we like to do is we like to have fun but one of the problems that we have at the office in particular is that we have a single bathroom this one bathroom services about 15 to 20 people it's across two different teams two companies shared co-working space you can't see the door from where you are so it's it's kind of in that space right there and this leads to a pretty obvious problem like you get up you go to the bathroom someone's in there like oh yeah and so you go back sit down and then couple minutes later we go and you do you repeat this over and over again and it's really annoying and actually is somewhat stressful just a little bit because what'll happen is you're like can I go should I go do I go now do I go later what what do I do so of course we're engineers though so what do we do we buy a pie and then we take an old one of course because we're cheap engineers and then we take a door sensor from element 14 and we slam them together and we build this thing that tells us the door is open because it's so important to know and so this is us running the night haza hey all right so for us this is a this is it's ghetto rigged it's literally taped to the door I untaped it to bring it to you guys so I can show you guys here today but you know this thing is awesome it's it's bulletproof it basically right it was up 25 days uptime you know that's that's cool right for being taped to a wall how much how much can you complain about that so let's see if this sucker is still working hey so this is the rudimentary thing right but and it the pie runs Ruby it's it's just a Ruby binding to the the GPIO pins and it's really simple but come on guys we're rails engineers right why do we stop there we don't want to stop there we never do right so we do start doing ridiculous things like it just so happens to turn out that you can actually go to this if you want all right let's do this so yeah why why stop there so you can actually go to this if you get on the Wi-Fi it'll hit my computer you can't actually go through the internet I tried to do that I wasn't being happy anyways so we can do we can do crazy stuff like see all the different stats that we have so Monday would have been like four visits total I didn't update this database because it's my local machine but you know an hour 25 shortest three minutes whatever you know it's it's a little interesting stats for those who are interested as data scientists any data scientists no okay just kidding but you know we get to see how people come and visit over time and because this is rails 5 we're like why not let's let's throw an emoji chat system into it for fun but anyways so this is this is all this is all rails 5 and so the cool thing is it's very fast right I was hoping to show this over the internet because it's it feels it's just as fast basically and so you know it the door opens and shuts and the beautiful thing is you can notify be notified of the next open so I'm sitting here I don't want to pay attention to this right I want to go do other things and then because it's a JavaScript alert it'll just take over my machine and tell me that I need to go to the bathroom and you're like yes come on guys so this is this is what we you know a little bit of fun that we have doing and so this is this is rails 5 this is action cable and this is how I said go out past we start doing things we take little ideas and we start with them we grow them and so now we're taking rails 5 and we're building a new entire platform with action cable react on the front end and so these are the kind of things that we want to do and so to bring it back I want to I want to show you guys just a small part of it specifically the three main parts of action cable if you've already done action cable don't you know go to sleep this is boring to you but the three main parts of the JavaScript client the thing that consumes it the channel where we sit and wait for stuff to come and then the broadcaster which is the obviously finding the event and sending the actual data so I'm gonna apologize I'm gonna sit down for this particular part and we're just gonna run through it so here we go so with rails we can do something like rails G channel the users connected so can I zoom in a bit how do I zoom in on this command well okay cool let's see how well this works all right is that how we doing someone someone tell me what's going on okay cool so what I want to do here really quickly is just build a simple feature of knowing who's connected to the website if you if you look back at the website my name is Luke Skywalker when you refresh this guy you get a different Jedi name okay obviously why not right okay so using the scaffold we start building the you know just using it and because it's an existing project I don't want to overwrite anything but it'll create two main things for us it's the channel right here as well as the coffee script consumer side but we still have to build the broadcaster side so if I open up okay here we go no this is only gonna okay it's not gonna blow up my directory so I apologize but if we go into the app most of you guys should know this pretty well the new thing of course is the channel folder and then so we can see that I have the chat channel which is the emoji chat I've got the door events which obviously open and close and then now the new one is a user connected so from the user connected we have two basic subscribed and unsubscribe functions everything happens for the handling of the channels in these two inside these inside these files so the main thing that we want to do is when I subscribe I want to stream from something so I stream from a channel name now this is key you have to remember these two things is some channel and users connected channel these are actually separate names but in a lot of tutorials that you read online they they look really similar and so it can get kind of confusing when you're going through it I definitely got confused the first time alright so for this we're gonna say new users and that's pretty much it that's all I have to do to be able to listen in a particular channel so then I need want to broadcast onto the particular channel and so what we've done is with this particular project you get assigned a name when you load the controller so on the home controller I have a set username so I want to broadcast so this so it's action cable that server dot broadcast did I spell that right let's hope so and then the first argument that it takes is the name of the channel so this is like a reddish channel really similar and then we pass it the information we want as a hash so HTML now please don't ever do this of course but I'm gonna do terrible practices welcome let's say at nickname to the channel this is HTML so I want I need to break it and then HTML safe as I said before please never do this in real life let's do something like bolding the name so it's easy to see and then that's that's it that's all I have to do to set up the sending of the data so now I need an anchor point I want it to show up on the page and so my goal is to kind of get it to show beneath the currently connected here no one's connected interesting is anyone trying to get on just kidding no home index so I'm gonna go to the home index and place it in really fast under currently connected so row call sm 12 we use bootstrap obviously let's do a well and then we're gonna do new dash users okay so now have a place to anchor my data that I wanted to go to so the last piece is anyone the consumer side okay so for the consumer side we go into the assets and inside the assets there's the JavaScript folder and then your new folder is this channel folder this is how you consume the particular data so we have the channel that you're gonna sit in the way we broadcast it and anchor to the data now we just need to consume the particular data so inside the channels folder I got to see three same three things like I do with the Ruby side so I'm just gonna go inside the coffee gives me a basic boilerplate and the interesting piece to note when we start it is this name this is what the the WebSocket side the the JavaScript side is using to be able to identify which piece of Ruby code we're gonna be running and it's the name of the model not the channel name that's the other key part that I was hoping that everyone gets feel free to come by and ask me later I actually don't know much just kidding so we want to anchor this particular data append data and then in my home controller I broadcast on HTML so man they did a really good job I just do that and so this is basically all that we need to do to get this all these six people connected and so now what we can do is oh someone else connected so this is what we can do look at that we're basically running WebSockets guys and so this is how you can add different features and yeah so you can consume you can produce information you have to think a little bit differently but this is all I don't I don't know I love this maybe maybe maybe not but and then we can have like emoji war or something like that but anyways okay fun times over this guys so some of the gotchas that we ran into while we were deploying this complication and things that we ran in with that we're gonna be running into later is that you have a production RB and a loud request origins this actually says what website you're coming from this will cause you to not understand why your applications your WebSockets not connecting same with Apache and engine X you actually have to say I'm using WebSockets otherwise it will outright reject it it won't accept the connection if you're looking to do a little more advanced things what we want to do with this originally was we wanted to have this guy running WebSockets as well but it turns out you can't actually directly connect with faith and so because when they built action cable action cables built on top of faith and so you have to use a small protocol that they built for this particular thing and there's a bunch of libraries out there that are already built so you can just leverage them but just know that if you try to connect a basic faith client it'll connect in it'll look like it works but then your your server will just reject you and that's pretty much it so thanks guys hope you enjoyed and yes we are definitely hiring right now we're looking for two in Rails engineers now and then two over the next six months so please come by see me ask any questions come play with the thing I don't know yeah all right so I can the rails for this guy oh it's not rails is running on the Raspberry Pi apologies it's running Ruby so the Ruby side is very simple because this pie is quite slow let's just do oh man I'm sorry I shouldn't show you guys that anyways so this is all it does you do a pin dot we create the pin up above and then you wait for a change on the pin it's just a full it's just a loop a loop true sitting there and it's a blocking loop and then it reads and then it just passes the open and close event all the way back up and we post the event to the web server that's all it does it's James you remember oh pipe I put there we go yeah yeah so actually our our desks are you can't even see the door from the desk or the whole area and we're behind walls and actually the dev team sits up a spiral staircase so the the cost of benefit analysis of going downstairs is very expensive did any other questions guys I don't want to take up too much more


From Hollywood, California, the Lux Radio Theatre presents Barbara Stanwyck in So Big, with Preston Foster, Fay Rae, and Otto Kruger. Lux presents Hollywood. Tonight we journey through a lifetime, the life of a brave and simple woman, her loves, her struggles, her ultimate victory, told under the title, So Big. You'll hear Barbara Stanwyck, Preston Foster, Fay Rae, and Otto Kruger. Our special guest is Mrs. Sarah Delano Roosevelt, the mother of our president. The music of the Lux Radio Theatre is conducted by Louis Silvers. But first, just a word about the splendid product behind this theatre. Our lovely Spene stars have found that their complexion soap, Lux Toilet soap, makes a wonderful beauty bath too. Just a few minutes in a warm tub in a generous lathering with Lux Toilet soap leaves you refreshed and sure of daintiness. The fragrant white Lux Toilet soap has active lather, you know, that removes thoroughly every trace of dust, dirt, and perspiration. Try it for your daily beauty bath. You'll love the delicate clinging fragrance it leaves on the skin. And now, the producer of the Lux Radio Theatre, ladies and gentlemen, Mr. Sassel B. DeMille. Greetings from Hollywood, ladies and gentlemen. One of the exciting things about writing is that writers never know how the public is going to receive their work. For example, Edna Ferber thought so little of her first novel, Dorn O'Hara, that she threw it away. It was published only after her mother dug it out of a wastebasket. Of so big, Ms. Ferber said, I thought I'd written a complete non-seller. I didn't think anyone would ever read it. She was wrong. Hundreds of thousands were fascinated by the book. And tonight, millions more will meet her characters, as Barbara Stanwyck, Preston Foster, Faye Ray, and Otto Kruger bring so big to the air. Barbara Stanwyck was about to play a small part in one of Willard Mac's productions, when he decided that he didn't like her real name, Ruby Stevens. So he and David Belasco created a new one, taking it from all theatre programs pasted on the Green Room Wall at the Belasco Theatre. On these programs were the names Barbara Fricci and Jane Stanwyck. They served to change more than Ruby Stevens' name. They changed her luck. Barbara's, whose home was once an orphan asylum, and who at 13 was wrapping bundles in a Brooklyn department store, was on the high road to brilliant success. For the past several months, she's been working with me in Union Pacific, in which she plays the role of a little Irish postmistress, and proves again that she's one of the really great women of the screen. Barbara starred in the picture so big, and plays the part of Selena again tonight. And we're happy to welcome Preston Foster, a newcomer to our microphone. Preston's boyhood ambition was to become six feet tall and sing in opera. He achieved both. He's six feet two and sang for a time with the La Scala Opera Company in Philadelphia. Preston's new paramount picture is Geronimo. And tonight, we hear him in the role of Dirk de Jong. Faye Ray, one of the loveliest of the screen's lovely ladies, is no stranger to our stage. The last time she was here, we almost prevailed upon her to recite some of her own poetry. Perhaps we'll have better luck tonight. Faye is heard as Dallas O'Mara. Otto Kruger, one of Hollywood's famous importations from Broadway, plays Purvis de Jong. And now for the play. The Lux Radio Theatre presents Barbara Stanwyck in So Big, with Preston Foster, Faye Ray, and Otto Kruger. It is Chicago, 1908. Here in the sprawling, rapidly growing city, Simeon Peake has brought up his motherless daughter, Selena. But Simeon has been shot in a gambling house brawl. Alone in the world, Selena occupies a dreary room in a cheap boarding house, bravely trying to face the blank future, when a schoolgirl friend, Julie Hempel, her only friend, comes at last to see her. So terribly sorry about your father. I came as soon as I could. I know, Julie. And I think it's horrible what the newspapers are saying. Horrible? No, Julie, it's only the truth. My father was shot and killed in a gambling house. But Selena... I never knew he was a gambler, Julie. When he sent me to school and gave me so much, he always told me he was in the market. And he was good to me. I don't care what he was. He was good to me. But Selena, what are you going to do? Did he, uh, did he leave you anything? $70 in a ring? Well, it's not a very big diamond, but I'll never part with it because it was his. But Selena, you've got to live. I can work. Oh, you can't. What kind of work could you do? I can teach. I've already got a position. Where? In High Prairie. I'm to live with a foreman, his wife. A foreman? A class pool, his name is, and, well, I think it should be fun teaching in a country school. Oh, Selena, I think you're being very brave. I'm trying to remember what my father said. That life is just one big show, and the trick is to act in and look on at the same time. And no matter what happens to you, good or bad, it's all velvet. I hope it will be for you, Selena. Thank you, Julie. I hope so, too. Most there now. You can see the house up ahead there. Oh, Mr. Pool, how beautiful it is here. Beautiful? What is beautiful? This, the, the fields, the cabbages. Cabbages is beautiful. Cabbages? Cabbage? But they are, they are beautiful, they're, they're like jade and burgundy. Cabbage. Cabbage. I believe you said you had three children, Mr. Pool. Will they all be my pupils? Eh, no, no, not all, teacher. Why not? Which ones won't? Gertje goes to school, Yozina goes to school, Rolf works by the farm. How old is Rolf? Rolf is twelve. Only twelve? I'm no longer in school. Rolf, he works by the farm. Doesn't he like school? Sure. Well, then why doesn't he call for pity's sake? Rolf, he works by the farm. Well, this is my house. Oh, it's a very comfortable-looking house. It's not very fine. Farmers is poor. Marcia! You're the teacher.  Cabbage, this is beautiful. Cabbage. Would you like it here with us, teacher? Oh, yes, thank you, Mrs. Pool. Sure. Gertje and Yozina, they make good pupils for you. More to eat, Klaus? No, too tired. The best field tomorrow. Well, time to bed down the horses. Oh, teacher, you still think cabbages is beautiful? Cabbages. That's good. He told me what you said. Rolf. Rolf, stop the reading and go to the chores. They're needing good. All right. All the time he is reading like anything. Harry, Rolf, you here and bring in the water. Getting late? What are you reading, Rolf? A book. The last teacher gave it to me. May I say something? Wait, it's a dictionary. You're reading the dictionary. It's got more than a hundred thousand words. All different. Rolf, your father tells me you're not coming to school. Yeah, Pa needs me by the field. Oh, I suppose so, but it's too bad. Are you going to be a former tool, Rolf? Well, Pa wants me to be, but I don't like farms. What do you like to do? I like to make pictures. Pictures? Yes, draw things. Oh, how nice. Could I see one of your pictures sometime, Rolf? I don't show them to anybody, because they might laugh. I wouldn't. I love pictures. Someday you might be a great artist, Rolf. Yeah, but farm work takes all the time. I don't get much chance. Rolf, I have a book called Ivanhoe. Would you like to read it? Well, I don't get much time. Rolf, you work all the time. Don't you have any fun at all? Sure. I'm going to the church sociable next Wednesday night. Are you going? I haven't heard about it yet.  Oh, that sounds like fun. Well, I guess I'd better get the chores done. Good night, Rolf. Teacher. Yes? Cabbage. Fields of cabbages. What you said. They are beautiful. Bath to my feet. Bath to my feet. Remember, the lucky gent gets the fair owner of this basket as his supper partner. Goodness, I had no idea there'd be so many people, Rolf. Better give your supper box to Adam Ohms. All the others are up there on his table. Oh, and look at the size of them. Baskets full, and wine's just a shoe box. Oh, Rolf. Oh, don't you care? It looked pretty the way you fixed it. Oh, excuse me, please. Oh, I'm sorry. That's all right. Rolf, who was that? Well, his name is Purvis de Jong. Oh, I saw him in church the other day. Is he a farmer, too? Well, everybody's farmer's here. I guess he'll buy the widow Parlenberg's lunch basket. She makes eyes at him all the time. She's stuck on him. What about Purvis de Jong? Is he stuck on her, too? Well, I don't know. But all the girls make eyes at him because they say he's good-looking. I bet you make eyes at him, too. Oh, Rolf, don't be silly. I better take my lunch box up. If I can never get through this crowd. Excuse me, please. Couldn't I get through? Oh, would you please let me through? Here, what the... Oh, I'm sorry, but I want to get my lunch box up there. That? Is that a lunch box? Yes, for the raffle. I'm the schoolteacher, Selena Peake. Yeah, I saw you in church Sunday. I'm Purvis de Jong. Oh, did you see me? I didn't think you... Wait here. I'll take your lunch box up. Look what we have here, folks. The Fito Palin Folk's basket. Well, what am I bid? What am I bid? What? Speak up, young men of high prairie. What am I bid? Seventy-five cents. Your hand is on four, so it's seventy-five cents. Who'll make it eighty? I put your box on the table. Thank you. Did I hear you, Pitchette Purvis de Jong? No, he ain't going to. You're not going to bid? Why, I thought you... Eighty cents! Did I hear you say a dollar, Purvis de Jong? Don't miss a chance like this. Are you going to let Roast Doggo for a mere eighty cents? Going, going, soul. The glory of our fallen for eighty cents. Oh, you've lost it, Mr. De Jong. Yeah. How goes it, schoolteaching? Oh, it goes pretty well for the first few days.  Well, I didn't know teachers were judged by their size.  If the pitot's basket was too much for you, maybe this box will do. Oh, dear, it's mine. If you like little ribbons and you ain't feeling specially hungry, it may be all right. But the lady herself goes with it, gents. Miss Selena Peake, that's who. Miss Selena Peake. Well, what are my bid with these lovely little toad-full chains? Five cents. One dollar. Purvis the young bid's one dollar. Purvis seems to be making up. Dollar and a half. Oh, that's Ralph. One sixty. Three dollars. Oh, no, Ralph shouldn't do that. He's only got four dollars, and he's been saving it for a set of paints. Five dollars. Oh, please. Purvis the young bid's five dollars. And ten cents? Six. Six fifty. The cupcakes fell a little. Ten dollars. Ten dollars, gents. Ten points and twice. Go on to Purvis the young. Come on, teacher. Let's get out of here. All that money when you might have been eating roast duck. I don't know. You look so little. They were making fun of you. That's a very foolish reason for throwing away ten dollars.  I thought we went all over there. I can't hardly write at all. Only to sign my name and like that. Oh. Can you read? Oh, only to spell out words. I don't get time for reading. But figurine, I wish I knew. Rhythmic, I can figure some. But, oh, those fellas in the market, they're too sharp for me. They do numbers in their head, like that, so quick. Would you like me to teach you? Huh? How do you mean, teach me? Evenings. Well, what would you take for pay? Pay? I don't want any pay. Oh. I'd tell you what. My farm is near the school. I could start for you to fire mornings this winter and tour the pump and bring in water. And I could come maybe, well, three times a week, evenings to pool's place. Three evenings a week? Well, I'd love to do it. I'd love to. All right, teacher. Thanks. You did all those examples without one mistake. Yeah. It's easy when you know it once. Your English is getting better, too. But you shouldn't say, know it once. Oh, yeah. Once, know it. That's right. Oh, it's you, Ralph. Aren't you going to study with us tonight, Ralph? I've got things to do. Oh. All right, Pervis. We'll go on now. Now, let's see. The square root of 576. It must contain twice the product of the tens by the unit. Ralph, please. I don't know what's the matter with Ralph. It seems that every time we're having a lesson, he... I know. I think maybe he doesn't like it that I come here to study. Oh, that's silly. Why shouldn't he like it? I don't know. Maybe, you know, he won't be mad much longer. Two more weeks is the last lesson. Two weeks? Oh, let's get on, shall we? I'll be sorry. Will you be? Well, yes, I suppose, sir. I've liked the lessons here. In my house, always it's a quiet. Too quiet. Selena... Well, now let's see. Twice the tens, time the units. Add four units to the 40 and multiply the result by four. Selena... Yes? Selena... I don't know how to tell you. Oh, don't look so frightened, Purvis. What is it? I... I want you to marry me, Selena. Purvis. Do you think I'd make a good farm, his wife? A good one for me? I... I don't know very much about farms. I've always lived in the city. You will learn, little Selena. I will be teacher this time. You will keep the house for me while I work the land. Oh, my house, it sort of run down, but I would fix it. Oh, we could paint it, why, Purvis? With green shutters. And I'd put pretty curtains at the windows and plant hollyhock. Go all around it. Selena, you mean you will marry me? Oh, I want to, Purvis. Very much. Oh, little Selena. Little Selena. There's not a farmer in high prairie who will have such a pretty wife. Barbara Stanwyck, Preston Foster, Faye Ray, and Otto Krueger have completed the first act of So Big. They will continue with act two shortly. But first, in this brief intermission, we would like you to meet Betty Gray, a young lady who is going to have a starring role in a June wedding. Right now, Betty is talking to her future sister-in-law, Marion. Honestly, Marion, I'm so happy I could burst and so much in love with Tom. Tom says the same thing about you every five minutes. I ought to be used to it. It's been going on ever since he and you ate your ice cream together at the sixth grade party. Isn't it wonderful? Wait, I'll get my diary. I'll give you a real summary. Look, this is 11 years ago, September 18, 1928. I bet the sixth grade is hard, but I don't care. Tom said he'd help me with my arithmetic. He teases me, but I like him. You had one setback, Betty, in high school. Remember Nancy Allen? Ooh, do I? She's writing this diary. Here, listen. May 15, 1935.  He hangs around that Nancy Allen all the time. I wish I had curly hair like hers. Oh, and Marion, the next day I wrote, I feel better today because I talked to Tom's lovely big sister, Marion.  And she says, with your nice complexion, you don't have to worry about not having curly hair. Oh, dear diary, I certainly hope she's right. I certainly was right. You had beautiful skin then, and you still have it. Congratulations, Betty, on your engagement and June wedding. And congratulations on your lovely complexion. A really beautiful complexion is a priceless possession that every girl should cherish. Luxe toilet soap, the soap nine out of ten screen stars use, helps you keep the priceless loveliness of your complexion, the loveliness that means romance. And remember this.  That's when cosmetic skin develops, with its dullness and large pores and little blemishes. Use rouge and powder all you like, but be sure to remove them thoroughly with Luxe toilet soap's active lather. Use this fine, gentle care before you put on fresh makeup during the day, always before you go to bed at night. Our producer, Mr. DeMille. We continue with a second act of So Big, starring Barbara Stanwyck with Preston Foster, Faye Ray, and Otto Kruger. Three years have passed since Selena married Pervista Young. For her, each day of those three years has begun in the darkness before dawn, and plodded relentlessly through broiling suns and icy blasts with life, love, everything, subservient to the cruel, unending demands of the farm. Selena's dreams of beautifying the place have been forgotten under the crushing burden of daily living. When she can, she helps perverse in the fields, her young son, Dirk, playing at her side. Look, darling, look how big our carrots are and how golden. Aren't they pretty?  Oh, how big is my baby? How big is my man? Oh, stretch your arms wide as wide as you can.  Oh, a big, little man. Lena. Yes, Purvis? Lena, I've told you I don't like you should work in the fields. Oh, but Purvis, why not? You and one hired man can't do it all. The women of our family never worked in the fields, not even in Holland. But the vegetables will rot in the ground. Let them rot. Oh, can't things ever change, Purvis? Putty, putty. Look, look, he pulled a radish all by himself.  No, no, no. What? Nothing. Well, tomorrow we must start pulling the beets. They're ready. You look so tired, Purvis. Why don't you rest? You haven't stopped a minute since four this morning. Vegetables must be picked when they are ready. I suppose so. Purvis, I've been thinking about that West 16 section. Can't we drain it and plant there? Oh, that's clayland. Drain and you have yet got clay. I know, I know. You've got to use tiled drainage and humus, then with potash and fosbrick acid. Well, well, well. The schoolteachers are farmer now, huh? Tell me, little Lena, from where did you learn all about this stroke farming? Out of a book. I sent to Chicago for it. Huh? A book? A book? A stroke farmer out of a book? Why not? The man who wrote it knows all the new ways to farm. Oh, you're running the farm just the way your father ran it. Yeah. But what's good enough for my father is good enough for me. It isn't, it isn't. We're not getting anywhere, Purvis. And Dirk is growing up. He's going to need things. He'll be going to school. Oh, there'll be so much. No, fine talk. A farmer must take what God sends, Lena. And all your books can't change that. Oh, all right, all right. If you won't listen, you won't. Come in, Ralph. How are you? Oh, all right. Wait. You have your best suit on. What is it? I'm going away. Away? Why? I'm going away. There's nothing for me to stay for here. Everything I do, they say it's dumb. They laugh. I know. Where are you going? I don't know. Chicago, maybe. I brought you this picture you always liked, the one I made at the hay market. Oh, thank you, Ralph. I'll always keep it. Oh, but, Ralph, you'll need some money. I have a little saved. Let me get it for you. You must write to me, Ralph, and let me know how you're doing. You know, I want to hear. Oh, and you must work so hard at your drawings. You have a great talent. Here, Ralph, it isn't very much, but... Ralph, where are you? Ralph! Oh, he's gone. He's free. Yes, so big. Isn't it time Pop was home from market, Mom? Oh, it's way past time, and it's such a bad night. I do hope he didn't sleep out in the wagon last night. I told him not to. There's a light, Mom, in the barn. Is that you, Purvis? It's me. Purvis, dear, you're so late. What happened? I had to go by new haram. The bridge was washed out already. Geez, is it that bad, Pop? Oh, you're soaked.  Dirk, put more wood in the stove. Did you manage to sell out, Purvis? Oh, less than half the load. So sick I am of this crazy... Oh, I know.  Oh, I don't know if I can eat. Oh, but you must. It will do you good. What was the matter at the market? Oh, I don't know. When I have carrots, everybody by the market has them. When I have radishes, they have them, too. They rot in the wagons. You remember once you say farm work is grand? It isn't, but I think it could be. Farm work is slave work. Our last night we load the wagon with carrots. From four this morning I drive. I don't make enough. I should buy tomato plants for summer. Oh, Purvis. Why won't you put in asparagus? Oh, asparagus. And wait three years for a crop? Planting is good for ten years. Once it's started, I've been reading up on it. Reading up, reading up. Schoolbook farming, that's no good. It is, Purvis. If you'd only give it a chance. I've tried and tried to show you some new ways. Don't want new ways. The old ways is the best. How can you say that? They are. The old ways is the best. Purvis, you're sick. I feel... bad, Lena. You did sleep in the wagon last night and all the rain. Yeah, yeah. I wanted to... save the money. I beg your not to. Dirk, run and get the doctor. Now go to bed, Purvis. Come. I'll help you. Lean on my arm, darling. Lean on me. Try to get some rest, Mrs. De Jong. I'm all right, doctor. Really, I am. It's been hard on you. I still can't believe it. pneumonia comes fast and it needs a strong heart. And he was so tired. He worked so hard. He worked so hard.  It takes and takes until you have no more strength to give. What do you get for it? What the... Dirk, come here. What is it, Mom? What's the matter? I... I just want you by me. We're alone, Sophie. You're the only man I have. Get up, Ann. Get up, Maude. Are we going to Market, Mother? Just you and me? Well, I can't let my little man go alone. Soon I'll be big enough. Oh, look, Mom. It's the Reverend Decker. He's waving at us. Good afternoon, Reverend Decker. What's this I hear, Mrs. De Jong? That you are going to Hay Market with the garden stuff? A woman alone? No. Dirk is going with me. Mrs. De Jong, the Hay Market is no place for a decent woman. There is card playing, drinking, all sorts of wickedness. Really? But what can I do? Dirk and I must live. Better to stay home. Let the men folks go. But, Reverend Decker, my men folks are going. Get up, Maude.  Dirk, wake up. This is Hay Market. Look at all the people. Oh, wake up, darling. Wake up. Oh, it's like an army, isn't it? An unarmed army bringing food to feed the great city. Oh, now if we can only find a place on the curve for the wagon. Well, right ahead.  Oh, yes, I can. Yes, we can. Where's your man? Here, right beside me. Well, I'll be... Now, women ain't got no business here in Hay Market anyway. Better you stay at home in your kitchen where you belong.  What good does it do to stay in my kitchen if I'm going to starve there and the boy with me? I'm here to sell vegetables I help raise and I'm going to sell them.  He was mad, wasn't he, Mom? Oh, I was much right to this spot as he has. Oh, now, Dirk, we're going to sell. I don't know, darling. They just stare at me and go on. You're making out, Mrs. De Jong. Oh, not very good. Well, no place for a woman here. Morning. Oh, they won't buy. Everything will wilt. Come on, Dirk. Where are we going, Mom? We'll go to Prairie Avenue where the rich people live. Do you remember those big stone houses we saw driving in? Oh, maybe somebody there will buy something. This is the last house so big. The very last one. After this, we'll go home. Hand me my basket, darling. Now then, where's your license? License? You heard me. Where's your peddler's license? You got one? Wait. No. Well, where do you think you are peddling without a license? You know, I've got a good mind to run you in. Now, go on. Get out of here. What's the trouble of? Oh, a woman peddling without a license, Mrs. Arnold. You know, you've got to watch them like a hawk. Get along with you now.   Why are you?   Selena. Why, Julie? Oh, Julie Hampton. Oh, Selena. Oh, my dear. Oh, there, there. It's all right, Julie. It's all right. Oh, my dear. Oh, don't cry. What is it a cry for? Oh, Selena. It's all right. Oh, Julie, it's good of you to take so much interest. Nonsense, Selena. Father always has good ideas. He might have one for you. You want to sell this farm, Selena? No, Mr. Hampton. Good. A few years from now, this land will be worth money. Well, what do you want to do? I want to stay here and make my farm pay. My next bring, my asparagus, is going to bring in money. And I want Dirk to have things. I never want my son to go to hay market. Never. Yes, but what about you, Selena? Me? My life doesn't count except as something for Dirk to use. I want him to have all the worthwhile things in life, all mixed up. Rooms and candlelight, leisure, travel, books, music, people. Work that he loves. Work that's worthwhile. That's what I want for Dirk. And a farm can give it to us. Well, how much money do you need to start the improvements? Oh, Mr. Hampton, I didn't mean to be silly, Selena. Father can well afford it. Well, I... I do need it. But I'm borrowing the money, not taking it. I want to give you an eye on you, Mr. Hampton. A promise to pay you back. That's business, isn't it? Sure, that's business. Well, that's the only way I'll take it. I hope you won't have to hold it very long, Mr. Hampton. You just forget about it, Selena. You deserve a few things for yourself. I'm doing it for Dirk. Only for Dirk. So he can go to good school, so he can do big things in the world. That's what matters. Giving something that will live after you. Building something, creating. Oh, I... I want his life to be rich and full. And I'll work, I'll... I'll do anything. So I can give him all these things myself. And I want to do it all myself. For him. We call this for station identification. This is the Columbia Broadcasting System. This is the Lux Radio Theatre presentation of So Big, starring Barbara Stanmick with Preston Foster, Faye Ray, and Otto Krueger. In a few moments, the curtain rises on act three. Now it's intermission time. Time to hear from the evening's special guest. But just a brief word first about the product bringing you this program. Nine out of ten screen stars use Lux Toilet soap. Such popular stars as Joan Blondel, Madeline Carroll, Claudette Colbert, Irene Dunn, almost every lovely star you can think of uses this gentle, mild white soap to help protect the priceless beauty of her complexion. Screen stars win the hearts of millions. You want to win to hold the heart of one. The same gentle care that screen stars use for their million-dollar complexions will help you keep this smooth, lovely skin that wins romance and holds it. Now, Mr. DeMille. The story of So Big is one of mother love. A mother love so deep and true that no obstacle is too great to overcome in the struggle for her child's existence. There are mothers everywhere like the Selenor of our play. Mothers who, by their silent courage and patient understanding, make life worth living for their sons and daughters. As a tribute to mothers everywhere and deeply conscious of the honor which is ours, we bring you our guest of the evening, the first mother of our land, whose son achieved the goal of millions of American boys and is now in the White House. Speaking to you from New York City, Mrs. Sarah Delano Roosevelt. Thank you, Mr. DeMille, very much indeed. It is a pleasure to be here and a privilege for all of us to hear Miss Barbara Sandwick's lovely portrayal of a fine woman in American literature. As Mr. DeMille has so truly said, Miss Edna Ferber's story is a tribute to the mothers who make life richer and nobler for their sons and daughters by their courage and patient understanding. It is also a tribute to the mothers who make great sacrifices, sacrifices that no mother ever regrets. Without losing their own identities. Without giving up their own interests in life and living. Selina in this evening's play is, I think, a type of mother, a mother who, if I may use the expression, grows up with her children. Many mothers have given all for their children and in giving it sometimes sacrificed the very thing that has endeared the most to their families. In all lands, in all times, mothers have lived for their children. Our American mothers have been able to go beyond this ideal. They do not stop living in the full sense of that word when their children enter into life as independent individuals. For from their children they derive inspiration to make their own lives more beautiful and more interesting. Selina gave to her son the idea of beauty. As many another mother has passed on to her children, that's what she herself most cherished. But Selina also lived up to that ideal in her own life. So remaining young and vibrant and alive through the years and the tribulations of the years, she taught him to find happiness in the place where happiness must first be sought in the home.  And I like to think that she is a prototype of many mothers, a wise and tolerant guide, one who makes the world better not only by influencing the lives of her children, but also by living her own life fully and joyously. All of us may take new heart and courage from Selina. She is not only the symbol of American mothers, but a wonderful example of mothers in this day and generation. Thank you, Mrs. Roosevelt. Well, we have mothers like you that hope for the world. Back now in Hollywood, Barbara Stanwyck, Preston Foster, Faye Ray and Otto Kruger bring us Act 3 of So Big. More years have passed and Selina's son Dirk is now a man. Selina has made good her promise to Mr. Hemple to pay back the money he gave her. And with her farm running profitably, she has been able to give Dirk a college education and many of the fine things of life she always wanted him to have. Now he seems well on his way to a career as an architect. It's late afternoon and Selina is working in her room when Dirk arrives at the farm. At it again, are you? Going through that old chest?  So it was. Your father gave me the Sarbutas. Crest flowers. They went out with a tandem bicycle, didn't they? I suppose they did. And here's the picture Ralph Poole did when he was a boy of the Haymarket. And now he's one of the most famous sculptors in Europe. Oh, and here's your college diploma. Slave and sweat four years for that. And go into an architect's office at 35 a week. Architecture is the most thrilling thing in the world, Dirk. Is it? I've spent the past week drawing washrooms for a glue factory. Oh, but ten years from now. Who knows? Ten years. I don't want to wait that long for success. What do you mean by success, Dirk? To be rich. Make a lot of money while I'm young enough to enjoy it. Oh, no, Dirk. That's not success. Ralph, the thing Ralph does, that's success. Well, if you have money enough, you can buy the things he makes and have them. That's almost as good, isn't it? Oh, Dirk, you don't understand, do you? Listen, mother, I've got to do things my own way, and I'm giving up architecture. Paula Storm says that... Is that the young woman you've been seeing so much of? Well, I've seen her off and on. Anyway, her husband is in the bond business, and I'm going in with him. Bonds? Oh, Dirk, there's no fun in there. Well, it's good enough for me. Five years in the bond business with the right connections, and I'll clean up. You're sure that's what you want, Dirk? Yes, mother. Look, I'm sorry I can't have dinner with you tonight, but I've got an important appointment in town. I understand, dear. Run along. Goodbye, mother. Goodbye. Goodbye. So big. Selena, I'm so glad you came to see me. I got tired of the farm, and when I feel that way, I come to Chicago and just browse around. You look wonderful. I don't know how you do it.  It's from seeing so many things, Julie. You know, you've got to have a vulgar curiosity about people and things to get the full flavor of life. That's the trouble with Dirk. He keeps revolving in the same circle of friends, over and over and over. He's doing very well, I hear. He's making money. And very popular. Invited everywhere. I suppose so. Don't be unhappy about him, Selena. If that's what he... Oh, but it isn't good enough for him, Julie. Yesterday that society editor in the Tribune called him a playboy. That isn't what I worked in the sun and cold for, pulling vegetables, planting. Oh, I'm not reproaching him. I don't mind the work, but I don't want my son to be known as the playboy. Not my son. He ought to be a little more careful. He's seeing too much of Paula Storm. Paula Storm? People are talking. Oh, that's the woman who got him to give up architecture. I asked her the other day if she was going to divorce Storm and marry Dirk. She said no, she hadn't enough money of her own and Dirk wasn't making enough. Dirk's salary is thousands. But she's used to millions. Oh, Julie, he's on the wrong road all the way, isn't he? A dead-end street. I can't stop him. He won't listen. I can't do anything. All these years I've always found a way and now I... I can't do anything. Well, the deal's as good as closed, Dirk. I played golf with Jackson yesterday and sold him solid. Good work. A whole hundred thousand? All of it. My hat's off. Miss O'Mara is here, Mr. Deong. Oh, yeah, send her in. Hell, I'll run along. You don't have to. Just an artist to do an advertising picture for me. Probably some crazy female of 40 with a bundle of drawings under her arm. And I know I'm going. I'll see you at the club. I'll be around Saturday. Going to try polo. Good boy. Mr. Deong, Miss O'Mara. You're Miss O... Well, please sit down. Thanks. Now, Miss O'Mara, this drawing we want is for a national advertising campaign to get women more interested in bonds. Appealing directly to them. I see. Now, my idea was something like this. Aren't you hiring me to get an idea for the drawing and to draw it? I suppose I think about it for a day or two and work one out. I think you'll like mine better. Oh, I see. How much do you... How much would you expect to get for a drawing? $1,500. Well, that's ridiculous. I'm sorry. But that happens to be my price. Anyway, it's been nice meeting you, Mr. Deong. Now, wait a minute. Of course, if that's your regular price, I suppose we could pay it. Could you? Still, $1,500 is a lot of money. I think so, too. I remember when I used to get 25 cents for sketching hats. And now you've arrived. Your success... Arrived heavens, no. I've just started. Who gets more money for a drawing than you do? Nobody. I suppose. Well, then?  Goodbye, Mr. Deong. When you get something definite worked out, may I see it? Sure. Drop around to my studio in about a week. I'll be there. Thank you. Mother, sit down. Well, this is an honor. At last you visit my office. I hadn't seen you for so long. I thought I'd see you where you work. Well, how do you like it? Oh, it's very fine, isn't it? How are you, Dirk? A bit all in at the moment. The boys at the university club are trying to make a polo player out of me. I know. You ache all over. A nice kind of ache. I used to feel like that when I'd worked in the fields all day. Oh, Mother. Oh, you didn't like my saying that. I'm sorry. I didn't say it to annoy you, dear. I know you didn't. Oh, Dirk, I saw in the paper that Ralph Poole is in America. He's coming to Chicago. Yes, Paula. Mrs. Storm's giving a big reception for him. He's doing all right, I guess. Yes, he is. Dirk, just what is it you sell behind this big mahogany desk of yours? Bond's mother, you know that perfectly well. Dirk de Jong. Bond salesman. The way you say it, it sounds like some low criminal pursuit. I make more in a month than I made in a year as an architect. And what are you going to do with all this money, Dirk? Why don't you marry? Well, there's no one I want to marry. No one who's free, you mean? I mean no one. I see. Well, I must go, dear. Goodbye, so big. You haven't called me that in ages. Oh, Dirk, are you ever going back to architecture to your profession? No, mother. And I'm a failure. Oh, that's nonsense, mother.  I know, I know. But, Dirk, you can't deserve it like that. To deserve what? Beauty, self-expression, whatever you want to call it.  Someday you'll want her, and she won't be there.  Someday your wayward son will be a real success. Wait till the millions roll in, then we'll see. Yes, Dirk. We'll see. Like it? Oh, it's grand, Alice. Well, now that the picture's finished, I won't have any excuse for hanging around your studio. But maybe you'll still have dinner with me. Go places. Of course, Dirk, why not? Dallas, you know I'm in love with you. I could give you a lot of things you haven't got. Sorry, Dirk, but you'll have to send them by express. I'm going back to Paris in a few weeks. Paris? What for? To study. I want to do portraits in oils. Dallas, is it because I'm a successful businessman that you don't like me? But I do like you. You know what I mean. Must a man be an artist to interest you? Oh, good heavens, no. No, someday I'll probably marry a horny-handed son of toil. And if I do, it'll be the horny hands that'll win me. I like them with scars on them. You know, there's something about a man who has fought for it. A look in his eye, the feel of his hand. And I haven't got that. There isn't a mark on you, Dirk. You quit being an architect because it was an uphill, disheartening job at the time. Or I'm not criticizing, but... But if you'd loved it enough to struggle, to fight for it, why, that fight would show in your face. But you're all smooth. I like them bumpy. Now, that sounds funny. Oh, never mind. I know what you mean. Oh, that must be Rolf. Rolf Fool? But he's supposed to be at Paula Storm's reception this afternoon, right now. I am myself. But I'd much rather see you. Well, so would Rolf. Hello. Oh, Rolf, it's so good to see you again. Same Dallas. You haven't changed a bit, even to the smudge on your face. Well, I've been working. Rolf, this is Dirk De Jong, Mr. Pool, Dirk. How do you do, sir? Dirk De Jong. Why, say, don't you know me? I'm Rolf Pool. I've heard a great deal about you. Oh, but I mean I'm... I knew you when you were just a kid. You're Selena's Dirk, aren't you? My Selena. That's right. Where did you and Dallas get to know each other? In Paris. Rolf and I took the town apart and put it together again. We certainly did. Do you remember the time we crowed the sun up under the octet hill?   I thought you were to be at Paula Storm's reception this afternoon, Rolf. I couldn't go it. Hate that sort of thing. I'm taking Dallas out to meet your mother. Yes, Rolf told me all about her in Paris. She must be wonderful. I've asked you to let me meet her, but you never did. Oh, I meant to, but I just never seem to get around to it. Come with us, Dirk, will you? Sure I won't be intruding. No sense. It'd be grand. Come on. The White House with green shutters. That was always Selena's green. It smells clean and earthy. Somehow it makes me feel as if I were in a church. Look, here she comes. Just as I've imagined she'd be. Still slim and straight. Plodding across the field in that old gray sweater and that battered felt hat. Isn't she magnificent? Mother, I've brought company.  She recognizes me. Only she can't quite believe it. Yes, Selena. It's really me. Rolf. You did come to see me. I came to America mostly to see you, Selena. And why wouldn't I? Everything I know about beauty, you taught me. I only helped you find it.  Selena, this is an old friend of mine, Dallas and Merah. I've been waiting a long time to meet you, Mrs. De Young.  Dirk has told me so much about you. Rolf, let me look at you. The little boy I used to know. A famous sculptor. You've done all the big men in Europe, haven't you? Well, there are a few left. Do think of it. You've seen the world and you've got it in your hand. Little Rolf pool. And you did it alone, in spite of everything. What are you smiling at? I just remembered... cabbages are beautiful. I still think so. Oh, Rolf, I must show you something. Your picture of Haymarket. Do you still have it? Do you want to go to Dallas? No. Let her have it all. Oh, Dirk. She's what I mean when I say I want to do portraits. Character portraits of great people. Like your mother. Like mother. Yes. Her fine, splendid face, all lit up with the light that comes from inside. The jawline, like that of the women who came over in the Mayflower or crossed the continent in a covered wagon. Her eyes. And that battered, gorgeous old hat she wears. And her hands. She's beautiful. Yes. She really is, isn't she? And I see what you mean about me. Do you, Dirk? I suddenly feel very empty. It's not too late. Dallas? Shall we go inside now? I want to say goodbye. I knew somehow that you would reach the high places. For a fine life you've had to Selena. A full life and a rich one. And successful. I? Why, Rolf, I've been here all these years just where you left me when you were a boy. I, well, I think the very dress I'm wearing might be the same I wore then. I've been nothing. Done nothing. Seen nothing. When I think of all the places I was going to see and all the things I was going to do. You've been everywhere in the world. You've seen all the places of great beauty and life. You remember you told me your father had once said when you were a little girl that there were only two kinds of people who really mattered in the world. One kind was wheat. And the other kind was emeralds. Your wheat, Selena. And your emeralds? Goodbye, Selena. Goodbye, Rolf. I'll see you soon again. Yes, Dirk. Mother, I've made a decision. And I want you to know I'm going back to architecture. Oh, Dirk. There's something you have, mother and Rolf and Dallas too. I never realized till this afternoon just how much I'm missing. Oh, so big. I'm so glad. But I need your help, mother. It's going to be a long, long road. But a good one, Dirk. Full of beauty and living. And in the end, you'll find that you possess all things for you will have carried them with you all the way. After hearing Edna Feber's story and the performances of our cast tonight I think another appropriate title for the play might be so great. My compliments, Mr. Foster, Miss Ray and Mr. Kruger. And I can pay you no greater tribute, Barbara, than to say that you reached and held our hearts as surely and so big as... well, as you do in Union Pacific. And having pulled the pin in our play, shall we hit the stovepipe? What? What is this all about? Oh, you'll have to humor, Mr. Demille Preston. We've been so immersed in that picture of his Union Pacific that you can't help giving up now, and then in railroad lingo. You recognize it, but can you translate it, Barbara? Certainly. It simply means that the play is over, but let's go ahead without stopping. Correct. Now I suppose I owe you another nickel. Well, now it's my turn to ask questions. What's going on? Well, let Mr. Demille explain. You see, Fay, since Barbara's been working for me in Union Pacific, I've spoiled her by giving her one of the new Jefferson nickels every time she plays a scene flawlessly. And it's cost me a fortune. I'm applying all your beautiful nickels, Mr. Demille, to the purchase of a pair of skis. Skis? Well, I know you ride a horse, Barbara, and since Union Pacific, you obviously can ride a railroad. Yes, I've heard that you once rode an elephant for Ziggfield, but how good are you on the mahogany runners? Well, I'll let you know after I get back from a trip to Sun Valley. Skiing will be practically tobogganing for me. What are you planning, Fay, an epic poem? Who? Me?  Oh, let's hear some. Don't let them gang up on you, Fay. Just a line or two. All right, here it goes. Of the sea, of the soul, of the stars, I love to sing.  You're an ornament to literature, Fay. But Fay would be ornamental if she never wrote a line. Oh, now, thank you, Preston. And I want to thank you, Mr. Demille, for asking me back to the Lux Radio Theater again. This theater has become more than a radio program, Mr. Demille. It's become a definite part of Hollywood. And so has the product that's responsible for our being here tonight, Lux soap. About every actress I know uses it, Mr. Demille, and that speaks volumes and praise of it. Screen stars just have to keep their skin smooth, and I'm very grateful to Lux soap, Mr. Demille, to its makers and to you. Good night. Good night. Good night. As we say on the radio, Fay will line the lines. Louis Silvers appeared through courtesy of 20th Century Fox Studios. Music for their new film, The Little Princess. Be sure to listen to the new Lux daytime radio program, The Life and Love of Dr. Susan, the story of a courageous woman in search of her destiny. You can hear it over most of these stations in the United States every afternoon, Monday through Friday, at 2.15 Eastern Time, 1.15 Central Time, 3.15 Mountain Time, and 2.15 Pacific Time. This new daytime program, The Life and Love of Dr. Susan, comes to you in addition to the Lux Radio Theater. Mr. Demille. In the screen's entire history, only a handful of pictures can match the tremendous popularity of our play for next Monday night. That great romantic comedy, it happened one night. It won more Academy Awards than any film before or since, for production, direction, and for the performances of both its leading lady and its leading man. And these two superb stars will repeat their classic roles for us a week from tonight. Clark Gable and Claudette Colbert. And with them, Walter Connolly and Roscoe Carnes. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Claudette Colbert and Clark Gable in It Happened One Night with Walter Connolly and Roscoe Carnes. This is Cecil B. Demille saying good night to you from Hollywood. This is the Columbia Broadcasting System.


Hi and welcome to People's Dispatch. Since the beginning of the COVID-19 pandemic, Cuba has been at the forefront of initiatives of international solidarity. It has sent medical brigades to 22 countries to assist in the fight against the coronavirus. And all this time it has also been receiving threats and harassment from the US and its allies. So in this context, a group of human rights organizations and social movements across the world have launched a campaign to award the Nobel Peace Prize to Cuba's Henry V medical brigade. So to learn more about this campaign, we're joined today by Midia Benjamin. She's the co-founder of the US peace organization Code Pink and the co-chair of the US campaign for the Nobel Peace Prize for Cuban doctors. So hi Midia, thank you so much for joining us. Hey thanks so much for having me on. Awesome. So first we're wondering if you can kind of talk about the campaign itself, why is it being organized and who's organizing it? Well I first came to this wanting to be part of the campaign when I saw, not on US TV but on, I think it might have been on Al Jazeera, a picture of the Cuban doctors arriving in Lombardi, Italy, which was the most infected part of Italy from the coronavirus and seeing this wave of these healthcare workers getting off a plane arriving in Italy being applauded by the Italians waiting for them and then the interviews that were being done with them when they talked to the doctors about why they were putting their lives at risk and weren't they scared? And I remember one doctor saying, yes of course we're scared but this is our debt to humanity, we are supposed to be helping people when they're in need and the Italians are in need and so we are here to support them and it was just so beautiful and brought tears to my eyes and I thought wow and then I read that there was a small solidarity group based out of France called Cuba Linda that had proposed that they get the Nobel Peace Prize and I thought wow what a great idea and reached out to the National Network on Cuba where one of the co-chairs, Alicia Ojeco, is already involved in this because it had been proposed by some other groups like in Greece and said yes great idea let's be the US committee for this campaign and so we started out gathering lots and lots of endorsements from all kinds of individuals with like from Nobel Peace Prize winners in the past from writers, artists, people in the academic world and we have gathered together now there's over 10,000 people who have signed up on this. We have a new website called Cuba Nobel like Nobel Peace Prize Cuba Nobel.org where people can join and we have a very extensive social media plan on all the different platforms to get people talking about this to make them understand just how beautiful this program is and also to counter the kind of sabotage that the US has been doing against this particular program now and against Cuba's healthcare system in general and of course Cuba as an island since the revolution in 1959. Yeah of course and just in terms of what has this brigade done in term amid the COVID-19 pandemic you mentioned they went to Lombardi, Italy we've you know we've seen reports of over 20 countries that they visited so what has been the impact of this medical brigade what has happened because they've been able to travel there what wouldn't have happened I don't know if you can talk a little about that. Well it's amazing the lives that have been saved we're hearing testimonies from people on the ground in these countries about how thankful they are to have the Cubans there not only to treat them on an individual basis but to help them in trying to stop the spread because Cuba is very experienced at this kind of thing I remember being in Cuba when there was the dengue fever and they went around to every single house including where I was living to look was there any stagnant water that could be a vector for mosquitoes they know how to do this kind of thing and so having the Cubans there to help them with a program to encourage them to not be waiting for people who are sick to come to the hospitals but to actually go out house by house and take people's temperatures see how they're doing explain to them the importance of washing their hands of going to the health care clinic if they have any signs of a fever and so stopping to spread the disease is something they're doing and just for people to understand how what parts of the world they've gone in they've gone into many parts of the Caribbean itself places like Belize Antigua Barbados but they've also gone to places far away like in Africa to Angola to Cape Verde we already talked about them them being in in Italy but they've gone to just really all over the world and it's remarkable that the first team has already come home one brigade that was in Italy and they've been interviewed extensively by the Latin America press and telling their stories about how they work day and night how they are so committed to the local people and the local health professionals trying to leave them in a better state than when they arrived in terms of passing on their knowledge about how to deal with this and I forgot to say that Cubans were this brigade particularly is so knowledgeable because they spent time in West Africa during the Ebola outbreak they were I think the largest foreign contingent that was in West Africa and this was at a time when the world knew nothing about Ebola except that it was a really deadly disease and the Cubans spent time there were the first in and the last to leave and they are doing the same thing now around coronavirus now that's really amazing and despite all of this very heroic work that they're doing all of this really life-saving solidarity work they've continually received attacks from the United States from its allies you know really vicious character attacks so I was wondering if you could talk a little bit about that well first I want to explain that there is this Henry Reeves brigade which by the way was named formed in 2005 and was named after an American Henry Reeves who went to help the Cubans in their independence fight in the late 1800s and the first thing that it tried to do was come to help in the United States after the Hurricane Katrina but Bush would let them in so there is this contingent of thousands of doctors that are part of the Henry Reeves brigade that goes in during emergency times and disasters but then on top of that there is a large contingent of tens of thousands of Cuban health professionals that go to work overseas particularly in places that do not have access to doctors in rural poor areas of many different countries and so you take in both of those together the Cubans are serving millions of people around the world and some of those teams of doctors go for free when they're going to countries that can't afford it and some of them are paid either by the country itself or by UN entities that help to cover the costs and this over the years has become an important source of income for Cubans it's a real win-win situation where people are getting good health care by trained professionals and the Cuban government gets to keep a portion of the salaries and put that back in to the Cuban health care system which by the way trains these doctors for nothing and also provides health care to not only their families but all of the Cuban people for nothing so it and in addition it's a voluntary program where the Cuban doctors want to go in large part because they want the experience they want to help but also because they make a lot more money than they would in Cuba even with the Cuban government taking a portion of that salary so the US has seized on this and said aha we want to cut the income coming to Cuban whatever ways we can cut the tourism in income by making it harder for Americans to travel to Cuba cut the income coming from remittances by making it harder for Americans to send money and putting a cap on how much they could send and then the Cuban doctor program was attacked by the Trump administration and so what they have done is called this program a form of human trafficking that these doctors are like modern-day slaves because they don't get their full salaries which is absolutely ridiculous and they've gone so far as to introduce legislation in Congress as you can imagine some of this these attacks are coming from right-wing Congress people and senators in Florida because a lot of this is about votes in Florida in the upcoming election where the Republicans want to ensure that they're going to get the votes from the right-wing Cuban-American and Venezuelan-American communities so there is now legislation that says that countries that accept the aid from Cuban doctors should be sanctioned and we see that the US strong armed three countries in Latin America Brazil Bolivia and Ecuador to expel the thousands of Cuban doctors who had been there before coronavirus supplying the country with much needed medical assistance and when they turned to more right-wing governments in those countries one of the first things they did was expel thousands and thousands of Cuban doctors so this really cuts into the income for Cuba and of course makes it harder for people to receive medical treatment if you could talk about the history behind the Henry Reed medical brigade you mentioned it's named after an American doctor where else has this brigade been operating any sort of stories you could tell about this really heroic brigade well this brigade has been traveling all over the world when there are earthquakes for example one of the first things it did back in 2005 was go to Pakistan when there was a devastating earthquake I mentioned that they went to Haiti after the earthquake there and while some teams of doctors from other countries did fly in as well to help the Haitians they left immediately where the Cuban doctors stayed and they stayed when the UN team that was in Haiti spread unfortunately a cholera epidemic and the Cubans stayed there to treat the Haitians during that time and they have been going to countries where the US doesn't even have I mean where the Cuban government doesn't even have good relations for example in Honduras and right now they're in Honduras helping around coronavirus when there's a government that is very hostile to the Cuban government so it's an example of how for the Cubans it's not about who is in power it's about helping the people and that's why time and again when there have been disasters in the United States the Cubans have volunteered to send in health brigades that have been rejected by the US in fact in the Native American reservations in the US they have asked for Cuban doctors to come and we also should say that the Cubans have the largest medical training school for internationalists in the world and again this is a tiny country of 11 million people but their medical training school has trained I think about 35,000 doctors coming from over 100 countries many of these countries poor countries but they also trained doctors from wealthy countries like the United States where students coming from poor communities are not able to get into medical schools and this training school in Cuba is absolutely free the entire thing room and board everything the only commitment is to go back to your country and work in underserved communities and so you find during this coronavirus American doctors who were trained in Cuba who are working in hospitals in some of the worst hit areas like the Bronx so it's amazing how the spread of this tiny little country of helping to train and send health professionals has saved millions of lives around the world and instead of attacking it like the US has done and I mentioned the program to try to strong on governments not to take the aid from Cuba but it's also programs trying to get Cuban doctors to defect when they are working in those countries and offer them all kinds of amenities to come and live in the United States and it's also a program with our US tax dollars to pay for journalists to seek out dirt on these doctors to be able to put out stories saying how bad these programs are so instead of looking at this as the marvelous program it is and emulating this and sending American doctors around the world I think we would be much more loved in the world if instead of sending bombs and heavily armed soldiers we would send doctors but unfortunately instead of learning from the Cubans and modeling something after that program the US has continued to attack them and just finally if you could talk about some of the next steps in this campaign how can people support this initiative yeah it's a very exciting campaign the website again is cubanobel.org but it's also we have are launching it on facebook on instagram on twitter with the handle cubanobel we hope people will sign the petition tell their friends to do so help us in all kinds of other ways we have in terms of educating people on social media about the campaign in terms of countering the sabotage attempts from the US government countering the kind of legislation that is being introduced in congress and all kinds of ways like concerts that we're helping out to thank the Cuban doctors when they return home so there's all kinds of creativity that is coming forth in this campaign and we encourage people to join us and in this time when folks are so depressed about the future of the world and where we see so many horrible things happening in our countries on our streets to be able to work on a positive campaign that's inspiring and uplifting is something that is good for all of us at this moment of difficult times yeah thank you so much for joining us Medea I think that's a way of time for keep watching people's disgust


Hi everyone, Joe for jaspyscasebrakes.com coming at you with a random number block randomizer for the following teams right here. Four, pick your team five, which is sold out and that break's gonna be in a separate video. But let's do this number block first. Those are the instructions right there. If you're new to this, check it out on jaspyscasebrakes.com. Big thanks to these folks for getting into it. There are the numbers right there. Let's roll it, let's randomize it. Three and a four, lucky seven times. One, two, three, four, five, six and seventh and final time. After seven, we've got Nick Stober down to Corey, Corey S. Three and a four, seven times. Four of the numbers, good luck. One, two, and seven and final time. After seven, we've got eight down to three. All right, so Nick, you have number eight, Travis with nine, Aaron with two, Matt going for zero, so you'll get any and all redemptions for all those teams down there in that tab, including one of one redemptions, but Aaron Pettit, you'll still get live one of ones. Aaron, you also have four, Jeremy with five and seven, Aaron with six, Corey with three. Sort by column B and coming up in a different video will be separate video, will be the break itself. We'll see you for that, jaspyscasebrakes.com.


FlexBasis is one of those properties that people sort of kind of maybe get but it's also one of those don't ask me to explain it things. So in this video I'm going to be breaking down FlexBasis and trying to get to the bottom of how it actually works because when we use FlexBasis as a replacement for width for flex items sometimes it might have some unintended consequences. Hi there my friend and friends thank you so much for coming to join me once again and if you're new here my name is Kevin and here my channel I help you fall madly deeply in love with CSS and one of the best ways to become less frustrated with something is to go from the wishy washy hand wavy it works sort of if you do this distrust me to really understanding how something works so you can use it properly. So let's jump right into the code I have a code pen opened that is right here and I have this really simple example we're going to be using just to really understand what's happening because the simpler it is in a situation like this I think the more it makes it actually understandable even if it's not necessarily a super realistic situation obviously. So the first thing is I have set up a row here any column here because we're going to be playing with flex direction a little bit. Before we get more too much about that though we're going to say that both my column and my row have a display of flex on them and we're going to see the first thing that happens is the items in there shrink down so when we do a display flex items go from being the width auto block level elements that are just stretching and filling all the available space to having a width that's more like content size and that's because of the flex shrink that is on by default so they shrink down to be as small as they can possibly get to with the content that is inside of them and just to help visualize things and separate them we'll throw a gap on there as well perfect. So with that in place what we can do is come down and we have the column here I'm going to switch that in a second but first let's put a width of 200 pixels on here because this is something people will often do and there we go we can see they actually have a width of 200 or we can do 300 or whatever we want you set a width and it works and this is for my flex item so the flex item is in both of these we see them right there. So they're getting the width that I'm telling them to get and that's because when we use a display flex as I said they'll shrink as small as they can get based on their content size my width here is what is declaring the content size so they want to be 300 pixels now because they are flex items they can actually shrink below that but for the most part that's like the ideal size it's how big they want to be as long as there's available space for them and if I go and I set a flex basis here basis nothing actually changes it looks exactly like width and if I make that 200 now they will be 200 pixels wide and so this is where flex box and a flex basis gets that well it's just width for flex box don't use width use flex basis because it's what you should be using because they're flex items and as I said that does not tell the entire story so let's put this back up to 300 and just for fun let's make this a width again and if we don't have a flex basis set flex basis the default is going to be auto and so as soon as something is a flex item it will have a flex basis on it and it will have a flex basis of auto that auto means actually just go and look at what the width is so an important thing there is the it's sort of based on the width but not all the time we're going to get there it's kind of weird though but that means if you use width width is going to work how you expect it to because the flex basis is getting that value from there anyway the spec on how flex basis auto work works has changed over time but that's basically what's happening at this point now where things get different is when we change the flex direction though and watch this if I have width 300 on both of them and I change the flex direction nothing major happens the only thing is now the stack on top of each other because that this is my column so flex direction column each one is an individual row now we've changed the flex direction so they stack instead of going next to each other where things get interesting is instead of having a width here if I make this a flex basis things are going to get a little bit weird where look at that what just happened and there's quite a few things that just happened first they they got really wide but they also got really tall why is this happening I'm not going to worry so much about why the width has stretched out but the height of them is now hit 300 because of the flex basis here and the flex basis is based on the main axis so on this first one over here these are getting a width of 300 and on here the flex basis is a height of 300 because when we change the flex direction we're changing the main axis along with that so the main axis goes from horizontal to vertical so flex basis changes between the two of them and that's why I said that sometimes it doesn't tell the whole story and you often will get unintended consequences when you play with set values on your flex basis property and sometimes you might want this behavior there are very few situations that can come up where you actually want to play with that and for the layout it works that you're setting it as a height in this situation but a width in this other situation but 99 percent of the time I think that's not actually the case and you're probably better off leaving flex basis as auto and setting a width of 300 and I wouldn't even set really a width of 300 but it's probably doing what you want it to in this case and what's interesting is if I set a height of say 300 here even though the flex basis is auto or maybe it will make these 200 just so they're not squares the flex basis of auto here is going to use height when it's this way and it's going to use width when it's this way so you're just basically setting a width and a height and nothing too strange is happening and it's going to behave in a very consistent way that you're used to rather than potentially changing things when you change the flex direction and there's nothing wrong now maybe instead of a width of 300 or a height of 200 and things like that they're not necessarily realistic in this situation but I wanted to show that it's consistent at least between the two different flex directions and what's important here is it's fine to set a width or a height if you need one I generally don't do that but maybe I'm going to set a min height and we could do that and have a min height on our flex items so if they need to grow they're still allowed to grow in height and the other thing with that actually with the min properties is if you do have a width and even let's let's change these back to a flex basis flex basis of 300 pixels so it's going to get all funky again and I set a max width of 100 pixels and I set a max height of 100 pixels that's actually going to overwrite the flex basis because max heights will overwrite just like a max height or max width will overwrite them a width or height it will also over it clamps things it stops things from getting bigger than that so the flex basis is always sort of the ideal size it's not the finished final size because even with the grow and the shrink with flex box you know the size that you're setting something isn't really set in stone because flex box things are flexible and they're still squishy and stuff so max heights will overwrite it and min sizes will also overwrite it so if I do a min width of 500 pixels then that is the smallest it can actually get to and min always takes precedence over max which takes precedence over width height or our flex basis in this situation now there are times we can take advantage of flex basis and one of the common ways that you actually see people doing that without even realizing it is when they just set a flex of one on something to get even columns as you can see these two are turning into like even columns and I can add more in there and the reason for that is it's actually setting a flex grow on them so it's allowing them to grow but it's setting the flex when we do this it's setting the flex basis to zero and so they're actually getting as small as they possibly can and then the flex grow is coming in and allowing them to grow so this is sort of manipulating flex basis in a way that you might not have realized which is kind of interesting and works really well for doing that type of very quick column type thing when you need something simple like that and if you do want to dive deeper into the world of flexbox and really unlock it and understand everything that is going on with it and deep dive how all of these things are actually working I have a four hour long course dedicated just to flexbox content it is called flexbox simplified and it includes understanding how it works taking these things and using them in actual examples looking at common layouts that we can build and you can reuse from one project to the other and if you're interested in that it is linked just down below and with that I would like to thank my enablers of awesome Jan, Johnny, Michael, Mr. Dave, Patrick, Simon, Steven and Tim as well as all my other patrons for their monthly support and of course until next time don't forget to make your coin on the internet just a little bit more awesome


Arnold Blasquez from Spain. I am an astro-article physicist working on CTA. Currently, I am doing my PhD at the Institute for Political Physics in Madrid, Spain. As a researcher, I specialize in Iron, Geo-Astrophysics, focus on cosmology. I am working on dark matter detection with gamma rays. That is one of the most intriguing mysteries of modern physics, mounting up to 25% of the total energy content of the universe, but whose ultimate nature is still unknown. We have several proofs of the existence of dark matter, mainly due to its gravitational effects, but we keep working to unveil what it is. Although dark matter is not expected to be seen in any wavelength, some of the most popular models offer indirect proofs of it. For example, the weekly interactive massive particle, or WIMP, predicts the self annihilation of dark matter into known particles, such as quarks, which will also emit gamma rays in the process. These gamma rays can be detected by CTA, and therefore, can favor or rule out these hypotheses. Another popular model are actions, particles which transform into gamma rays and vice versa in the presence of magnetic fields. Again, CTA could detect these gamma rays and constrain this possible dark matter model. Many dark matter models have been constrained over the years with different gamma ray experiments, such as the Fermilat Space Telescope, MAGIC, HAIS, or VERBITAS. Each of these experiments have different sensitivities and cover different energy ranges, while CTA will improve the sensitivity of all of them and become complementary in certain energy ranges. With CTA combined with all these instruments, we will probe all the interesting parameter space for the dark matter models, with an impressive resolution which can finally shed some light on the nature of this cosmic puzzle. Believe it or not, astrophysics is much more present in our daily life than we think. Technologies such as microwave, GPS, or CCD sensors from digital photography have been invented or developed in the context of astrophysics. Of course, astrophysics tries to answer fundamental questions, but in the process it needs cutting-edge technology, which directly impacts and improves our lives. Being a PhD student can be very different from other kinds of jobs. Many friends have more typical jobs with a fixed routine and shadow. Being a PhD student is more dynamical or flexible, although, of course, it can also be more stressful, like everything it has pros and cons. But you have the feeling to be working for yourself, because in the end, the better you do your job, the better PhD you'll get, so it's a very rewarding experience. Are we getting a future? That's a forbidden question for a PhD student, of course. It is very uncertain, and I would like to continue in that kind of world, but, of course, it will depend on the available offers. Well, actually, I was very interested from a relatively young age in studying physics, probably due to lots of sci-fi movies and video games. When I started at university, the Higgs boson had just been discovered, so everybody was pretty excited about it, and we all wanted to study particle physics and become part of it, etc. But as I learned more and more about astrophysics, I became more interested in it. I actually finished my baccalaureate degree and started my master's degree without a clear idea of what to focus, either astrophysics or particle physics. But, fortunately, I met my PhD supervisor who taught a subject called astropharticle physics, which I didn't know existed and combined the best of all the words. CTE is a huge collaboration of over 1,000 people, coming from almost every part of the world, with very different and diverse backgrounds. For a PhD student like me, it is very exciting to be able to work with so many people, from PhD students to senior scientists. It is an incredible opportunity to learn lots of new things, and different kinds of fields.


Apple pushed back down. I'm gonna take a little long position in Apple here and I'll scale into it if it comes down to that pivot. 116 calls, 10 days expiration, I'm doing the 116 calls in Apple. Let's do 10 contracts to start. 272 is the price. Got filled at 272. So looking for a little bounce in Apple, I'll scale into more size if it pushes down to this pivot. Had the higher volume bar here a couple bars ago and then it pushed past that. So could be a decent entry. Amazon's got, so Apple's starting to bounce a little bit. I'm gonna put in an order to close half my Apple. See, I got in at 272. I'll put in an order at 292 to close half my Apple. If it keeps bouncing. Filled an Apple for half my position. Still got half left. We are on our second green bar here. I'm gonna put in an order to scale out of a couple more of my Apple contracts. Put in order up at 295 if it makes a quick push. I'll be scaling out of the rest anyway near the close of this bar. All right, filled in Apple. So I've still got a couple left in Apple. Got three contracts left in Apple. All right, so Apple, I'm gonna put in a closing order for the remainder at 305. See if it makes one more nice push for me. All right, this bar is getting ready to close in Apple. So I'm gonna go ahead and close out the remaining amount. Drop my order to three bucks. See if it gets hit. Filled in Apple. All right, so I'm out of Apple. Nice little winner there.