groups have no idea how to talk to the other. Aliens who communicate with smells would find human speech incomprehensible and vice versa. Though that's an extreme example. When people meet and they have no one who can translate, they have to go through the long process of learning each other's languages, which often means pointing at objects and naming them to come up with a vocabulary. Communicating between cultures can be extremely difficult for a variety of reasons. The most obvious is language, certainly. Those take time to learn and even then it can be difficult when there are no equivalents to certain words or phrases. Just look at Backpfeifengeschischt, a German word for a face in need of punching or Toeborne, which means you bury me in some varieties of Arabic. It goes further than that though. Communication involves a huge list of written and unwritten rules that change depending on context. Just ask any socially awkward person about how difficult these things are to keep track of. How loud should I laugh? Is it okay to sit here? I need to ask if it's okay to leave my shoes on because my feet are cold and oh God I'm holding my hands weird.  And these rules are different in different societies. The way you talk to elders is different in Korea than in the United Kingdom for example. During the Cold War Nikita Khrushchev famously said to the United States we will bury you and most Americans perceived it as a threat. The reality is that it's a more benign statement in Russian. He was essentially shrugging and saying your funeral. Not much came of this but there are times when these sorts of misunderstandings can explode into much bigger problems like when the conquistadors first met the Inka Emperor and handed him a Bible.  Sixteenth-century Catholics were something else. There are a million ways that things we view as innocuous could be viewed as offensive to others or vice-versa. Maybe there's a culture where it's normal to spit on someone when you meet them or where it's a sign of wealth to toss a brick through your window when you get home. Missing out on these minute details can get you into serious trouble or even just sour relationships. Sometimes it's bigger though with governments misunderstanding others intentions or religions being unable to gain converts. Think up these sorts of problems and how they're dealt with. A good way to think of how members of a culture's mindset might think slash react to things is to go back to the question of their core values. Then think of how growing up in an environment with those values would affect people. What would you get with a society that valued martial skill and disdained people who are viewed as barbarians by which they mean everyone who's not like them?  How would they differ if they had valued creation of art more than fighting? Who knows? But they'd probably fight others less which would alter the way they interacted with others. Let your mind wander a bit to come up with how people's values would change their actions. After that think about what sort of issues this communication problem would lead to and what sort of solutions there are to those issues. An obvious one is interpreters. These people are usually hired not just to translate words but to guide others in an unfamiliar environment. That really only works on a small scale though in the long run education is needed. Without that they could always be a way to start off the story or a subplot. You know get the players or characters in a jam because they forgot to kiss the Goblin King's staff. That could be fun. Conclusion. I know this felt pretty unfocused and it is but that's kind of how real world art and culture work. There's not a greater point to them usually. They just exist both affecting and being affected by their surroundings yet without them the world would be a lot less colorful. That last bit is why it's so crucial to put a little effort into creating them. You can make all the epic battles weird political systems dubious scientific explanations for faster than light travel and love triangles you want without any cultural background there's no heart to it. The emotion has been drained away leaving a hollow husk and don't worry about whether your fictional cultures are too odd. Whatever you think up there's probably a real world example that's even stranger or more extreme. The most important thing to remember is that humans are not defined entirely by the culture we come from we're all still individuals that are shaped by our personal experiences. Sometimes that means not living up to the expectations of others. This doesn't apply to alien or fantasy races though and that can be a good way to differentiate them from humans. Why make elves just people with sharp ears when you could make them devoted to their society to the point that they're barely individuals. Why make the grays just little alien men when they could be brilliant individuals who commit suicide at the smallest inconvenience. The world is your oyster or worlds I guess. I don't have a strong closure for this video. A special thanks to everyone who watched this far and an even special or thanks to all of my patrons including the $10 and up guys Oppo Savilainen Olivia Rayon Ava Tumor Brandon S. Pilcher Brother Santotys Christopher Quinten Mbis Pfizer Jeremy Joel Carcat Kitsune Kevin Jang Liza Rutakova Madison Lewis Bennett Mel Austin Microphone Sad is getting long. But I could not do this without you guys. You are seriously the best and thanks again for watching. If you want to get your name on here then consider donating to my page. We also have other perks that you can have access to and if you don't want to do that then simply rating the video commenting on it subscribing to my channel all that stuff I'm supposed to say at the end here that is a huge help anyways uh bye.


Now, Roma Wines, present. Suspense! This evening, the dead of the night, starring Robert Cummings. Suspense is presented for your enjoyment by Roma Wines. That's R-O-M-A, Roma Wines. Those excellent California wines that can add so much pleasantness to the way you live. To your happiness and entertaining guests. To your enjoyment of everyday meals. Yes, right now a glassful would be very pleasant. As Roma Wines bring you... Suspense! This is the man in black here for the Roma Wine Company of Fresno, California. Who tonight from Hollywood bring you in his first appearance in a radio drama, since his enlistment as United States Army Air Force Flight Instructor, one of the screens favorite young players, Mr. Robert Cummings. And so with the strange events which befell the young Californian named Jimmy Barton in the dead of the night. And with the performance of Robert Cummings, we again hope to keep you in suspense. Helen and I had never been apart since our folks died. Never before that summer when I got a job up at Lake Arrowhead. She was supposed to go with me, wait on tables or something. It was to be our vacation. But at the last minute, she decided to stay in LA. She figured her boyfriend, Steve, might be coming home on a furlough. I should have known better. My sister was such a kid, but I let her talk me into it. And I left her there alone. That was the beginning of the whole thing. That's when she met him, Phil Armstrong. If I hadn't gone away that summer, I guess Phil would be alive today. During the time that I was gone, Helen didn't write much. And what letters I did get didn't seem natural. So I was anxious to finish my job and get home. I expected to be at the bus station, but she wasn't. And when I got to the apartment, I could hear someone moving inside. The door was locked, so I knocked. Helen? Who is it? It's me. Is it me? Yeah, open the door. Hi, honey. Since when have you taken the lock in the door in the data? Helen, what did you do to yourself, your face? Were you in an accident? I fell, Jimmy. I fell and I hurt myself. Well, your eyes swole and shut. Let me look at it. Jimmy, I have something to tell you. What are these suitcases doing here? You and I are going away, Jimmy. We've got to get out of here. I packed everything. We're going no place till you tell me what this is all about. Well, Jimmy, while you were gone, I got married. Married? You mean Steve was here on his furlough? No, Jimmy. Not to Steve. But you were engaged to him? Yes, I know. I got a letter from him right after you left. He married someone he met where he was stationed. Oh, Helen. Gee, I was pretty upset, Jimmy. And that's when I met Phil Humstrung. But, gee, I think you might have. I don't even know the guy. No, neither did I. I was unhappy. Well, you just don't go off and marry someone you don't know. That's what I did, Jimmy. Now, we've got to get out of here. Well, but why? Because there's been trouble. What kind of trouble? I'm afraid, Jimmy. It's terrible. He takes something. I don't know what. But sometimes he's crazy. Helen. Yes? Your face. You didn't fall? No. He did that. I'll kill him.  That's what I mean. That's what we've got to get away. Well, you can get a divorce, can't you? He threatened me if I even tried to get one. Who put him under a peace bond? Well, what good would a peace bond be, Jimmy, if he killed one of us? So I let her talk me into running away. I guess I shouldn't have, but I knew that if I saw him after what he'd done to her, well, anyhow, I saved my salary and I had some gas coupons. We didn't know where we were going, but we started out. I don't know what he'll do when he finds I've gone. Helen, don't you think we ought to go to the police? I'm afraid, Jimmy. I know him. I know what he'd do if he found out we'd reported him. But they'd protect us, Helen. They'd protect us. But what if he got to us before they got to him? And she looked so frightened I thought it best to let her do it her way. We got to Santa Monica that night and we stopped at a motel near the water. Well, a week slipped by and Helen seemed to be forgetting. She didn't jump every time someone knocked at the door and she began to get a nice tan. I managed to get a job. It was at McGuffey's, Potluck Gallery, one of the shooting concessions on the pier. Then one night later, as I came home from work, I heard voices coming from our apartment. I knew who it was and I knew that from what Helen had told me, it would be foolish for me to go in unarmed. So I ran back to the shooting concession. It didn't take long, but when I got back, the lights were out and the sound of voices was gone. I tried the door. It was very dark and then my foot struck something soft and heavy on the floor. I snapped on the switch and the room was flooded with light and I looked down into a dead man's face. Tonight for suspense, Roma Wines are bringing you a star, Mr. Robert Cummings, whom you've heard in the prologue to The Dead of the Night by Mel Dinelli, tonight's tale of suspense. Yes, it is true that our own wonderful vineyard country in California produces in Roma wines that discriminating people in many foreign lands as steam as an imported delicacy. Yet you here at home can enjoy these distinguished Roma wines for mere pennies a glassful. Daily with your meals or when entertaining or anytime, you can delight yourself and your guests with a wonderful taste that comes from age old wine making traditions perfected by modern knowledge. For a treat you are certain to enjoy, place on the table with dinner tomorrow night, a cool bottle of hearty, rich red Roma California burgundy. It doesn't matter what the meal is or what kind of glasses you use to serve Roma. It's good in any glass with any meal. Your family, your guests will find new pleasure in even the simplest foods. For Roma wine makes any meal a feast at only pennies a glass. Try it yourself tomorrow. Ask your dealer for R-O-M-A, Roma wine. Remember, more Americans enjoy Roma than any other wine. And now it is with pleasure that we bring back to our sound stage Robert Cummings, who as young Jimmy Barton resumes his narrative concerning the death of a brother-in-law. In the dead of the night, a tale well calculated to keep you in suspense.  I remember that I set my alarm. It was to go off at five o'clock. I'd set it to wake me up that afternoon and a bird started to chatter outside as I stood there shivering with cold and terror, looking down at that dead man's face. Although I'd never seen him alive. I knew this was Phil, her husband. There was a deep gash over his eye and the blood still flowed from it onto the floor. I stepped over him and I ran into the bedroom. Helen, Helen! But there was no one in the bedroom, nor in the kitchen. And then I heard the front door open. Close it, do you hear me? Be quiet. Jimmy, what have I let you in for? Stay where you are. Just a minute, Mrs. Gordon, I'll get something on. Just some friends of mine, Mrs. Gordon, they were having a party, they're gone now. I'm not dressed, I was taking a shower. Well, slip something on. Well, I'm tired, I just was going to bed. All right, Mrs. Gordon, just let me get some clothes on. I didn't know what to do. I knew she was determined to come in. Mrs. Gordon was a nosy old woman. She meant well. She'd taken it upon herself to mother Helen and me. She was always coming into the apartment with her pots of jam and her bowls of soup. I knew no matter what I said, nothing would stop her. What do we do, Jimmy? Take him by the feet. Oh, no! Helen, take him by the feet. It's no use, it's no use. We started half dragging, half carrying him towards the bedroom. The rug's slipping along the floor as we moved. We'd just gotten into the bedroom and then... I'm here, she might come into the bedroom. Pull back those shower curtains. Jimmy, Richie. Don't argue, pull him back. Just a minute, Mrs. Gordon. All the medicine, Jess. I'm coming, Mrs. Gordon.  Now let me see your hand. Oh, it isn't bad, Mrs. Gordon. Oh, no wonder you didn't want me to come in. Where's Helen? She's out, she hasn't been here all evening. Well, let's look at that hand. Well, it isn't bad, Mrs. Gordon, really. You let me see that hand. Jimmy, this is a bad gas. Have you disinfected it? Yes, yes, I have. Well, let me bandage it for you. No, this towel's all right. It's not all right. Where are your bandages and things in the bathroom? No, no, I mean, I don't have any. Now you're just saying that, Jimmy Barton, because you don't want to be bandaged. You're not fooling me. I'm going right into the bathroom and get some... No, not the bathroom. I mean, I don't have any. Well, I'll just see for myself. No, no, Mrs. Gordon. Oh, this floor. Here, let's look at this medicine cup. Here's some tape and some gauze, too. Mrs. Gordon, can't we just do this in the living room? No, we'll do it right here. Now, here's some alcohol. Come on, put your hand over here. We stood there and she bandaged me and I kept wondering where Helen had gone. And then I saw the shower curtain move slightly and I knew for a moment I thought Mrs. Gordon had seen it, too. Just look at that shower curtain. Yes. Goodness, you've smeared that with blood, too. Well, I'd better clean things up for you before Helen gets home. I will scare the life out of her. I'll clean it up, Mrs. Gordon. You've done enough. Thanks very much for taking care of this hand. Well, all right. If you don't want me to. Now, you'd better get some sleep. I'll see you in the morning. Good night, Jimmy. Good night, Mrs. Gordon. Oh, Jimmy. Helen. I had to hide something. I know it was the only thing it could do. Jimmy. Yes? Jimmy, I've- First thing in the morning. Where are we taking him? I don't know. I've got to think. Here, Helen, you try and get some rest. Jimmy, let me go to the police. Let me tell them that I did it. Let me tell them what he was. They won't do anything to me. No, no. You try and rest. What time is it? About six. Six? We've got two hours before the painters get here. This is the car. No one will see us if we take him through the service porch into the garage. And what? I don't know, but that'll get him out of here anyway. I think I can do it alone, Helen. Listen, Jimmy, we're in this mess because of me. I'm going to help you. I'll be ready in a minute. When I went into the bathroom, the shower curtains were standing open.   I took a washcloth, and it was awful.  Just in case anyone saw us, they might think he was just sick. I tried to lift him, but I slipped. And his head made a hollow sound as it thumped down on the shower floor. Helen, help me get him into the luggage compartment of the car. Where are we going, Jimmy? Helen, won't you please stay in the apartment, please? No, no, I couldn't. I'm going with you. Helen, haven't you done enough? I'm going with you. Too late now to wish that I hadn't. To the pier, the Santa Monica Pier. Beyond the concessions, you can drive a car on the end there. Lucky it's a foggy. Yeah. What time is it? Five of seven. We'll have to act fast. This fog will be clearing soon. It'll be harder to get him out of this car. You stay here. I can manage this alone this time. Oh, I'll help you, Jimmy. You stay here. Do you hear me? All right, call me if you need me. I'll go around the back. Keep your eyes open. Yeah. Someone's coming. Who is it? Jimmy, it's a policeman. What? It's a policeman, Jimmy. Oh, it's all right. I know him. It's Red Davis. He's the beach patrolman. Oh, uh, hello, Red. How do you get your sleep? Didn't you close up after that swing ship dance last night? Yeah, Red, but I couldn't seem to remember if I'd locked up the old shooting gallery, so I came over this morning to have a look around. I see. Oh, I'm sorry. This is my sister. Red, this is Helen. This is Red Davis. How do you do? Hello. So you're an early riser, too, huh? Yes. Well, the fog's clearing up. It looks like we're going to get some sun today for a change, huh? Yeah. Well, I guess I'll be getting back. I think I'll try and catch a few more hours of sleep. Well, so long. Oh, say, say, Jimmy. Yeah? Say, Jimmy, I have to take my wife over to the nursery today to pick up some plants and stuff, you know. And I don't have a trunk on my car. I wonder if you'll let me have yours. You have to drive me over to Malibu this afternoon, Jimmy. Yeah, yeah, I'd forgotten. I better. Well, you can drive over in my car. How's that? What do you see? The brother of yours thinks I'll wreck that beautiful car. Good. Isn't that, Red? OK, then I'll be over about noon.  Well, I won't be home at noon, Red. All right, I'll meet you at the entrance to the park. The entrance to the pier. How's that? Oh, all right, Red. Well, so long. Well, if I didn't, he'll go to the department looking for us. And you don't want any policemen over there, do you? Of course not. We've got to get out of here fast. We'll go along the ocean. The fog cleared up rapidly. It was almost eight o'clock, and some kids were already out on the beach playing around. Then I saw a group of early picknickers. They were unloading their blankets, umbrellas, and things. I guess it was from them I got the idea. From seeing them. Jimmy, your gas is pretty near on empty. Yeah. You got any more coupons? No, they're all used up. We're going to have to do something soon. I know, Jimmy. We can't go back to the motel with the painters there. And we can't leave him in the car. Red's lab will see us and pin us down to using it. There's only one place left. Where, Jimmy? Helen, listen. I'm going to let you out of this car. You can't help me with what I've got to do now. No, Jimmy, I'm staying with you. Don't argue, Helen.  Get out of this car. Do you hear me? Jimmy, please. Now get out. I won't do it, Jimmy. Yes, you will if I have to push out. Jimmy, you're hurting me. There. Now go back to the motel. Get off that running board, Helen. I can't leave you alone, Jimmy. I want to help you. I'm not blaming you for killing him, Helen. But now you've got to help me do as I say. What, Jimmy? What? I don't blame you for what you did. He deserved it. But now you've got to help me handle things. Jimmy, you've got to let me... Goodbye, Helen. Jimmy! Oh, Jimmy, don't leave. I watched her out of the mirror. She kept calling me. I drove on as fast as I could. I knew what I had to do when I was one chance in a million. But I had to take it. And I didn't want her to be part of it. If I could keep him on the beach that whole day, then maybe I'd be able to get rid of him when night fell. I wanted to drive further along, but I was afraid I'd run out of gas. So I settled for a deserted strip of beach, not far from the motel. I had my swimming shorts and a blanket and a towel in the car. And I got out. I looked around carefully. And then I opened the luggage compartment.  But I... I started taking his clothes off. I managed to get my shorts onto him. Lucky we were pretty near the same size. And then I... And I closed the door. And I went out onto the beach and I spread my blanket out on the sand. And then I went back... Went back for him. When there were no cars inside, I carried him over where I'd spread my blanket. And I placed him onto a face down with his hands folded over his head, as though he were just sunbathing. Then I... I spread my towel out a short distance from him and I laid down on it. And I... I tried to look relaxed. People didn't start to arrive until about an hour later. And gradually little groups of sunbathers started to form. He and I, we looked no different from the others. No one paid any attention to us. I was beginning to feel that everything was going to be easy once it was dark again. But... Oh, hello, Mrs. Gordon. Isn't she in the apartment? No. What time did you go out this morning? I couldn't sleep. Didn't Helen come in at all last night? Yes, she did, but she left early too. Said she was going into Los Angeles. I was so worried about her. Well, the painters came, Jimmy, and everything's a mess. I think I'll sit down here with you a while. You're not with anyone, are you? No. No, I'm not. Goodness, I wish I brought along some oil. Looks like it's going to be a hot day. You know, these days of start-off foggy are very deceiving. Yeah, yeah, they are. This is a real treat for me, Jimmy. I never get out on the beach. I think I'll have a nice day of rest and re-change. Later we can get some sandwiches. The treat's on me. Well, Mrs. Gordon, I hadn't planned on spending the day at the beach. Oh, it'll be good for you, Jimmy. Not healthy for a boy your age to be working all night and sleeping all day. But, Mrs. Gordon, you see, I... Jimmy? Which one? Why that one right there? Well, no, I don't know him. Well, he's lying so still. His back's going to get an awful burn. Yeah. Well, do you suppose he's asleep? It isn't good to sleep in the sun, you know. Mrs. Gordon, do you think that the painters will be finished by this afternoon? Huh? Oh, well... Well, I hope so. My impression can get an awful burn in a day like this. You know, someone ought to speak to him. Mrs. Gordon, wouldn't you like to go for a walk? Oh, I'm not one for walking. You go ahead if you like. Come on, Dick, pinch it over here. Oh, those kids. You children, stop that. Don't stand all over me. No need to play here. There's a playground over by the pier. Now you just get away from here. Now they'll get what's coming to them. Mrs. Gordon, sure you don't want to get some sandwiches or something. I'll just stay here and... Not until I see those two hoodlums get what they deserve. Why... Gee, I'm sorry, Mrs.... Ball's right in the crook of his arm. He's pretending he's asleep. He's not going to hand it to them, but just wait till they reach for it. He'll give them something besides their ball all night. I don't know what to do with him. Well, nevertheless it did. And then she started moving toward him. I knew it was useless to try and stop her. And then she reached over and put her hand on his back. And suddenly she was screaming. And someone called the police. I wanted to run, but I knew that would be the wrong thing to do, so I just stayed there, numb-like, watching things. When the police came, they started questioning everybody. Mrs. Gordon was first. Why? Why? He'd been there all morning. I came early and he was here already.  Was there anyone else around when you arrived? Around? Yes, Jimmy was here. He was here all alone with him. Weren't you Jimmy? Yes, yes, I was. Doesn't anyone know this man? Do you know him? I told you kids to keep away from here now. Did you hear me? We discovered him, didn't we? Who when you see one? The child's right, officer. Now just look for yourself. It looks like powder. Something flaky.  Recognize him? Well, I've never seen him. Officer! Why that blanket he's lying on? Well, it's from my motel. See, it's stamped right under where you moved his hand. Oh, for yourself. See, it says seaside motor cabins. Yeah, yeah, yeah. And you're sure he wasn't registered? Well, I'm positive. What else around here from your motel? Jimmy, look. Here comes Helen. Look, she's crying. Mrs. Gordon, I ask if there was anybody around here from your motel. Huh? What's that? Yes, yes, Jimmy Barton here and that girl. You see, she's his sister. They've been with us for several weeks. Jimmy, what have you got to say, Jimmy? And suddenly everyone was looking at me. And at Helen, as she ran towards us, like a fool, I started to run too in the direction to ward her off. I didn't get far, however. Someone caught me with the arm. Jimmy, before you... Don't say anything, Helen. Let me do the talking. Don't say anything. When you forced me out of the car this morning, you said you didn't pay me for having killed him. Helen, be still. Don't... Jimmy, I didn't kill him. I thought you had. I was helping you get rid of him because I thought you've done it. I'm sorry, kid. He'd been taking something again. He was like crazy. And I knew there'd be trouble when you came home from work. So I got out the back way and I went looking for you on the pier. When I couldn't find you, I went back to the motel and I found him on the floor. I thought you... But Helen, why didn't you say so? You didn't give me a chance, Jimmy. You just took it for granted that I did it.  That's what I'm trying to tell you. Nobody killed him. What are you talking about? I went to the motel a while ago to wait for you. I remembered about Phil last night. Strangely, he'd acted.  And then I saw the gas heater, Jimmy. There was a sharp edge on the top of it with... he must have fallen. He must have. Oh, but Helen, we've no way of proving that. There was something else, Jimmy. The wall above the heater was scratched as though someone had clutched at it to save himself from falling. There might be fingerprints. There might be. Wait a minute. Plaster! Plaster! Hey, Red! That flaky stuff you found under his fingernails that might have been plaster! And it was. Well, that's about it. Everything checked back at the motel and the autopsy showed he was full of dope. But I guess it was really Mrs. Gordon who saved our necks for us. Besides talking so loud and so long that they'd probably acquitted us just to get rid of us, she did dig up a witness who'd heard Helen and Phil quarreling and seen Helen leave alone after he threatened her. Well, everything's all right now. Helen and I are beginning to forget but it's Mrs. Gordon who's making quite a nuisance of herself on the beach these days as she goes along poking all the sunbathers and asking if they're... they're sure they're all right. And so closes the Dead of the Night starring Robert Cummings. Tonight's study in Suspense. Suspense is produced and directed by The Fair. If you are one who does not yet know how much and how delightfully Roma wines can add to your meals, well, let me urge you not to miss out any longer on such a treat as this. There's nothing complicated about it. Just get and serve Roma wine with meals or any time in any kind of glass you wish. Try the many different kinds of Roma wine until you find those you like best of all. Try Roma California sherry with its wonderful nut-like flavor as an appetizer. Then hearty Roma burgundy or the deliciously delicate Roma sautern with the meal. These superb wines make even the simplest meal a feast. Yet they cost you only pennies a glassful. Get some tomorrow. And if your dealer is temporarily out of Roma, please try again soon. Ask for R-O-M-A Roma wines. Remember, more Americans enjoy Roma than any other wine. Next Thursday, same time, you will hear Charles Lawton as star of Suspense. Presented by Roma Wines R-O-M-A. Made in California for enjoyment throughout the world. This is CBS, the Columbia Broadcasting System.


And sometimes when you watch these debates on television, you know, you get a reminder, a stark reminder. Whether it's a political debate, a spiritual debate, you know, a debate about the environment or the ozone layer or about the oil in the Gulf or whatever, you know, if you feel like there's a sense of being, your energy is being dissipated or going down, down, down, down when you're watching, it's because you're just giving your mind over to this very idea of debate. Why would it have any meaning unless there were all these values placed on the words and positions and opinions? Why is it so important to take a stand? Because what occurs to me is that when you said the word sustenance, like for me, you know, I think of the the core part of the physical world, it's food. And so how do we make sense of that, say in a famine, for example, that people are dying? Are we saying it's because they're not connected to spirits, so they're not giving their sustenance spirits, so they're not giving their sustenance? Or are we saying that even being connected to spirit, you might experience, you know, earthly death and not have the physical sustenance. And if so, then maybe wouldn't the last filter be, like, being willing to die? Like being willing to give everything, isn't it also like a letting go or a... Death is a belief, so the last filter is, it's just, as we said, pure trust. And in pure trust, there's only life. There isn't the opposites of what we call life and death. So with the people dying in the famine, that's them experiencing death only because they believe in it? Well, it's kind of like when you watch a movie. I remember one time a friend of mine was watching this movie and she came home and she started telling her family, I was out today, and she said, Julia Roberts died today. And they said, Julia Roberts died? You know, the family was very concerned and interested. And she said, yeah, I just got back from the movie theater and Julia Roberts died.  It was just her character. You know, there's a distinction, we would say, in motion pictures and when we talk about there's actors and producers and writers and directors, and it's play acting.  It's a film representing the strife and the starving children or the war in this part of the world or whatever. It's a representation. It's a symbolic representation, but it's not an actuality. And so the deeper you go into spirituality and you start to realize, I mean, there have even been filmmakers like one out here in Hollywood, off Hollywood kind of, Henry Jaglam, who used one movie that he made, Venice Venom, to explore what is difference, what is real life, basically, with this question. He does a lot of movies and he has a lot of people over to his houses and there's a lot of emotions and dramas and both.   He makes his own script as he goes along. He doesn't have the script for the actors to act on. He simply does improv, improv, improv with filming, filming, filming and then, oh, you're going to get cameras. He actually did a movie which was exploring what is real life, what is real. The actors were saying, I feel more alive when there's a camera coming on me, but I know that can't be so. Camera doesn't make life. And the deeper you go into spirituality, you start to realize that everything that you perceive, even though the world will make a distinction between something that really happened and something that didn't happen, something that's fact and something that's fiction, you get a deeper sense that all perception is fiction, that it's all symbolic and it's all symbols. It's not like there's some things that are actual things and some things that are symbols of actual things. Or like with thought, I think it was Plato who came along and asked the question, if there were no red objects in the world, would red still exist? These are the philosophers that come along and ask these kind of questions, you know. If there were no red objects in the world, would there still be red?  If a tree falls in the forest and there's no one there to hear it, does it make a sound? These are like good philosophical questions that actually need to be asked, because we're getting at the nature of perception. So when we ask the question, say, if someone dies or someone seems to be starving, dying of starvation, what does that say about their minds? And we could say that where all this is heading is it's heading to the awareness that everything is mental. In the sense that what this awakening will show you is that everything is mental and everything is an idea, that this is a world of ideas and that what we call manifest reality is not reality at all. There is no distinction between thought and form. Jesus has to build his whole workbook on making the connection between thought and form. He starts off with his first three lessons are about perception. Nothing I see means anything. I've given everything I see, all the meaning he has for me. He works his way up to number four. These thoughts do not mean anything. Now he's talking about thoughts. First he's talking about perception, then he comes with thoughts. Then he comes back with five, six, seven, eight, nine. Perception, perception, perception, perception, perception. And then number ten, my thoughts do not mean anything. You can see he's trying to meld everything together and show the last filter


What's up everybody? Jason here for jaspyskatesbreaks.com. We're giving away a $2,500 mystery dozen spot with this 2020 tops chrome black two box break random teams numero uno and again guys the way this works is first We're gonna do the break you guys are gonna get a random team in the MLB will randomize customer names and teams And we'll distribute the hits out of the two tops chrome black copy boxes Then at the end of the break will randomize only the customer names and just at number one top name Gets the spot in the $2,500 mystery dozen spot giveaway Again, we have two spots straight up left guys and we have to do a couple more fillers But again, you have an opportunity a one and 12th chance to win the top prize Which is a mystery box that includes over $9,000 in Prizes and value I should say so again regardless you are guaranteed something whether you win a spot in The break for a fraction of the price of the fillers or you buy a spot straight up Everybody's guaranteed something where you get either a one-pack or like I said you get the mystery box each pack will also contain a Value of 560 to as high as $2,500 plus and of course multiple cards would be over 2,000 And again, of course the mystery dozen Break is here two left plus a couple more fillers And again contains over 40 items with a combination of value of over 9,000 at the time of packing So again, let's do this break first is break number one number two is already on the website Here's the dice roller. Here's the customer names again. We're gonna do the break first roll Five and a three for eight times one two three four five six seven Jonathan done a bird one two three four five six Seven and eighth and final time Giants down to the Tampa Bay Rays All right guys stick to what you got Team wise I'll quickly alphabetize it and then I'll show you guys Who you guys got really quick before I print out the sheet, but no trades. All right, so there you go So like Burke with the diamond back to the top all the way down to Burke with the nationals at the bottom Nothing man. He's enjoying his days off We'll be back tomorrow Tuesday to Saturday schedule All right, so you guys check out your teams right there Actually, I know the school is maybe like $15 more, but I kind of like it cuz no you do get the two boxes He's locked up in the back is forcing Herbert to Continue to sign with us even though the charters are looking for him They want them in OTAs, you know What up Tyler? Break sold out man I'll be coming up after this. All right, so let's Do the pack first Reese Hoskins you got Brewster grad roll and shogo That is a green I believe tonight 92 out of 99 Ooh, see this is what I'm talking about guys look at that Cal Ripken, Jr. autograph Very nice for the Baltimore Orioles that is going to Josh Yoast So Josh still has an opportunity to get a spot in the break Now for some reason he doesn't still gonna walk away with a nice little Cal Ripken, Jr. autograph Very nice. All right second mucks. So again the next one of this is already on the website guys So you guys want to run it back? All right, we got Nick Solak Verlander and Hunjin read number to one eighty nine and good luck last hit before we do the randomizer We have a Louis Castillo For the Cincinnati Reds Gonna Terry so Cincinnati Reds and Baltimore Orioles right there There you go Now good luck guys switch you guys are here for the switch scenes and give away the spot in the Jasper mystery doesn't break number two So again top name at number one gets the spot Let's roll it and we got ourselves a three and a four for seven times. Good luck one two three four five six and Seven three four seven times. There you go Wow PJ what is going on here? No way Yesterday's filler dude. You were like the top three and Again in this break after seven times you got the top two and all you needed was one Wow Congratulations PJ That is your second win in the mystery doesn't break and Paying a fraction of the price to get in as well. So congrats and again the next one is on the website guys Number two, like I said, you guys want to run that back. We definitely can We have to fill up these three fillers at least plus I believe two more spots straight out to unlock the mystery doesn't break So again guys, let's get another one going just these case breaks calm


Okay, so we're gonna start just for new arrivals. We are talking about Johnson and Johnson, this team. Okay, so why are we all talking about Johnson and Johnson? It's because we are working with this client since like about three years. So for those who doesn't know who is Johnson and Johnson, it's one of the biggest companies in the world. I think in the top 10, found it in 19th centuries and it's selling many kind of medical or healthcare goods. Just some figures, we got like, oops, so we got 65 billions of revenue, so it's quite big firm, 120,000 employees and 250 firms. And we have 1,000 websites running all around the world. Multilanguages is quite a simple websites, but there are a lot of them. And a lot of brands, it's quite a decentralized system, so each brand is quite independent. So there is no central IT, digital department, there is no even regional digital IT department. So the brand, individual brand are very strong. And so we face a problem there. So their problem was three, four years ago. They got like 100 vendors, about 50 different technology running websites. They got, of course, Drupal, but they have Joomla, .NET, Java, everything. And of course, because of all that mess, there was no standards. And the result of that is, the first thing is about the cost. Each project, you have like small website built in Russia, cost them 5,000 euros, but there are also some small website built in US, costing them $500,000 because of crazy idea of big agencies. And there are also so many security holes. They, for example, one day, if you was searching for a brand name, you was actually getting all the customers from the CRM system, emails, quality, performance, in case you're well, no standards, everything was not regular. So that's how it started with us. Guy just Googled us and find us on Google and sending me an email, like saying, guys, I need some Drupal help. And actually in France, I didn't knew that Johnson & Johnson, it's not famous brand. Nobody knows Johnson & Johnson. Everybody knows the brands. And I was saying like, I don't know what's Johnson & Johnson, I said to my partner, another guy called him, what is Johnson & Johnson, biggest company, please call me now and okay. So the needs was quite easy. We need one technology, they selected Drupal. And we also need distribution because we don't want, because all the websites of brands are quite similar, so we didn't want to reinvent the wheel each time. We need a centralized sources repository because we have so many vendors. Anybody, each vendor uses different source control or no source control at all. So we need like central way to see where all the sources are of all websites. Another thing that some of the websites were in flash, some of them had some mobile theme. Finally, we helped Johnson & Johnson in the email region to decide that all every single websites will be responsive design because they are quite simple. They are no need having a mobile theme. So we said, okay, you will do responsive design. Because it's a so big brand, there are hundreds of brands there, people are often contributors, marketing department are moving from one brand to another.  So each time you arrive at new technology, you will have a new back office or no back office or new contacts. So we decided to have a new one standard back office system for every single new website we are releasing. So people moving from one to another, they will not be shocked. Also, because we actually would like to build all the websites of Johnson & Johnson, we cannot. So we decided to audit every single website is released. So we have a lot of agency and vendors providing websites. So we ask them guys, if you provide websites for Johnson & Johnson, please first use Drupal. Here is a git centralized repository when you store your source code and you will be audited by somebody, Acway or Ajax, but anyway, you will be audited. And also what we noticed is there wasn't any process. Somebody will offer a tender and the agency will release some crash design and then we'll go live. Often they was working with some Indian company or big Capgemini, for example, working for them. There are more process, but a different one. So we set up quite one process that actually works from to create a website from zero within this organization. I didn't say that it's good process for everybody but within Johnson & Johnson, it was one. And finally, we need a centralized hosting platform because basically, performance security issues well are also not only related to the code of Drupal but also was related to the hosting company. So we helped them to set up this kind of platform to manage all those websites. So actually the first thing we've built is this kind of distributions installation profile actually with workflow, WeezyWeek, sitemap, CMS, see what I call CMS, it's actually admin team and then content types, standard content types, each brand have products, title, illustration, photos, whatever. We also had some articles about lifestyle sections or things like that. CEO, we finally grabbed not all the recommendation but all standard recommendation within this distribution. So we have like CEO footer, for example, you can change the footer links on each page not globally, small stuff like that. Social sharing, form, security, and we also set up Drupal. And then for each website, we have some custom features, very small of them, probably content types, things like that. And custom theme, of course, because all the websites are different. For the sources, we selected GitLab. We want, I know in the US, they are very GitHub oriented. It might be solution but the private GitHub will cost $25,000 minimum and you haven't, as much as control as you have on GitLab, it's smallest tool but it's easy to use. We also provided for all agencies working with Johnson & Johnson standard single branching model. So actually it's quite standard, not exactly standard like you will find on internet but actually they cannot commit to the production brand, production branch because of audit. So only somebody within Johnson & Johnson can commit on production branch after an audit. We've created a lot of responsive templates, also standard. So even if the look of the website is quite different for each brand, they are all based on the same 30 standard and reusable templates. Of course CSS will change, logo content will change but if the brand decides and have a low budget, they can reuse templates, standard templates. It works quite well, why change? So just an example, those two templates are exactly the same structure, even if they don't look exactly the same. The left is for Vania, the right is for Listerine. So the standard back office as I said previously, we have all these brands and people are moving around and you have also internal support in digital, all around counties. For each brand you have probably five, six, seven websites in different counties. For example Listerine, we have about 15 of them in Spain, Portugal, everywhere. So you have contributors all around the Europe and you probably need to find the same back office. So nothing extraordinary there, but just you have to keep clean up, simplify with your profile, not let them do anything else. How to deal with taxonomy specific layouts for taxonomy or panels or menu because they don't want to dig into admin menu things. So well, this is included within the platform. I think the most important actually is not the technology part because the websites are quite easy. There is nothing, if you take apart each website it's like just two weeks job or maybe okay, one month's job. But when you multiply the number of people you are talking to, the number of vendors, content agency, design agency, CEO agency, digital IT regional, digital local IT from G&J, the brand marketing department, the brand web mastering guys. So you have a lot of, you multiply this by the number of websites. So the standard process is quite important. So we found out that the best way to work is to let the agency, the entire freedom of creation in terms of design because this is what they want to do and the brand wants to be totally independent because often when you arrive to the brand and say, okay, we have a standard Drupal platform, please follow the rules and they say no, my brand is so different. Actually it isn't so different in terms of text but in terms of image and design and positioning they are quite different. So the idea was that we let the agency to create free master templates, what I call master templates is homepage article product and then the tech vendor actually us will make all the declination with all templates like site map and search results and listings and categories with responsive because what we also discovered that there are a few agencies knowing exactly how to do responsive design in the right way but a lot of them think they know and they actually doesn't, they don't know how to do it. So it's easier for us to let them the creative part and we produce the PSD for every single template and then HTML and we test it on all devices. Also what was really important in this process is the very beginning, the specs. Because many of, because the site seems very simple, very easy, many agencies go directly to design, okay, we created you this design and I think this is a big issue because of using the platform and standard content types and standard templates. We force them to create real specification wireframes for each page at the beginning of the project. So we help them to create sketching and wireframes for every single page, showing them a standard, natural website. So this is also something important because if you say, okay, Listerine, look there is OB, you can create the same website but we change everything, they don't understand. So we have to create a demo website which implements all the templates, all the features but in like gray, natural view. So there is no like, it's not shocking for the brand to see these templates and the agency is okay to see these gray templates but they can imagine and project themselves into the new brand website. Another point was the standard hosting. Actually what we contracted with, we didn't contract it but Johnson, Johnson contracted with a hosting company, not important which one is but we based all the platform on iGear which is quite right tool to use when you have a lot of websites to manage because of each brand being totally independent and each local market is totally independent, we cannot easily set up a multi-site system. We have some of the brands like Le Petit Marseille which is a French brand which is a very strong franchise and with strong decision and leadership in France. We can set up multi-site but for many brands each local market are totally independent and then we have to duplicate the websites and to easily duplicate the websites we need iGear because we have a lot of them. I think now we have like 60 websites running this and up growing because we migrating the new websites each day. So what offers you iGear is actually one click site is duplication. We have a centralized view of all websites so you can supervise them all. You're also going quite fast updating the code because when you're correcting one bug or implementing a new feature you have to deploy it across several websites. And you have also quite automated staging and deploy strategy so you can one click deploy from pre-production to product. For just a view for example you have an overview of this iGear back office for one Netherlands listering site so we can back up, we can delay it back up, we can clone the website. For example if you want to create the Belgium version of Listering we just have to clone the website and then the content editors can modify logo, site name, content, et cetera. We can also git pull so we can work with the git repository which is connected to this system. And we can easily create a website from brand new website using one of the installation profile which you see installation profile press for which is a brand clean Drupal or you can use Johnson and Johnson v3, v2 it's kind of different version of the distribution. But now Acquire have signed a global partnership with Johnson and Johnson so we are moving some of the websites to Acquire hosting so it will be quite the same because we have almost the same feature there. So finally what was the learnings of this? Well we are still in the process now it's just three years so the process is much more important than technology is. It's very easy to create such websites like Listering, Vania or whatever but it's much more complicating to deal with agency, local markets and IT departments because of the independence of the brands because of also some political reasons why this brand in Spain want to work only with this agency in Spain we don't know so when you put your fingers on the inside and say you have to use this Drupal you have to do this platform so it's very important to set up a process and also to sell the process to the brands because the brands finally are the sponsors of the projects you cannot just force them I mean within the J&J organization you cannot just force them you have to use this standard you have to sell and explain why it will be better why it will be more interesting more rentable with less cost. Also what we've noticed is that the first figures was very important before websites within J&J the cost was about 100,000 euros and it took them about six months from the initial decision to the real release. It seems very long but actually they have a lot of internal process founding process, project plan process then the development and they have validation, regulatory validation so this is and now we are able to roll out websites within two or three months and within 20,000 euros about or even less if there are clothes of existing websites. What we also noticed is that because you are working within so big organization it's quite complicated to make cost estimates with okay I need a new brand needs a website how much it will cost and you have so many different level of specs and insights so you cannot really make real estimates like standard tender or RFP. So what we find out is that it's much easier to work because these websites are very standard they are not many crazy features we can provide a standard price list for the brand saying okay one template is this amount of money set up of a new website is this amount of money clothing, page of content upload, content translation so we have quite standard we negotiated with the central price list, standard price list and so even it's very easy for a new brand to just connect download the price list and say okay I need 20 templates website with this, this, this, this feature they have a kind of catalog of features and they have a price maybe not the final price but inaccurate price. At the beginning it was quite easy because we were launching like websites, five websites, three websites it was okay but now we are running like 50 websites you notice that the amount of user and user support is just crazy. Guys at AdX receive like 20 calls per day just running websites like I don't know how to upload this article or oh my article disappeared or my homepage is all broken and like 95% is in error from contribution or maybe whatever. So you have to think about the user support because it's extremely time consuming because you are dealing with small overloaded guys which are in marketing department they don't have time to work on the website so they want an answer quickly so they will call you five time in the same day if they don't get the answer. So you have to set up something if you are working with such big companies you have to set up something like ticket based support or whatever they have to pay actually for that because you will need many hours, a lot of many hours to manage all that. Or you can try going with some partners like commerce guys or Acquia for the support but it depends of your capacity. I'm sorry I'm being very fast on that because I actually have a plane in the, so if you don't mind we could start if you have any questions right now because then I could be late and it would be, well not so good session. But anyway if you are still interested in some slides with short version slides you have, they will be on slide share you can follow me and well of course you have to rate this was a mandatory thing so mandatory slide. So if you have questions well just ask them. Yeah okay in terms of the team it's well in terms of G&J it's just not possible to describe they are all kind of teams. We have UK which very organized with project manager IT and we don't see the brand. We have direct relationship with the brands in France but we also have direct relationship with some agency because the G&J local brand don't have even time to think about the website so we have a new direct relationship with the agency almost without G&J. On our side we have about four project managers in a one team so it's organized with one coordinator, one technical and two functional project managers and we have about 10 or 15 developers and also five or six QA because we need QA. So it's a quite big team. Johnson Johnson is a big client for us but we are doing a lot, a lot of websites for them so all around Europe so well that's necessary. Philippa Limchit-Kistion. Okay, well thank you.