From Hollywood, California, the Lux Radio Theatre presents Spencer Tracy and Faye Rae in the Sinclair Lewis drama, Arrow Smith. Presents Hollywood. Our sponsors wish to thank you for your splendid support of our products, in appreciation of which they bring you these Monday night productions. Headlining our program tonight are Spencer Tracy of Metro-Golden Bayer Studios and Faye Rae. John R. Kisinger of Huntington, Indiana, the United States Army Private who risked his life that a cure for yellow fever might be found. And Terry Hunt, the man who keeps the screen stars physically fit. Lois Silvers conducts our orchestra. And now, here's our producer. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. I like Sinclair Lewis' description of himself. I'm just a country hick, he says, living on a farm. And every time I leave it, I get into trouble. In non-conforming literary thunderbolt for many years, Mr. Lewis won the Pulitzer Prize for Arrow Smith, but turned down the $1,000 as a protest against what he called the restrictive terms of the award. The son of a physician, with a grandfather, uncle, and brother, also doctors, it's easy to understand why Mr. Lewis turned to medicine for the background of his story. Before writing Arrow Smith, he spent many months in a New York medical center doing research. There he met the famous biographer of medicine, Dr. Paul Decryffe, and with him traveled through the West Indies on a tireless search for color and material. Tonight's presentation is based on the magnificent screenplay and stars Spencer Tracy in the title role. Mr. Tracy commands an unquestioned position as one of the finest actors ever seen in motion pictures. For his appearance here, we thank Metro Golden Mayor Studios, who next present him opposite Joan Crawford in Mannequin. I'm also delighted to present, in the part of Leora, a girl with one of the most enviable records of hit performances in Hollywood, beautiful, talented, unspoiled, Ms. Fay Rae. Helen Wood is heard as Joyce, Frank Riker as Dr. Gottlieb, and John Qualan of the original cast as Novak. Now the curtain vanishes, and the Lux Radio Theater brings you Arrow Smith, starring Spencer Tracy and Fay Rae. The Zenith Hospital, somewhere in the Middle West. At the end of a long corridor of student nurses on her hands and knees vigorously scrubbing the floor. From the elevator comes a young doctor just out of medical school. He steps along briskly, pardonably impressed with his brand new degree. As he passes the nurse, she splashes water onto the floor and into the cuff of his trousers. Hey. Oh, I'm sorry. Why don't you look where you're slapping that water? You got me soaking wet. Well, I didn't mean to. Never mind now. I want to find Ward D. Can you direct me? I could. Yes. Well, if it isn't interrupting your work. This isn't my work. Nurses aren't supposed to scrub floors. The superintendent caught me smoking a cigarette. You go back for Ward D. Turn right and then left. I've been informed that the first duty of a nurse is to stand when a doctor speaks to her. Oh, gee, I've been getting fresh again. Oh, I didn't know you were a doctor. It may interest you to know that I'm assistant to Dr. Gottlieb at the university. And then I'm on my way to Ward D to take a strain of a very dangerous microbe. And after I've done what I came to do, I'm going to report you. Look out for the pal- Oh. Oh. You shouldn't go around kicking over pales. Now you are wet. What's your name, please? Aerosmith. Say, you know you're not reporting me. Oh, gee, there I go again. Well, scrubbing floors just makes me rebellious. And being rebellious naturally makes me fresh, and there you are. I'm sorry, really. My name's Leora Tozzi. It's a silly name, isn't it? What's wrong with it? I kind of like it. Oh. Do you? Well, thanks. Uh, uh, when can you get away for dinner? With you? I've decided to overlook reporting you. How about tonight? Well, I... I don't mind. What time? It's told us. Geez, at the headness. You will telephone me the patient's temperature every hour, and I'll look in again at seven. At seven.  Uh, yes, uh, doctor, at, uh, seven. We got the same results every time. The injected rats lived and the others died. That's what gives you the check, see? Yeah. Yeah, I think so. You're really interested in research, aren't you? Oh, it's the only branch of medicine. You get to feel that when you work with Gottlieb, prevention of disease, tracking down the microbe and finding out what'll wipe it out. It's worth ten pounds of cure. Yeah. I wish I understood more about it. I guess I was a little too technical before. I'm sorry. Oh, no, I liked it. You made me feel intelligent. Well, at that, I guess you've got to get used to hearing my ideas. Am I going to hear lots of them? You're going to marry me. Well, you don't tell me. Oh, yes, I do. Well, now you know, I shouldn't wonder if you're right. Of course, it's pretty early in the game to be dead. Sure, but I shouldn't wonder. I guess you're pretty self-centered and pig-headed.  I wasn't being funny. I didn't think you were. I meant what I said. I hope you did, because I wasn't being funny either. Good morning, Dr. Gottlieb. Oh, come in, Martin. Come in.  You're leaving? Yes, I have been called to the McGurk Institute in New York. But I shall do only my own research. The McGurk Institute is the greatest scientific plant in the world. I'm very happy. I should think you would be, sir. I'm very happy for you, too, Martin. I have arranged to take you with me as my assistant. Oh. You will have opportunity there. Well? Dr. Gottlieb, you're the greatest man I've ever known. I'd black your shoes for you. But I can't go to New York with you. Why, Martin?  I'm going to get married. Oh.  I've got to go into practice after all. Practice? Practice. Give pills to ladies and hold their hands for them. You. You who have the stuff in you that makes scientists. Well, that's how it is, sir. Oh. Who is she? Leora Tozer. She comes from a little town in Dakota. We're going back there. It's not much of a place. But I'll be the only doctor for 30 miles around. Well, I know better than to argue with a man in love. You'll be a very bad doctor for a while. And then you will find your way back to the laboratory. Let me know when you do. And wherever I am, I'll have a place for you. Thank you. No, no, no. Good luck to you, Martin. And I wish you happiness. What is it, honey? Look what I found in the attic. Paul's old prince, Albert Cote. Hey, you don't expect me to be married in that, do you? I certainly do. And you can wear it when you make your calls. Oh, but Lee, darling, I'm a country doctor.  But you're the biggest man around here. You've got to listen to folks' troubles and help them out. You've got to mend their bones and settle their domestic problems and pull their teeth all in one day. You've got to see that the milk's pure and the meat's fresh and the backyards are kept tidy. That's what being a country doctor means, Martin. Oh, Dr. Erasmith, I'll be so proud to be your wife. 366 human souls in this town, all depending on me to keep them fit. Oh, Lee, sweet, I didn't know a man could be so happy. Now, the doctor isn't in. Yes, yes, I'll tell him. Good night. Is that you, Martin? Oh, Martin, you're drenched. Come in. Here, let me take your coat. It's all right. Oh, the little weller girl. Is she better? She died an hour ago. Oh, Martin. God leave was right, I guess. I am a rotten doctor. You mustn't say that, Martin. You did your best.  Oh, but I didn't know enough. That was it. It's happened before. It'll happen again. Please, darling, don't talk like that. I should have operated tonight. Any other man would have operated, but I didn't. I waited too long. They won't blame you for it? No, that's the trouble. They don't blame me.   I'm not God. I can't work miracles. Martin, listen to me. You've done well here, darling. You mustn't let one case discourage you. Try to remember the other and the people you've helped because they remember, and they love you, Martin. I'm not discouraged, Lee. I guess I've just stagnated. That's all I've been doing the same thing day in and day out for three years, stitching cuts and setting bones and prescribing for crooks and coals. It's got me, that's all. Martin, it's my fault, isn't it? What are you talking about? I never should have asked you to come here. I should have let you go on with your research. That's what you wanted, wasn't it? Oh, darling, don't be silly. I've tied you down. Come here, come here.   I'll get it. Oh, hello, Novak, come on in. Thanks. I want to speak to you, Doc, if you've got a few minutes. Sure. Evening, Mrs. Erasmith.  Her? Oh, she's fine. The doc fixed her up good. What's on your mind, Novak? Well, it's my cows, Doc. Your cows? Yeah, they're sick. Last two, three weeks, I lose 12 cows. All my cattle sick. Well, look, Novak, I'm not a vet.  But I don't know anything about cattle. Well, what are you doing for them now? Well, the state vegetarian, he come. He give them what he call serum, but he's no good.  What does he say it is? He call it black leg fever, but it don't do no good to call it by name. All I know is pretty soon is time to settle some cattle to pay mortgage on my house. And pretty soon, I got no cattle left to sell. That's why I come to you, Doc. But Novak, I... Please, Doc, you come. Please, hmm? All right. I'll be over at your place in the morning. Oh, thanks, Doc. You help more, right? You fix them. I know that. Good night. Good night. Good night, Mr. Novak. Cattle. Well, that's a new one, isn't it? Still, it might be something I could... What did he say it was? Black leg fever, I think. Black leg fever. I wonder if they've isolated the germ. Martin, don't you think it's time you went to bed? You've been working with this serum stuff all day. Research, honey. Turn off that boiling water, will you? Your research has made an awful mess out of my kitchen. It's my laboratory now. Gottlieb used to say that any man who really wants to find out things can make a lab out of toothpicks and a piece of string. I use pots and pans. Yes, Mrs. Bull just phoned. She says her back is worse again. Ah, tell her to go out and hold potatoes. Martin. I'm busy. But, Martin, you can't throw over your practice for a lot of cows. It isn't the cows, Lee Sweet. It's the fun.  Please, I'll be pretty busy. I was right, Lee. Look at this. Yes, Martin. That vet serum wasn't any good. Yes, Martin. We'll try mine in the morning. Yes. I'll take it over to Henry Novak's and shoot it into half his cattle. Yes, Martin. If they live and the other half dies, we'll know we've got something. Yes, Martin. What's the matter? Are you tired? Yes, Martin. Poor Lee. Well, that's five days, Novak. Not a new case yet. Not a one, Doc. By golly, Doc, I think you better be state-wed around here. I'm sorry about the ones that died, Novak. Yeah. Well, you should ought to have shot your stuff into them, too. No, no, no. That's where you're wrong. You see, the ones we gave the serum to were all right, the ones we didn't give it to aren't. But you have to try both ways when you're experimenting. That's how you find out which way is best. Yeah. Well, I ain't kicking, Doc. How much I owe you? Oh, not a cent. Forget it. It was just for fun. Pretty good fun for me, all right. Hey, look. It's the state vet. He heard about your stuff, Doc. Where is he? Hi, Doc. I've got a couple of live cows over here that might interest you. Nothing you've got but interest me. And I want to tell you, young fella, I'm state vet.  So keep clear of these cows or you'll land yourself in a pack of trouble. Oh, I see. I didn't know it was like that. I was only trying to help. Yeah, you did, Doc Lawn. He's all right. Sure he is. Yeah, you're getting to be quite a vet, Doc. Yeah, best in town. I'll be back on the stomach aches now, though. That's where you belong. How's that? I say the stomach aches is where you belong. Now, I hate to say anything, Doc, but you've got a tone in your voice that I don't like. It's about time you understand.  If you think you can discredit me and then hold me up. I'm not holding you up, I'm giving you this. Well, this is what I'll give you, my fist, see? Listen, I'm a scientist. When I see a scientist's job, I can do, I do it. That's what science is. Now, if you don't want any black leg serum from me, don't take it from me. Take it from the government. I've sent my reports and samples back to Washington already. You dirty. Go on, Doc. Go on, Doc. Go on, Doc. Yeah, sure. That's science, too. I've found my line now, and I'm raring to go. You can find me at my house, Doc. Any time you've got any more differences to settle. Martin, open it up. I'm so excited. You've never had a letter from New York before. It's from the McGurk Institute. Listen, we have been watching your work on black leg fever. May we offer our congratulations. Dr. Gottlieb has recommended you for a position in our experimental laboratory. Good old Gottlieb. May we hear from you soon. Yours truly, Dr. Adi Witt-Tubbs Director. What do you think of that? Martin, you're going to accept it? Why, of course, we're going to accept it. But it means giving up everything, just on a chance. Oh, but Lee, darling, it's the chance we've been waiting for. We've got to take it. Of course, if you want to. I'm going to love New York, darling. Clued act one of Erasmus. Before Spencer Tracey and Fay Rae go on with act two, we go backstage in Hollywood for a moment to a projection room at one of our famous studios, where a director, his secretary, and an agent are watching the screen. I can't very well put that girl in the middle of a chorus scene. Why not? What's the matter with her? Look at the close-ups. Look at her skin. But the girl can sing. Joe, I haven't time. I'm late now. Come around sometime. I'll talk it over with you. I'll be on set three, Ms. Sherman. Well, of all the silly things, right? No, Joe, take it easy. It's too bad, but, well, I should think a girl like her would have known about Lux's toilet soap. She looks as if she has cosmetic skin. That's a very smart crack. No, Joe, I mean it. Seriously, she has those little blemishes and things. It comes from not getting makeup off thoroughly. The pores get all choked up, and the skin gets so coarse-looking. Say, I didn't come here to get a lecture on skin culture. Well, you're getting one. You'd better tell some of your talented new singers about Lux's toilet soap. That's what the movie stars use to guard against cosmetic skin. Hey, listen, that girl can sing, and no director can tell me otherwise. Me either, Joe. The chief himself complained about her complexion. Why, what good is a voice? Well, maybe you're right.  Ask them. They'll tell you that they use Lux's toilet soap regularly, and that its active lather is what keeps their skin so swell. Well, I'll remember that. And so are the women, I hope. Back to Mr. DeMille and our play. Spencer Tracey and Fay Rae continue in Arrowsmith. With a keen anticipation of glory still to come, Arrowsmith turns eagerly to his first love, the research laboratory. In the impressive corridors of the famous McGurk Institute, he walks slowly along with his old friend, Dr. Gottlieb. The old man's arm is about his shoulders, and he smiles delightedly at the young scientist. So, Mark, you found your way back to me, huh? Just as I said you would. That's right, Dr. Gottlieb. And you have come on your own feet, too. That was a good piece of work you did with those cows of yours. You have earned your position here. Yeah, yeah. And I'm glad, very glad. Good morning, good morning. Dr. Arrowsmith, I presume. Yeah, yeah. Arrowsmith, this is Dr. Tubbs, our director. Oh, how do you do? Allow me to welcome you, doctor. It's always a pleasure to- No, no, no, no, no, not now, please, Dr. Tubbs.  I want to show him his laboratory. Well, of course. Good day, Arrowsmith. Good day, Dr. Tubbs. Here, come in, Martin. Well, this is your laboratory. You like it, huh? Like it. This will be better than giving pills, eh, Martin? Dr. Gottlieb, do you really think I know enough to work here?  But succeed? Succeed? Ah, yeah, yeah, yeah. I know that word. It is a word little schoolboys use. Now, let us be clear, Martin. You will do your own work here and have nobody but yourself to satisfy. You will learn to work twice as hard as you can, and then when you get stuck, well, I have a fine collection of detective stories in my office. Oh, come in, Terry. Tubbs is looking for Dr. Gottlieb.  Arrowsmith, this is Terry Wicket. He is a roughneck, but a good scientist. You like him. How are you, Arrowsmith? How are you? Well, see you later, Martin. And now I go and smooth the feathers of our ruffled director. You brand new, Arrowsmith? That's right.  Well, frankly, I'm very impressed. Yeah, I was too. This place was built to impress people. Wait till they start giving receptions for society. You'll love it. You don't, evidently. I'm a scientist, not a teacup juggler. But I got my lab and a chance to work by myself. I can put up with almost anything if I got that. So can I. You'll be all right then. Keep plugging, that's all. And don't let Tubbs Pokey's nose in too much. Well, let me know if I can help you with them. Sure, thanks. See you around. God, please give me clear eyes and freedom from haste. God, give me anger against all pretense. God, keep me looking for my own mistakes. God, keep me at it till my results are proven. Martin, what are you doing? Oh, nothing much, I was just thinking. Are you ready for dinner yet? Are you ready for dinner? Martin, what's the matter with you? For weeks you've done nothing but sit around and stare at things. It just scares me to death to see you this way. You won't be scared much longer, Lee. What do you mean?  I've been at McGurk two years and I haven't accomplished a thing. I'm worse at science than I was at doctrine. You mustn't say such things, Martin. It's going to be all right. I know it is. For all you know, you may be plum on the threshold of a great discovery this very minute. I got a kind of feeling that you are. Don't look at me like that, I have. And you'll feel much better after you've eaten your dinner. I bought a wonderful fish this afternoon. I'm not hungry, Lee. Neither am I. I guess I'll go out for a walk. I'll come along. In this snow? Oh, I love snow. We'll hike across the park. It'll be like the Canadian Northwest tonight. Me, sweetheart, I forgot you were here. I was a little behind you. You were walking kind of fast. But I guess you'd be coming here to the lab building.  I'll call a taxi to take you home. No, I don't want a taxi, Martin. Let me come upstairs with you. I may be late. I don't care. I won't bother you. I promise you not to open my mouth. Please don't send me home. It's such a scary night. I'll imagine things. What things? Oh, things. All right. Come along. Martin. Martin, I don't want to interrupt, but I thought maybe I could help. Oh, oh, sure, sure. There's a flask in the incubator, the one on your right, to bring it over, will you? A flask? Oh, I've got it. Is this it, Martin? Let me see. No, honey, the flask on the right, I want. Well, this one was on the right. What? Well, it couldn't have been. Yes, it was. There's only two of them there. This one was standing up on the right side. Let me see that. Well, that's funny. What's the matter? Get out of the way, then. Here, wait a minute. Get me a clean microscope slide. They're in the top drawer. Microscope slide? Here. Now, get out of the light. Stand over there. No doubt, over there. What is it, Martin? Martin. Well, it's impossible. It can't be right. It can't be. What is it? I don't know.  They ought to have been doing great. Now they're dead. What killed them? Does it matter? Does it matter? I'll say it matters.  Something killed them. Something got into that flask and blew those bugs to pieces. Now, now, what was it? What was it?  Don't you understand, darling, if it killed one type of germ, it may kill others. It may kill them all. It may even kill. No. No, I won't throw away my luck. I'll work it out. Tomorrow, darling. No, tonight and tomorrow night and the night after that. I've got to find out what killed those bugs. Martin, what do you mean by getting up so early? I got to get back to work. Gutleaf's checking my results this morning. I think we've got something, honey, something big. We're calling this stuff bacteriophage. Did I tell you? You haven't been to sleep for a week. Just look at you. Well, what's the matter with me? I shave. I won't have any more of this. Do you hear me?  I'll walk out on you. I mean it. Come here. Come here. You mustn't ever say that no matter how magically. I love you. I know I'm neglecting you, but when this is over, I'll take time off every day. And we'll go to the movies and we'll have friends in. And I'll send you flowers every morning. I'll even learn to play bridge. Stand by me, Lee. Oh, darling. Got any coffee? Sit down. And there's the paper if you wanted. That's the girl. You certainly have a sneaky little way of getting around me, Martin Aerosmith, as if I wanted flowers every morning. All I want is to make you take care of yourself.  Do you know that? Martin. Did you see this? What? This thing in the paper. Listen to it. Greatest medical discovery of modern times. Young scientist wipes out disease with bacteriophage. Director Tubbs of McGurk Institute interviewed by press. Well, that's wonderful. Wonderful. Look, there's your name. He's giving you full credit. He's made a fake out of me. That's what he's done. By that cheap publicity hound, he can't do this to me. Martin, where are you going? I'm going to see Tubbs. Wait, I'm going with you. Come on, don't go right away. Would you like to have some? Please, gentlemen, please. Come on. Let me through here. Get out of my way. Martin, wait. Good morning, Aerosmith. Aerosmith, wait. How about a steak? How about a steak? A steak. I want to speak to you, Dr. Tubbs. Of course, of course. Excuse us, gentlemen. Come in here, Aerosmith. Martin, please. Martin. Well, and how are you, Mrs. Aerosmith? Come to share your husband's glory? There's no glory to share. Are you responsible for this stuff in the papers? Of course, my boy. I don't deny the responsibility. I claim it. A slight overstatement to catch the public's eye. A slight overstatement.  I understand your surprise, my dear fellow. My surprise?  Come on. My husband's a very violent man, Dr. Tubbs. I know your husband, Mrs. Aerosmith. And I mean the world to appreciate him as I do. After all, he's still got his name to make. You made that for me. You made my name smell from one of this country to the other as a quack and a faker and a racketeer. Now you call those reporters in and you tell them I'm through with you and your front page science and then I resign from your cheap Jack Institute. I'd so much rather tell them about the paper I've just signed. That makes you the head of your own department and raises your salary from 5,000 a year to 12. I won't take it. I'm through. I don't accept your resignation, Martin. I pin my faith on you. I do more than that. Martin. Martin, my boy. Now, what is it, Dr. Gottlieb? Can't you see we are busy at the moment? Yes, busy turning my friend Martin into a megafaun. Don't worry, Dr. Gottlieb. Something has happened and something perhaps not altogether bad. Martin is not the discoverer we thought he was. What? You don't mean someone has told on a march on us? Here it is in the medical journal. The Frenchman Derel of the Pasteur Institute in Paris has just published his report. It is the same thing, Dr. Tubbs. You got into the newspapers too soon. I'm sorry, Martin. The same thing. This is most unfortunate. Of course, there could be no talk of a new department now and no raise in salary either. If you'll excuse me, I'll speak to those reporters. You may not be the discoverer of bacteriophage, Martin, but you may still be the man to test it out. Come and see me later in my laboratory. Then we will discuss what further work you still will have to do. I love that man, Gottlieb. He might have gloated. Poor Martin. All I've done these months has been wasted, me. You won't get your new flat or any of those things now. It's tough luck being married to a scientist, isn't it? I haven't minded. Well, it's over now. Well, I had a lot of fun out of it anyhow. Gentlemen, what I say is true. There is bubonic plague in the West Indies. Bubonic plague? Well, you should know, Dr. Cendelius. I do know. Already I have spoken to Dr. Tubbs about it. He is anxious for the institute to send a representative there. He would be if there's any publicity in it. Please, Terry, just one moment. What do you think, Carlos Smith? Well, it might be a good chance to test out the bacteriophage. Yeah, yeah, that's what I thought. Your bacteriophage, I don't think so. It isn't mine, Dr. Cendelius. The discovery belongs to Darrell. No, no, no. I say it again. Your bacteriophage may save the islands. That is why you must go there to the West Indies. But I don't know anything about bubonic plague. I know. I teach you. Get me plague germs. Get me rats.  Yeah, fleas. Little yumpy fleas. And I show you what I have learned in China and in India. Yeah, I show you. Then I go with you. So, you're off tomorrow. All packed and ready, Dr. Gottlieb. Taking your wife along, Martin? No, of course not. She'd like to go, but that's out. Well, sit down. I have called you in here to give you your final instructions, Martin. Yes, sir. Can you be trusted, Martin, to perform a little experiment where you are going? Can you be trusted not to let anything, even your good, kind heart, spoil it? What is the experiment? You agree that it will be a value in future epidemics to know what this stuff of yours is worth? Yes, of course. If you could give your injections only to half your patients and sternly deprive the other half of them, then you would know. I certainly would, but... That is the experiment we mean. Oh, I couldn't do that, Dr. Gottlieb. Why couldn't you? Sit by and watch half my patients die. It wouldn't be human. So, you're just a country doctor after all. Country doctor, nothing, but I've got some pity in me. They'll be dying down there. They'll be dying and begging me for help. And so few men ever add to human knowledge. You have the chance now, Martin. But, but, Gottlieb... I'm an old man, Martin. I've been an honest scientist all my days. But I count on you to carry on my torch after me. Are you going to fail me? Are you, Martin? No. I won't fail. I'll do my best, Gottlieb. Your state room's this way, Dr. Aerosmith. Thank you. Leora, what are you doing? I wasn't going to come. I tried hard, honestly, I did, Martin. But I couldn't let you go without seeing you off. I can't let you go now. I'm going with you, Martin. Oh, darling, talk sense. How can you? I'm just going. Darling, there's disease down there, bubonic plague. You're going. And where you can go, I can go. I belong with you, darling.  I'll never see you again, I know it. Oh, Martin, please. Please take me with you. Leora. Oh, Leora.  Oh, Martin, I... I'm simply going to love the West, you know. This is the Columbia Broadcasting System. Our weekly custom of giving you little inside glimpses of Hollywood between the acts of our play finds us hosts tonight to a favorite director of the stars, Terry Hunt. Now presiding over the gymnasium at United Artists' Studio, Terry for 12 years has been keeping the stars in glowing condition. His subjects have included Marlena Dietrich, Mary Pickford, Clark Gable, Jeanette McDonald, Norma Shearer and Paul Muney. Gary Cooper and Frederick March take orders from him daily. People are always interested in superlatives, Terry. So from your observation, who physically is the most perfect among the women stars? That's a little too tough to answer, Mr. DeMille. But I can name certain stars who, in my opinion, have at least one feature which you could call perfect. Just put them all together and you've got something. You mean a composite picture made up of what? From whom? Well, I'd say this mythical girl would have the carriage of Norma Shearer, the face of Virginia Bruce or Joan Bennett, the eyes of Claudette Colbert and the shoulders of Faye Ray. She'd have the figure of Ginger Rogers, the neckline of Merle O'Bron and the torso of Jean Parker or Carol Lombard. She'd also have the legs of Marlena Dietrich and the hands of Dorothy Lamour. Now, the odd part about all this is that most of the beautiful features I've mentioned can be developed. A woman who pays attention to her diet, who exercises regularly, gets enough rest and who otherwise takes care of her appearance can be just as attractive as the women on the screen. I have a prescription for exercising. Based on my work with the stars, I have found that posture and reducing exercises bring the best results for women. I prefer the twisting, rolling and stretching routines and, provided the subject has a strong heart, jumping rope. For years, I've advocated extreme cleanliness of the skin and the most helpful and enjoyable way of obtaining it is to take a char with plenty of soap, full char, but both. I've used many soaps to find the best and I'm glad to say that Luxe Toilet Soap is not only my choice, but that of the stars as well. The kind of char I've suggested with a heavy, rich lather of Luxe soap will not only thoroughly clean your skin but will aid in preventing you from getting stiff. Now, Frederick March tells me that every morning before reporting to the set of the Buccaneer, you come to his home and put him through his setting up exercises.  Mr. March is a perfect contradiction to the reports you sometimes hear that Hollywood stars live a life of ease and indolence. When making a picture, he's up every morning at six o'clock and goes through at least 45 minutes of real training before breakfast. I wish everyone could get a look at the stars in a gymnasium. You'd all realize how seriously they really work to keep physically fit. If I can be of any help in telling you more about health through exercises, I'll be glad to answer your questions as best I can and without charge. If you'll address me, Terry Hunt at United Artists Studios Hollywood just send a stamped, self-addressed envelope. Thank you. Thank you, Terry. Back to the story of Arrowsmith starring Spencer Tracey and Fay Ray. The town of Blackwater in the West Indian tropics. In a tiny bamboo hut on the edge of the town, it's gone for Arrowsmith to return. From outside is heard the dismal wailing of the natives, praying vainly for release from the plague. Suddenly, the doors flung open and Arrowsmith enters. Well, Mott. Well? It's a bust. The authorities won't let me try my experiment. They say it's inhuman. What are you going to do? I'm clearing out, Lee. Get my stuff packed, will you? But where are you going? There's a tiny island about 20 miles that's all native and plague raging like wildfire. I'll have a free hand there. Come on, hurry up, will you, darling? Martin. What? You're not planning to leave me behind. Lee, sweet, I've got to. I didn't come here to be left behind, Martin. You're not afraid. Certainly I'm afraid. I'm scared blue. But that isn't the point. I came down here to look after you. I'll be all right. How do I know that? It might get you, and if it did, nobody but I could nurse you. And even if it didn't get you, I'd go mad or, don't you see, I haven't any life outside of you. I've got to be with you. Always. Be reasonable, Lee, darling. I don't know where we'll be living or what we'll get into. I can't take you along out there. It's no place for a woman.  You did everything else but choke me. Oh, all right.  That's the girl. Give me the comfort of knowing that you're all right. Now, come on. Pack this stuff, will you? Yes, Martin. This is only the first of our big hikes, Lee.  Then we'll go to Europe, Lee, to your France, and Italy, and all those places. Where do you see? Our life's just beginning, Lee. Oh, Martin. I do love you, darling. Keep them in two lines, Sunday, Lee. Two lines. Two lines. Ah, what a place this is, Martin. They don't even understand what I'm talking about. You've got to make them understand. We'll inject the phage and the line on the right. You keep swabbing their arms and passing them up to me. The line on the left does without the injection. Oh, there's no time for sentiment. Come on. Number one. One. Two. Wait a minute. Wait a minute. Two. Three. Four. Stay in line. Stay in line. Easy, easy. 110, Sandelius. 111. Keep them coming, man. 112. Oh. How do you do? I didn't know there was a white woman on the island. I'm Joyce Lanyon. Oh, yes. You might have seen Mr. Twithard's house on the hill up there. I'm visiting with his daughter. You don't belong here then? Hardly. I'm from New York. Well, do I get your injection or don't I? I'll get on the other line if you like. Stay where you are. Thank you. I wish you'd find something I could do to help you. You? I know what you're doing here, this experiment. I think it's marvelous. Well, perhaps you wouldn't if you were on the other line. That's not very fair. I volunteered to do that. I'm sorry. Then let me help. Do I strike you as so hopelessly useless? I think if I had a twin sister, she'd be just like you. That's how you strike me. That's an original compliment. It's no compliment. It's a scientific fact. Now move along, please, and give science a chance to carry on. All right, Sandelius, pass them up. Sandelius. What's the matter? I don't know. I think maybe I'm sick, Martin. Good God. Yeah. Now maybe I take some of your injection, too. Catch him. Catch him there. Sandelius. Sandelius. It was his whole life. He used to troop all over the country lecturing on the heroes of health. Poor Sandelius. He's one of them himself now. You... You took it pretty calmly. If one of your field officers dies in battle, you can't stop the mourn for him. You've got to carry on. And you did. Wonderfully. All these long days. All by yourself. I had you to help me. I... We better go in now. No, no, not yet, Joyce. I'm too excited to turn in yet. Don't you see my life had its first great climax today. The experiment. All our troubles are over now. I, uh... I know that's a very unscientific boast. Just for tonight, though. I can't help believing it. And I can't help believing that anything ever happened before this plague. Or that anything will ever happen after it. Steady, Joyce. Don't lose your nerve. You're too gallant for that. How wrong you are. There's nothing gallant about me. I was never meant for this sort of thing. I've never learned about realities. Danger. Disease. That wasn't gallantry. That was just hysteria. Hysteria over falling in love with your Martin. What? I have fallen terribly, insanely in love with you. But you don't mean that. I don't believe in mincing words. I don't believe in not saying what's on my mind. I know there's nothing to be done about it. I'm not a child. But I... I was unhappy when I came here. I'm not unhappy anymore. That's something, isn't it? I've never learned about women like you. You belong to the great class of things I've had to give up for my work. You make my life seem suddenly rather empty. But very exciting. You're too heroic to mean that.  I wish I were.  You'll be leaving soon. I should, of course. But it might be a good idea to stick around for a while. I mean, see how the experiment turns out. How long would that take, Martin? I'm not sure. Ten days, perhaps. Ten days. I'm glad, Martin. I think... Hello? Yes? Yes, this is Kareeb. We've heard speaking. I can't hear you. Who? Oh, just a moment, please. Arrowsmith. Dr. Arrowsmith. Just a moment, please. What's that? I can't make out. It's black water calling you. Black water? Give me the phone. Hello? Hello? Who is this? Leora? What's the matter, darling? What? Leora, I can't hear you. You'll have to speak louder. Leora. Leora, listen to me. Listen, darling. Hello, darling. Leora, hello. Hello, hello, hello. What is it? My wife, she's sick. I've got to get to her. She's alone, all alone. Is there a launch here? I can take you. How soon? Right away. Come on, then. Hurry. I'm trying to call again. Can't you operate her? We'd better pick her up. Yes. I'll help you. No. No, I'd rather do it alone. You see? She hardly weighs anything. Oh, Leigh, darling, I loved you. You knew that, didn't you? You knew I couldn't have loved anyone else. Didn't you know that, Leigh? But now you're gone. This thing I've been fighting has killed you, too. But it won't kill anymore, Leigh, darling. I promise you that.   I can save them all. I can save everyone. Except you, my darling. Me. McGurk Institute. One moment, please. When are we going to see Dr. Arrowsman? Dr. Arrowsman has just returned, and he's too busy to see anybody today. We must see Dr. Arrowsman. Hello, Martin. Oh, hello, Terry. Thought I'd find you in the lab. Thanks, Terry. Well, how'd it go down there? Pretty bad. I bungled it, Terry. I was afraid you had. Dubs doesn't seem to think so. Well, he wouldn't know. I lost my head, gave everybody the serum. I wonder what Gottlieb will say. Nothing. He gave me everything I knew. He gave me my chance, and I failed him. Whatever I accomplished down there, I failed him. I didn't add to knowledge. I did the humane thing. I lost sight of science. He'll never know you failed him. What do you mean? He cracked up, went to pieces. Too much work, I guess. He doesn't understand anything now. Gottlieb. Then he's gone, too. There's not much left, is there? There's still research, Martin. There's work still to be done. The reporters are waiting to see you. Are they? Is there anything wrong? I just told him about Gottlieb. Very unfortunate. But we were meant to take his place, thank heaven. You, Arrowsmith. Does that surprise you?   I guess it won't. You can take it if you want, Arrowsmith. But I came in here to tell you what I was going to do. I'm going to clear out of this well joint with all its well equipment and publicity and build my own lab in the Vermont woods and really get something done for a change. Your own lab? Sure. What do you say? Is it a go? Martin. Joyce. You didn't expect to see me here, did you? Do you think I'd have missed welcoming you home? Thanks, but... I know how it is, Martin. I heard everything. But I... I helped you once. I thought perhaps I could help you again. Your sweet choice, thank you. Well, I guess this lets me out. Wait. Joyce, I'm sorry I can't accept your offer. No, yours either, Tubbs. You can keep your department head. You can keep your glory. And you can see those reporters yourself. Tell them I'm not what they think I am. See, I'm a bust, a failure, a washout. But I'm not licked yet. I'll do something for science if it kills me, but I can't do it here. Got Leap said a man could build a lab Come on, Terry. I'm going with you. Lee and I, we're both going with you. Be painted by skepticism. Live in the serene peace of laboratories. Say to yourselves first, what have I done for my instruction? What have I done for my country? Until the time comes when you may have the immense happiness of thinking that you have contributed in some way to the progress and good of humanity. With these words of Louis Pasteur, we ring down the curtain on Arrowsmith. As a fitting afterpiece to our drama and before Spencer Tracey and Faye Ray return, let us look into a scene that happened in real life, a scene that serves to introduce our next guest. The year is 1900. The place, the town of Kimados in Cuba, infested with a deadly plague that's killed more American soldiers than fell in the Spanish-American war. Two men stand in a room facing Dr. Walter Reed. They are Private John R. Kissinger of Ohio and John J. Moran, a civilian clerk who've come to answer Dr. Reed's call for volunteers. Reed has told them of the horrors they'll face, that their chance of coming out alive is one in five. He's also told them their only reward would amount to about $300. Private Kissinger answers him. The one condition, sir, on which we volunteer is that we get no compensation for it. Dr. Reed looks at them in silence. Slowly his hand goes to his cap. He has only four words to say. Gentlemen, I salute you. This was the scene that marked the real beginning of Dr. Reed's work in showing how the dread plague of fever can be banished from humanity. Tonight, the unsung hero who helped make that possible is with us. I'm proud to present the former Private John R. Kissinger.  Why couldn't he have used animals, Mr. Kissinger? Because all animals are immune to yellow fever. They discovered this about the same time that Dr. Fenley brought out the theory that yellow fever was carried by mosquitoes, yellowjack. Yes, up until then it was thought that the yellow fever was contagious, that you'd catch it merely through contact with its victims. And the only way Dr. Reed could prove that this was false was to take the mosquito, let them bite normal human beings and watch the result. And just what happened to you, Mr. Kissinger? Well, Dr. Reed's associates came into my room with five mosquitoes, specially selected. Two of them had bitten men who had recently died. They applied them to me and I was bitten three times. Five days later, I had yellow fever. And it was the result of that experiment I knew that convinced Dr. Reed he was on the right track at last? I guess that's right. Others went through the same experiment later on. Some died and some lived. But Dr. Reed proved to the world that yellow fever was caused by a certain type of mosquito. And that type of mosquito is now being driven from the earth to destroy yellow fever forever.  I had seen my comrades die from it, Mr. Devel. And I knew exactly what I was in for. My thoughts then are my thoughts now that a man is lucky to be able to die for the cause of humanity. Thank you. I salute you, Mr. Kissinger.  Like most actresses, I've used it constantly for many years because in my opinion, there's nothing better for keeping the skin smooth and fresh and clear.  I'm a professional, I respect more faith, and none that has more real drama. You know what a lot of us seem to overlook is the fact that the work made famous by men like Pester and Reid, by William Harvey and Jenner and Peret, still goes on in laboratories all over the world. Look what's happened in the last few years. Pernicious anemia has been beaten by two young doctors who found a wonderful remedy in liver. And out of the dirt and filth of sewers, mind you, has been found the bacteriophage that has revolutionized the treatment of staphylococcus infections. And at this moment, in quiet corners, men are bent over their microscopes in a struggle that may go on for years, but undoubtedly will someday see the ends of colds and of cancer and infantile paralysis. In a world where so much is measured by power and wealth, where destruction is still practiced and tolerated, what a source of comfort it is to know that men still think great thoughts, how to help humanity. Yes. A world stand still without medicine, without unselfishness. Not all of us can be aerosmiths, but we can and should make our little sacrifices for the common good. Which leads me to an announcement our sponsors join me in making for the annual mobilization of human needs. This is a national drive for the support of hundreds of welfare organizations throughout our country. It is unnecessary to care for the needy. And only through your individual contributions can the money be raised to continue the good work. So we ask that you give your support and remember that your contribution may mean new life to a man, to a woman or to a helpless child. Be a good neighbor and send your donation to your local community chest. I'm sure our entire audience will do their utmost, Mr. DeMille. And now, good night. Good night. Melodrama comes to our microphone next Monday night. In the story of a girl and the three men she loved, one is her father, a famous criminal lawyer, one is her fiance, and the third, a man outside the pale of society. It's a play that ran with great success on Broadway and the screen, a free soul. As the girl brought up to do whatever she thinks is right, regardless of public opinion, this is Ginger Rogers. And starring with her, Donna Meche and Charles Winninger. 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 Theatre presents Ginger Rogers, Charles Winninger and Donna Meche in a free soul. This is Cecil B. DeMille saying good night to you from Hollywood. The renouncer has been Melville Ruy. Thank you for your casting system.


French President Emmanuel Macron is a zoological coward. Medvedev, French President Emmanuel Macron, has postponed his visit to Ukraine because he is a pathological coward, former Russian President Dmitry Medvedev has claimed. The Elysee Palace announced that Macron's long-awaited visit to Ukraine will take place sometime in the coming weeks. The announcement marks the third delay of the French leader's visit to Ukraine. Macron had initially planned to visit Kiev to sign a bilateral security agreement last month, but the document ended up being signed during Ukrainian President Volodymyr Zelensky's trip to Paris. Macron, preparing to visit Kiev, but he's a zoological coward. Medvedev posted in French on X, recommending that Macron's office pack several changes of underwear and prepare for a strong stink. Medvedev claimed that he originally wrote the message in the morning, but by the time he decided to post it, the French President had already shit himself and pulled out of the planned visit. Poor France, he added. Instead of hurrying to Kiev, Macron wants to take the necessary time for talks with allies to be able to visit Ukraine with tangible results. Politico wrote citing an anonymous French diplomat. In recent weeks, the French President has escalated his hawkish rhetoric towards Russia, suggesting in late February that sending Western troops to Ukraine cannot be ruled out. NATO members are seeking to boost military aid to Kiev amid worries that funding from Ukraine's biggest war sponsor, the US, will dry up. Earlier this year, the White House said that Washington had used up all the money allocated to Ukraine thus far more than $113 billion. An additional $60 billion in US funding is still being held up in Congress, although recently it was suggested that the money should be loaned to Kiev rather than given away. Moscow maintains that Western military aid to Ukraine does little to alter the course of the conflict while extending the hostilities and causing needless deaths. US unprepared for nuclear response to possible Russian strike on Ukraine. The US was preparing a response in case Russia used nuclear weapons against Ukraine. However, this response would have been non-nuclear according to the New York Times. As noted by the media, the peak of concern regarding a possible nuclear attack by Russia came in October 2022. At that time, Russian President Vladimir Putin stated that Russia could use nukes against Ukraine. According to the New York Times, during several weeks in October 2022, the White House was engulfed in crisis. The administration of US President Joe Biden feared that Moscow might use tactical nuclear weapons on the battlefield. According to the sources cited by the publication, the White House's concern was so great, the task forces were convened to determine what the US response might be. Biden's team believed that the response should be non-nuclear, but according to representatives of the US President's administration, the reaction should be dramatic, possibly a conventional attack on units that had launched nuclear weapons. In the White House, it was believed that the use of nuclear weapons in response could encourage Putin and other authoritarian states to use their nuclear arsenal. It is worth noting that Russian President Vladimir Putin has repeatedly threatened Ukraine and Western countries with nuclear weapons. In addition, Russia has moved its nuclear weapons to Belarus. However, the President Alexander Lukashenko cannot use them independently. As reported by the American News Outlet CNN, the US was preparing for a nuclear strike by Russia on Ukraine by the end of 2022. Washington relied on some intelligence information. We had to plan so that we were in the best possible position in case this no longer unthinkable event actually took place, a senior US administration official told CNN. According to another US official, from late summer to fall of 2022, the US National Security Council convened a series of meetings to develop contingency plans, including for either very clear signs of a nuclear strike in the making or an actual strike. How we would respond, how we would try to preempt it or deter it, the official explained. The United States believed that the loss of Kersen could provoke Russia to a nuclear strike on Ukraine. As Moscow could see it as an existential threat, the unnamed American official said a nuclear strike could also be seen by the Kremlin as a tool to deter Ukraine from further liberation of territories or a potential attack on Russia.


FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by CC April 24, 2007, from Lincoln, Maine. Up into the cherry tree, who should climb but little me? I held the trunk with both my hands, and looked abroad on foreign lands. I saw the next-door garden lie, adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the little children dine at five, and all the playthings come alive. End of poem. This reading is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Caitlin Hyer. Up into the cherry tree, who should climb but little me? I held the trunk with both my hands, and looked abroad on foreign lands. I saw the next-door garden lie, adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Chris Chapman. Up into the cherry tree, who should climb but little me? I held the trunk with both my hands, and looked abroad on foreign lands. I saw the next-door garden lie, adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Elizabeth Palmer. Up into the cherry tree, who should climb but little me? I held the trunk with both my hands, and looked abroad on foreign lands. I saw the next-door garden lie, adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Iswa. Up into the cherry tree, who should climb but little me? I held the trunk with both my hands, and looked abroad on foreign lands. I saw the next-door garden lie, adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Iswa.org by Iswa. To where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Gem of Life. Up into the cherry tree, who should climb but little me? I held the drunk with both my hands and looked abroad on foreign lands. I saw the next-door garden lie adorned with flowers before my eye in many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Gem of Life. Up into the cherry tree, who should climb but little me? I held the drunk with both my hands and looked abroad on foreign lands. I saw the next-door garden lie adorned with flowers before my eye in many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Gem of Life. Up into the cherry tree, who should climb but little me? I held the drunk with both my hands and looked abroad on foreign lands. I saw the next-door garden lie adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Gem of Life on the twenty-third of April, two thousand seven, www.soringmountain.com. Up into the cherry tree, who should climb but little me? I held the drunk with both my hands and looked abroad on foreign lands. I saw the next-door garden lie adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Christian Hughes. Up into the cherry tree, who should climb but little me? I held the drunk with both my hands and looked abroad on foreign lands. I saw the next-door garden lie adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. FOREIGN LANDS by Robert Louis Stevenson, read for LibriVox.org by Karen Savage. Up into the cherry tree, who should climb but little me? I held the drunk with both my hands and looked abroad on foreign lands. I saw the next-door garden lie adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. Up into the cherry tree, who should climb but little me? I held the drunk with both my hands and looked abroad on foreign lands. I saw the next-door garden lie adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead inward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. I saw the next-door garden lie adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. Foreign Lands by Robert Louis Stevenson. Read for LibriVox.com. I saw the next-door garden lie adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the grown-up river slips into the sea among the ships, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive. End of poem. This recording is in the public domain. Foreign Lands by Robert Louis Stevenson. Read for LibriVox.com. I saw the next-door garden lie adorned with flowers before my eye, and many pleasant places more that I had never seen before. If I could find a higher tree farther and farther I should see, to where the grown-up river slips into the sea among the ships, to where the grown-up river slips into the sea among the ships, to where the grown-up river slips into the sea among the ships, to where the roads on either hand lead onward into fairyland, where all the children dine at five, and all the playthings come alive.


At Big Data SV 2014 is brought to you by headline sponsors WAN Disco. We make Hadoop Invincible and Actian, accelerating Big Data 2.0. Okay, welcome back everyone. We're here live in Silicon Valley for Big Data Silicon Valley or Big Data SV. That's hashtag, Big Data SV. We just had Big Data NYC in New York a few months ago. We're covering all the action here in Silicon Valley including the Strata Conference which is winding down right now. We are in day three of the CUBE coverage live, wall to wall. I'm John Furrier, the founder of Silicon Valley. I'm John with Jeff Kelly, my co-host today from Wikibon.org. And this is theCUBE. And we are here with David Smith from Revolution Analytics. Welcome back to theCUBE. Good to see you and thanks for coming up. Thanks, it's a real pleasure to be here again. So Revolution Analytics, you guys have a great brand name, you've been growing and part of the revolution, so to speak, pun intended. Talk about your view here, because everyone is talking about, we're now transitioned from full adoption of Hadoop as what people are using. But certainly the scale piece is now here, moving to data science. We're moving into that full throttle of analytics, insight, data. We just had Joe Hellerstein on from Trifacta. Talking about that data is at the center of computer science. We've had Avi Mehta on talking about the center of data for business. And everyone, and data is at the center of everything, right? Absolutely. So you guys are in the analytics business and what's your take on that? You agree? Absolutely, I agree. I think it's really the next phase. We've been talking about big data for so many years. But now a lot of the big companies especially have really got it figured out. They've got their big data infrastructure in place. They've got their Hadoop cluster online. They figured out the process of how to ingest and amass and aggregate all of this data. And the question that they're now turning to is how do we get value out of this data? And the way you get value out of big data is with data science. And for us, this has been great because the lingua franca of data science is the R programming language. And so we have companies coming to us and saying, how can you help us, help our data scientists, make sense of the big data that they're working with. Figure out what we should be doing in terms of our new products or our new systems or eliminate costs. All of this is what comes out of data scientists and it comes out of the R language. So we've just been sort of run off our heels the last few days. Well, yeah, I wonder, as you've been watching this evolve, you guys just been looking at your shops and waiting for the infrastructure to harden a little bit so that this conversation does up level to the data science level. Exactly right, I mean, we couldn't have this conversation until people had the data in place. But now they've actually got their hands around the data stores themselves. They've hired the data scientists. The data scientists are actually working with us to actually say, how can we actually bring our analytics to the data in Hadoop? And that's obviously something that we've been doing through our product lines and bringing out with the in Hadoop integration. Well, we've had you on before, but I think it's important to kind of reiterate kind of where your value proposition is in the larger world of R. R, as you mentioned, very popular with data scientists and analysts. So talk about the things that revolution specifically does to really make this ready for enterprise-grade deployments. Absolutely, so we make R work in production. So that means a lot of things. Number one is just simply providing technical support and consulting services. So companies can feel comfortable using R, integrating it in their systems. But especially when it comes to real-time production applications where performance is key and where scalability, especially with big data, is paramounts. And these are the things that we add to open source R in revolution or enterprise. So the companies can be confident that their real-time systems are going to turn around in the millisecond frameworks that they need for their online systems. And that as their data sizes grow and grow and grow, they're not going to hit a bottleneck at some point and find that R can no longer cope with that. Well, talk about that a little bit more because R really was not necessarily designed with big data in mind. And that's one of the things that revolution is doing is kind of making it scale or helping it scale. Talk a little bit about how you guys have approached that and what the kind of success you've had. Yeah, I mean, first of all, R is just an amazing framework for doing R&D and development. It's really what's made R so successful in the academic sector because everybody is doing research in R. When a new statistical technique or a new machine learning technique comes out, it comes out in R because the paper was published with the R code and associated software that you can download in R to do that. But designing a system around that flexibility and innovation has some counterpoints in terms of performance and scalability. So R was designed to be an in-memory application, which is great when you're doing R&D because all the data is right there in memory to access. But when you scale that out to bigger data volumes, you can no longer fit that in to the survey you're working on. So the way that we've addressed that is to introduce a new data type into R. We call it XDF. And rather than the traditional data frame, data type that R works with that lives entirely in memory, our XDF object actually sits out on disk. And so then we can write algorithms that work with that data on disk. And rather than having to bring all that data into memory at once, we can just stream it in row by row. And our algorithms have been very carefully designed to be able to update a logistic regression or a tree model or any of these machine learning techniques on an incremental basis. So it seems like you're working with a big data set in memory. But in fact, it scales to as much data as you can actually hold on disk. And that's gonna be critical, I mean, as we move to these production workloads, where we're getting to that tipping point where a lot of the early adopters are now looking to scale these out and put production workloads into production. And that's gonna be an area where it's critical to support that kind of scale. Exactly, and especially with the Hadoop environments. And when there's so much data sitting out there on to these distributed disks in HDFS, the previous way of dealing with that was to extract that data from Hadoop, bring it into a separate analytics environment, and analyze it there. But the problems were, first of all, the amount of time it would take to simply move that amount of data could be hours, it could be days in some situations. Didn't correspond to the sort of turnaround cycles for a data scientist. And equally importantly, you can only use the power that was available in the sort of the separate server. We've sort of recognized that the reality is of data gravity. Data is enormous, it attracts more data, it makes a lot more sense to bring the analytics to the data, just as Joe was saying a minute ago, that it does take the data to the analytics. Well, really one of the core tenants of big data is, big data doesn't like to be moved around, it likes to sit where it is. So, kind of related to that, so you've got an announcement this week about making revolution available on AWS. Which is interesting, we had treasured data on earlier, who's a big data warehousing service on AWS, and we're increasingly seeing AWS specifically. It's kind of an area where big data workloads are at least starting, maybe a lot of experimentation. The question I think for AWS is a lot of those are going to move off back to on-premise when they do production, but that's kind of a little bit of a different topic, but tell us a little bit about this announcement and why you guys have decided to make your revolution available on AWS. Yeah, there's a couple of things here. I mean, first of all, from the data gravity point of view, we were finding increasingly, we were coming across clients that were born in the cloud. So, their data is already sitting up there in S3. And so they were saying to us, like, how can we actually do analytics on that data? And the answer we would have before this was you can extract it from Amazon down to a server and analyze it there with all exactly the same inherent issues with the Hadoop use case I was just talking about. So by making revolution or enterprise available on the AWS marketplace, the data is already up there in the cloud. The analytics are now up there in the cloud as well. And it's just a very, very natural fit for those clients that are born or are running in the cloud. I think that point you just made, by the way, about, you know, moving from cloud environments to on-premises production environments applies there as well. But the nice thing about the cloud, of course, it's a great way to do that prototyping and proof of concepts with the data that's in the cloud environment. When you do the long-term cost analysis, you may will find another architectural option makes sense, but at least you can get going, you know, in the cloud setting. Yeah, those are decisions you make kind of later down the road. Exactly. Absolutely. I mean, we were at AWS re-invent and it's just amazing the number of innovative startups that are working on the platform and it just reduces the barrier to entry for a new company significantly.  And I think that barrier to entry is a really good point because, you know, from a business perspective, you know, we've mainly focused on the global 2000 market, you know, these big enterprises that do have the Hadoop infrastructure or the big EDWs have figured out the data collection problem. But I think now the really nice thing about having our software available on the cloud is that it does make it available in a cost-effective fashion, you know, to these startups that were born in the cloud, you know, to these SMBs that see the cloud as, you know, an alternative that's cost-effective for them and to actually get their hands on advanced analytics in a way that just wasn't approachable before. Absolutely. One of the things that we hear all the time is the humanization of data. I want to ask you this question because you guys have seen this with R and enable a lot of success. What are the things that people need to understand about the visualization and playing with the data that they may or may not be seeing? And obviously the early adopters are getting their hands wet all the time with this. What should the mainstream start thinking about? In terms of... And just how to visualize, I mean, how to have the mindset, the mindset and tooling. Yeah, I think that's kind of an educational process that's been going on for a long, long time. You know, I think we just see the public in general and business users specifically getting a lot more comfortable with more sophisticated visualizations and analysis of data. You could even see this in like, when you look at the New York Times, you know, five years ago, the most sophisticated visualization you might have seen was a pie chart or a bar chart. And now you open up the New York Times, you see these amazing detailed interactive visualizations dealing and diving down into issues around income and poverty and scale and environments in a way that we'd never seen before. And people in general are just becoming much more accustomed and indeed expectant of seeing these in-depth analyses and visualizations of data. By the way, a lot of those visualizations you see in the Times are done in the R language because it's a great environment for exploring and creating new things. And I think that's also becoming reflected in business user tools. Tableau is a great example. You know, really providing to users these amazing interactive ways of exploring and seeing data. Kind of the next stage that I see is bringing in the analytics, the predictions, the inferences from data scientists and putting those in the hands of those business users. And I think it's a two-set process. You know, you have data scientists in an organization that are working with these massive data stores in Hadoop and EDWs that are producing, for example, a prediction for a sale that's based on their own sort of unique data, their own unique analysis. Now what we'd never expect a business user to do that kind of analysis themselves, but putting the results in their hands interactively in a graphical environment is a great way of replicating the skills of those data scientists across the organization. So yeah, that's awesome. And I want to ask you something that's more of a, maybe a cultural question for the company and or market dynamic kind of converging together. You know, in markets like this, the pressure to compete and produce is always there because the growth is there, right?  I mean, it's always like when you have that pressure for growth and the market is obviously growing very fast right now and analytics is hot, data science. What's pushing you guys right now? What's the pressure going for revolution? I mean, honestly, for us, it's really more riding the wave of R. I mean, because R has just been growing so explosively over the last few years. There was a DICE.com survey that came out just last week that R is now the number one highest paid IT skill. So you can see just on the demand side, huge demand for R. It's the fastest- I'll repeat that coming again. R is what? R is- The highest paid IT skill today, according to DICE.com survey. Folks out there watching, they need to listen, take note. Data science are, you know, chaching, frustrating new job. Yeah. So it just shows the demand. It's like a commercial, you know. Yeah, so it just shows the demand for R on the supply side is the fastest growing. Language for data scientists is the most used language behind SQL, and everybody uses SQL. So we're just like riding that wave of everybody's using R, companies are bringing data scientists knowing R, and we're just like helping them to do that. And continuing to just grow. I mean, is there any other like integrations like with Python and other languages we're seeing out there?  Do you see a level of simplification on top of R coming? We actually see it the other way around, you know. In the same way that SQL SQL is the lingua-franca of DBAs, R is the lingua-franca of data scientists. And actually what we see is bringing in more of the innovations from the open source community at large into the R environment. To give you an example, you know, our engineers right now are really looking carefully at Spark and Yarn. You know, we already have an R interface that enables a data scientist to do analytics with the computations being done back on Hadoop. Now our engineers are sort of working to say, well how can we take advantage of the capabilities that are coming with Yarn on the infrastructure layer and coming with Spark on the analytics layer and bring those into the same R interface? Now it's not really going to change anything from the point of view of the R user. They're still doing linear modeling, trees and so forth, but now taking advantage of all these technologies that have been developed in the open source community. That's really smart. If you think about it, that's a smart way because you're in a way, there's not a lot of bets there. You're letting the marketplace kind of fill in the complementary growth for you guys. Exactly, and it happens in the other direction as well with the business layer. You know, because so many vendors have introduced connections to R and to their software. Tableau, ClickView, Altrux, you know, hundreds more. And you know, again, we're writing that wave of helping people who are using R in those environments to connect it into these third party vendors, providing support for people that are using it and providing those additional scalability and performance factors that come with Revolution R Enterprise. Jeff mentioned Amazon before. Obviously, Cloud and DevOps is a big collision course with the data side of it. Obviously, the data is at the center, also cloud. Up and down the stack data seems to be the center of everything. How does the cloud ecosystem help you? Obviously, computations huge. Does it make it easier? I mean, what's the cloud dynamic? It really makes things easier because I mean, it's just, as you know, it's so easy just to spin up an instance in the cloud that's pre-configured with all of the software, the analytics, the data connections, you know, as opposed to having to replicate that same configuration on hundreds of nodes in a cluster, for example. So it's just a much lower barrier to entry, as we were saying before. And Amazon provides all those DevOps, provides the DevOps for, basically eliminates DevOps for this case. Yeah, exactly right. And you know, for people that are exploring this area that haven't really got into analytics with R before, it's just a really simple, easy way to go to the Amazon AWS marketplace, use the 14-day free trial and start analyzing the data that you already have in S3. I think it's a home run with Amazon and the cloud, obviously, and the stuff you do in the open source is great. My final question I have for you is, describe the moment in time right now in the industry, big data SV, we're in Silicon Valley, Stratoconference, all the stuff going on behind us here across the way at Stratoconference. A lot of things going on, a lot of new stars, a lot of weirdness going on, a lot of people are growing, high valuations, just a great growth opportunity. But share the folks out there, the state of the market in this moment, the key news and the story. What's the big story in this moment? I think it's maturity. It's the recognition that getting value out of data through analytics is the way to drive some of the key business problems that are out there today. How do we make customers happier? How do we reduce costs? How do we increase profitability? How do we increase revenues? All is driven by what we can get out of the data that we've already collected, and all the pieces have now fallen into place to make that vision a reality. David, thanks so much. This is theCUBE Revolution Analytics. The revolution is continuing here with data at the center of the value proposition. I'm John Furrier, HFKLA. Stay tuned, keep watching. We have a few more interviews. We're going to close it out strong here. Day three of Big Data SV, that's Big Data Silicon Valley, hashtag Big Data SV. We'll be right back.


Would guys actually sign with the Red Sox for the same dollar amount or even slightly more? Or do they look at them and say they're not a contender? Like who are they right now? Do you really want to go to Boston? Because I don't think Yamamoto, I don't really think that they were legitimately ever a finalist. Yeah I mean look just look at it like he went to New York and he gave second interviews to the Mets and the Yankees. New York and Boston are not that far. He did not bother coming here to do a second round of interviews with the Red Sox. That told you everything he needed to know. They were not serious. And it's crazy to me because we're not that far removed. You know David Price talking about big ticket guys who the Red Sox were always going to be a factor for. And now I said it last week with earlier this week with Trendy. They're the equivalent of like others receiving votes in the AP like top 25. You know they're kind of there but not really. They're not a serious contender. And that's a massive problem. So to me they were never going to be able to win this simply for a lot of the reasons you just mentioned. So where do you go from here then? And how do you how do you get back to being that team? It almost feels like they're in the same boat as like the Chicago Cubs. You know what I mean? They should be there. They're in a major market. A market that loves baseball but for whatever reason just can't compete necessarily with Los Angeles and the New York teams. Yeah but I mean look at how the Cubs have done it. So they've turned it around more quickly than the Red Sox have when you get right down to it. And they were buyers at the trade deadline last year. They made a push. You know they signed Cody Bellinger. They went out and got some other guys. So at least the Cubs are saying they're a guy's weak in target. The Red Sox it's either like pay big for Rafael Devers or nothing. There's really like no middle I guess Trevor's story would be the closest thing to a middle ground for them. So to answer your question to get back they just they have to get out of last place obviously. But they have to start just signing the Jordan Montgomery's of the world overpaying. They're not willing to be uncomfortable with anybody. You need pitching right now. You by definition are going to have to overpay for it. We just saw with Yamamoto he messed up the market for everybody. So do it. Be willing to overpay and they haven't been


Can you believe it's been six years since Frozen hit theaters? I can't. Seems like only yesterday, kids and adults alike were annoying me with songs from that movie. Probably because it was. Today though, we're gonna see if Frozen 2 can carry that tune for another six on this episode of Movie Feuds. Typically when I battle a movie and its sequel, I go over the characters that stay the same and then spend a good amount of time on the newcomers. That's not really the case here though. Frozen 2 doesn't have a lot of new blood, but instead doubles down on the original cast. Elsa, Anna, Sven, Kristoff, and of course, merchandise himself, Olaf are back in action. The bond between Elsa and Anna is stronger than ever and the film really hammers that into the audience's head. You could say things were on a bit of shaky ground the first time the ladies got out of the castle, but by the end of the film and multiple short stories later, they are as strong as the Disney Plus lineup pretends to be. The catalog is misleading. The two have definitely grown and learned over the years, but the same can't really be said for the rest of the returning cast. Kristoff still speaks on behalf of his reindeer Sven to an even more obnoxious degree.  He does at bare minimum now have the wherewithal to understand things are changing around him. In the first Frozen, his primary storyline was just not melting out of existence. Frozen 2 addresses this right away by giving Olaf a nice coat of permafrost. Now the sun doesn't bother him anyway. In the process, this also removes a plot for him. He does still have some great moments, such as reenacting scenes from the original Frozen to once more having his own solo number. If you were a fan of the trolls in the first movie, why? You will be disappointed as they are a little more than a cameo in the sequel. Frozen 2 also opts to do away with the traditional villain, Hans being the previous one, kind of. Instead, they play off a figure from the past whose decisions still echo through the forest. It's a magical forest of that, full of mist, reindeer, rock giants, and some newcomers that I alluded to earlier. Sterling K. Brown being the standout as Lieutenant Mateus, the personal guard to Prince Agnar. Martha Plimpton is the only other character to make a small impact as Yalana. And honestly, the only impact she made was questioning whether or not that was actually Betty White doing the voice. Was it just me? I thought she sounded like Betty White. It was just me, okay. There is another reindeer whisperer, too, because one of those wasn't enough for the kids, I guess. Josh Gad, Jonathan Groff, Kristen Bell, and Edina Menzel are why audiences returned for the sequel, and the film delivered on that front. Now let's go build a snowman. Loosely Inspired by Hans Christian Andersen's The Snow Queen, Disney has their own take on the subject matter with Frozen. Originally, the writers wanted to fully embrace the story of an evil ice queen causing havoc on the town, only to be thwarted by a good and pure princess. This was even hinted at during some of those early trailers for the film. Eventually it was decided that Elsa would actually be sisters with Anna, and not to be evil at all. Instead, and I'm going to be a little bit judgmental here, her parents were the worst. Locking her in isolation inside the castle walls while they freely gallivanted across the ocean sea. Only to be lost in a watery grave, so I guess the joke's on them. I'm not sure what their end game was with their kids, but they tried their best, I guess. It doesn't take long after that for Elsa to lose her cool and perpetuate a never-ending winter storm that will really put a chokehold on the ice delivery business. That industry is going to suffer. She runs away like a typical teenager when there's work to be done around the house.  Regardless, Anna is determined to bring her sister home. I mean, Elsa's got to at least be there for the wedding. Oh yes, I almost forgot, Anna was also engaged to a man named Hans, who she met like two minutes after stepping foot outside. To be fair, he did sincerely smile at her without a hint of malaise. Joins her in a catchy duet and offers to watch over the castle while she's away. The final act, however, reveals this was all a big ruse, and she was hoodwinked, as was the audience and the writers, by his charms. Nobody saw it coming, especially not the writers. A couple prophecies about frozen hearts and a true love's kiss later, and we see Anna save her sister Elsa breaking the spell or something.  Which was made very clear when the sequel fired up. It's story hour in Frozen 2, as we see Anna and Elsa's little kids again, laying in bed while Mother tells multiple tales of exposition. Which Frozen 2 does a lot of. It takes its time, lays a foundation for a lot of new story building, a lot of world building stuff, and it turns out, the world of Arendelle and beyond, this universe isn't much different than that of Avatar the Last Airbender. Containing even the same elements of earth, wind, fire, and water, with a fifth mysterious element on the horizon. These elements used to live in harmony with humans back in the day until war broke out. A bad bridge deal later and a wall of mist was put up to keep anything from entering the unknown forest. It's a lot to unpack, but don't worry, it's barely worth thinking about. Instead, listen to the songs as they come fast and furious throughout the picture. When we finally catch up with present day Elsa, we learn she's having a hard time sleeping these days. Presumably because of poor circulation, but also because there's a beautiful sound, singing sweet nothings into her ears. She decides that her life of sneezing up snow babies when sick, trying to find a holiday tradition, and what dress color to wear just aren't as fulfilling as they once were. So she sets up to follow the voice and find out where it leads. Naturally the rest of the gang needs to tag along because they're completely worthless for the most part. And families everything. Subplots include Kristoff poorly attempting to propose to Anna, Olaf being afraid of things, and land disputes between two tribes. In a shock to absolutely no one, it's revealed that there is in fact a fifth element. Starring Bruce Willis and Mila Jovovich and Elsa. She with the help of her sister managed to calm the elements and bring peace to the woods. Kristoff finally gets to lock down that marriage. And Elsa breaks in a water horse, becoming a John Snow-esque explorer, searching out the realms around her while Anna takes over as Queen of Arendelle. For all the familiar beats it has, Frozen 2 does manage to feel quite different from the first, and that's an accomplishment these days. 2013's Frozen is crisp and well animated outside of an occasional ponytail through arm mishap. Frozen 2 takes advantage of six years worth of new technology, with sharper visuals and much more detailed environments. I honestly think it has some really beautiful shots. I never found myself impressed with any particular scene in the first. It felt pretty by the numbers for Disney, but this one, this one has some truly awe-inspiring vistas. Shout out to the fantastic storyboard artists for that. The look of these films is hardly what the audience turns out for. Let's get to the meat of it, the music. And I think to separate these two movies, it really boils down to this.  Or are you more of the theater type? Frozen 1 is pure bubble gum repeat music.  Let it go. Do you want to build a snowman? Love is an open door. You know them all. We all know them all. Disney and company could have easily just did the first thing again, and to a certain extent they certainly did. Olaf gets another solo number, Anna gets her bubbly intro song, and Elsa gets like two or three attempts at another let it go. The difference is none of these songs are particularly catchy or even have like a simple flow to them. Oftentimes they're broken up and they definitely fit in with the plot a lot better. The only song that really breaks the mold is Kristoff's bizarre 80s inspired love ballad, complete with reindeer backup singers. This felt like something you would see in an episode of Family Guy and not in a feature length Disney film. Composer Kristoff Beck returned, bringing with him that Norwegian sound that made the original score so memorable. This time he also included the female Norwegian choir, Cantus. This inclusion added some unique layers of harmony that blended with those colorful visuals. All that aside, I'm basic. So the first movie's music, I just, I can't walk away from it. Even though I would love to run away from it. I'm a bit torn by which movie I prefer. I've seen the original too many times to count due to my kids having it on constantly. The music is baked into my soul. I do think the sequel does a great job of standing on its own and the themes are stronger than that of the first. Probably because the script didn't feel like it was changing as it was going. Let's see what the YouTube community had to say in the polls. And apparently people didn't want to build another snowman as Frozen 2 only received 21% of the votes. Awarding Frozen, a whopping 79%. If you'd like to take part of the voting process, make sure to subscribe to my channel, Adam Does Movies. And remember, this is more than just reviews, this is Movie Feuds. And a side note, if Elsa can make things that will, like giant snow creatures, why isn't she doing this more? Seems like something that could have helped her out of a jam or two in the past. But just saying. Couple snow, couple snow golems, things like that. Maybe a carrier pigeon.


This story is called the addict a man named Rupert lived with this dog in a house deep in the woods Rupert was honored and a trapper the dog was a big German Shepherd named Sam Rupert had raised Sam from a pub almost every morning Rupert went hunting and Sam stayed behind and guarded the house One morning as Rupert was checking his traps. He got the feeling that something was wrong at home He hurried back as fast as he could but when he got there he found that Sam was missing He searched the house in the woods near by but Sam was nowhere to be seen He called and he called but the dog did not answer for days Rupert lived for Sam But he could not find the trace of him Finally he gave up and went back to his word One morning he heard something moving at the addict He picked up his gun then thought I'd better be quiet about this so he took off his boots And as bare feet he began to climb the addict's stairs He slowly took one step then another then another until the last he reached the addict door He stood outside listening, but he didn't hear a thing Then he opened the door and You'd scream too if you stepped on the nail in your bare feet