There's Bob and the Unwatched Fissure. Hey, how's it raining? Never mind. This was the worst day ever. Tell me about it. Today's stink. Saturdays. I got a movie. I'm not interested for the movie right now. Ah, barnacles! What about computer? No. No! Hey, so it seems like they're bored out of their mind. Dude! No! SpongeBob! I'm melting! I'm melting! How did he just melt? Wait a minute. Ah, the camera!  Patrick. Patrick. What? Patrick, we could use my camera to record things. Wait, what? You got a camera? You never told me that. Wait Patrick, this camera is very special to me. I used it once to take pictures. Very, very sweet. Sweet pictures. Patrick. This is awesome. SpongeBob, this camera is cool. Oh, I know SpongeBob. Hmm, I don't know what to record. That sounds like fun. Count me in. I know. Go by video. Yeah, let's do this. Twenty minutes later. Hooray! We finished. Now let's look at the finished recordings. Yes, it is I, Mermaid Man. And Barnacle Boy. Your life of crime ends here, Sharkman. Haha, it's me, Man Ray. Man Ray? Bulls, you think you can take me down? Huh, I'd like to see you try. Me and Sharkman will take over this village and soon plan to take over the world. Oh yeah, we'll see about that. I don't know why that reminds me of Toy Story. You may win this time, but this will just be the beginning and it'll be back in the next. What, hey, hey? Oh, nice explosion. We did it. Once again, justice is served. Oh my God, we're with Mermaid Man and Barnacle Boy. SpongeBob, that was so awesome. I'm going to show this to Squidward. And Sammy and Mr. Krabs. And Mermaid Man and Barnacle Boy. You might want to head home before it gets worse. Yeah, you're probably right. Good night, SpongeBob. I'm going to use my inflatable pants to take me back home. Patrick, you might not want to do that at the moment. No, it's it. I've been using it in years. So I reckon I could do it again. See you, SpongeBob. I'm heading home. It's still working. Harder stuff. Open TV. That's got to hurt. Gary, how long was I out for? Recording of this broadcast by any device is prohibited. Any recordings of this online will be taken down by the authority. I don't remember seeing that before. This is missing. It's missing. It shows Mr. Krabs standing in Squidward. What's that thing? It looks like a cracked out SpongeBob. Holy frick. Poor Gary. We need to get out of here. I'm the kitchen. And our only exit is the back room. Maybe it won't get us in here. Oh, no. It seems like you got SpongeBob and Gary. Gary. No. It doesn't look like that one video. Hey, Patrick. Hey, SpongeBob. What's going on? Oh, nothing. Just at work. Isn't it a Sunday? Yeah. Mr. Krabs and I are preparing for a celebration for tomorrow. Oh, cool. Uh, I guess I should get some things ready for tomorrow. Yeah, well, I need someone to keep an eye on Gary since I won't be back until 7 or 8. You think you could keep an eye on him for now? I don't know, SpongeBob. My favorite show is on. And in an hour, they will air a whole episode marathon. Patrick, please. I can't leave. Now this is really important. I'm going to be honest. Gary doesn't look well. I obviously can't bring up an appointment for him at the moment. And I don't even know where Squidward is at. I haven't seen him all day. Um... Please, Patrick. Okay, SpongeBob, I will. Either way you got a TV. I suppose I won't be missing the marathon then. Thank you so much, Patrick. You're the best pal. You're welcome, SpongeBob. Okay, a spare set of keys are underneath some sand near the door. There's a big lump there to know where the key is placed. All right, then. See you later, Patrick. See you later, SpongeBob. Gary Images, we can come up, all right? With all these characters, SpongeBob, Peppa Pig, everybody, all right? First, who should we start off with? With SpongeBob or... Let's start with SpongeBob. Let's see what we find out. All right, all right. First, let's put Gary SpongeBob on night camera. Scary SpongeBob on night, bruh. Let's see what pops up. I can't spell. Oh, my God. Night camera, let's go. I can't spell, man. What the heck? What body is that? I can't even tell. All right, let's see. Generate again, because you can open another one. All right, let's see, let's see. Generate again. Can you just have this brain coming out?  Like, he has no brain. It looks like potato. He does look like a potato. All right, we'll just do it one more time. Generate again, one more. I kind of like this one. That one looks a little normal. Yeah, that one looks a little normal. He's just missing his bottom teeth. Yeah. All right, cool. All right, so that's one of them right there. That's pretty crazy. Okay, next, let's do... Peppa Pig. Peppa Pig Spider. I'll put Scary Peppa... See, I'll put the word scary in there. All right, yeah, just throw it in there. Let's see what it is. Scary. Factor. Scary Peppa Pig Spider. Let's see what pops up. Isn't that scary? Wait, does it have eyes for feet? That's not bad. That's not scary. It looks happy. Generative, bro. Generative. Horror. Out of his head? Or is that like a hat? It's like a jester or something. Yeah. Okay, let's put horror in there. Let's just see if it... All right, Peppa Pig. Mixes it up or something like that. Spider. Horror. Like, can we actually get something scary out of it? What the heck? Like, I don't even know what's going on. Look at his stomach. Look at his stomach. It has like another Peppa Pig in there, but is he a cup? It looks like he's a cup. All right, generate again, because this one has like more potential. I feel like... Like, two noses later. I was there and it has a nose on top of the hat. I was like, that one has three legs. Thomas. The tanker. Thomas the tank. Let's see what happens. Thomas the tank. What though? Creepy. Creepy. It's gonna be like a cracked out Thomas or something. Let's see. Oh, the hat's open. It's creepy there. Thomas the freak. Oh, the hat's scary. It was gonna pop up with this one. There was a reindeer freak. Thomas the freak. It looked like Thomas' face a little... Really? It looked a little scary though. Okay, let's use the word freak. Oh, we don't need to do that. Let's see. What's another character? Aileen the SpongeBob. Aileen the SpongeBob? Let's just see what pops up. Aileen doesn't be crazy. I wanted it to be scary, but it wasn't scary. It looks creepy. All right, let's see. Aileen the SpongeBob, Thomas the tank, and Peppa Pig. It's a bit wild, bro. This is what they would look like if they were all mixed together. It's a fusion. The fusion dance. That's a Thomas. SpongeBob Thomas? Is this split? Okay, it's generated together. That's pretty. That's crazy though. They're like, it mixed it up to... It's a cake. Look at the top. It's from Wish. I didn't want to be happy though. Like if I was a kid, I'd ask for a cake like that. And it came out like that. That was actually kind of dope. Murder. Teletubbies murder. Geez. It's going to get dark in here real quick. What? Look at the face. I know. People are like bootleg Teletubbies, bro. These are Teletubbies from Wish. I think that actually creeps me out more. Dude, this looks like it would be real. It doesn't look like an actual cartoon or something. Oh, but look at this one with his eye on the bottom. Nah, you got a hole, bro. I don't know what's going on. I do that. I don't know what they be doing to his face, bro. What are you doing with that hole? Okay, we got to start using like, he's scarier words. Like, like more... Five-fanathe demonic. Oh, demonic. That's a good one. That's a good one. All right, let's see fanathe demonic. Okay. Okay, okay. Okay, demonic is the word to use. For curse, we haven't used the word curse. Oh, that's a curse. That looks like Freddy Fazbear. That's that. Hey, that was pretty good. Okay, demonic is the way to go. Okay. SpongeBob. Demonic. Which is like... Oh, crazy. It looks pretty crazy, but the eyes look really cool. It looks like a minion, the eyes. Oh, yeah. It kind of does look like a minion SpongeBob. What the heck? Okay, somebody's on drugs, and they just drew that, bro. Well, the A.I. is on drugs, and they just... Yeah, this looks like real art. Like stuff like you'd see at like a... like Venice Beach. Oh, what? Is that an arm? I have no idea. But the SpongeBob look like a little crackdown or something. Okay, let's do a couple more. Peppa Pig demonic. You like that one. Yeah. First evil. Yeah, let's see what happens. Like a super scary SpongeBob one. It's got to be something crazy. Actually, that one looks pretty creepy though. Yeah. We need to get... Oh! It's legit. Yo. Right now, like the rock sign? That's the luminati right there. Well, I need one more. We need to try Thomas. It's actually kind of fun. We need to try Thomas, bro. All right, this is the last one we're going to do. I promise. Last character. Demonic realistic. So if you want realistic gaming with like 1% of the views, not even 1%, 0.45% of the views, the egg hit us up. All right, that's it for today. See you guys later. Oh, damn. I kind of...  Dude, you're just going to see blood, like, squirting now. Because he's like here. Ah! Yes. What is up, everyone? Today we are now seeing witch's channel, where he reacted to some of his animations that are all over the place. They're all short, too. They're YouTube shorts. So let's go ahead and begin with our first video, which is... Hey, Sonic, what's up? Oh, God, what are you? Oh, my God, what are you, Sonic? They're in the room back. Oh, there you are, Sonic. You know, for a moment I was just wondering about...  And then he pranked Sonic by leaving him in the bathroom. Hang on, party mouth. The chicken! It was Slender Chicken. The chicken. Slender Chicken. The chicken. Look at us. Oh, my God. That is literally a pollo loco right there, bro. That is literally a pollo loco right there, bro. This is real life footage, by the way. It's like a cardboard box. Kind of does. Are you getting closer? I guess it was because, like, Sans was like in his face. And he just... It's just a big spoon. That's what I really think it is. Like, it's really nothing just... He pulled out a big spoon to it, you know? I get it. I don't know. I get it. Alright, next we got Hey Gumball. Look at some man from the window. That was a pretty fun game. Like, they got, like, original crackhead energy. Hey Gumball, there is a man outside the window. That is creepy. Yeah, now and then, they're probably going to be scared. Oh, that's even scarier. That is scarier than the man from the window. Oh, my God. That is a real-life nightmare right there. Yeah, I like that. The IRS is hunting you down like that?  I'd rather have a hobo chasing me with a knife or something. I don't know, man. The IRS. Oh, Texas. Oh, yeah, that's scary. Alright, next we got Oh Boyd, my favorite seat. Oh, boy. My favorite seat. Oh, Mickey? Oh, excuse me. What's that? A tracking Mickey Mouse. Oh, God. Not at the movies, bro. This is a savage. You have been banned from the Mickey Mouse Club for inappropriate behavior. What's grandpa's that, bro?  It's so random. What's grandpa's was that? They've got a weird about it. I don't know why. Alright, where does that even say it, bro? With the water sins? Oh, with the water sins. It has to do with the water sins and it's going to be interesting. My son hasn't eaten his corn flakes for over an hour. I think something is wrong with the poor boy. What is wrong with mans? I'm disowning you, gunball. Oh, it was that song and he was like singing it. You've heard that little song before? Yeah, I've heard it, but I don't know where it's from. I don't know where it's from exactly, but she disowned them because he liked that song. That's what I believe. I wouldn't do the same, honestly. Oh, Five Nights at Obonga? I like Obonga's videos. The White House Cafe. Richard M. Nixon? Donald Trump? Donald President, bro. Obama's not there though, man. America? Yes. Thank you, fellow Americans. Oh, thank you, fellow Americans. That was so random. Wait a minute. That's pretty terrifying. That's about right after like that. God, it's getting closer. It's funny because he has like a real body. Yeah. He does have a neck though, that's a weird part. Oh, Squidward did not survive the incident. R.I.P. Squidward, man.  Oh my gosh. Guys, listen. You're not allowed to violate the rules in our C.O.S. If you do, I may have to ban you for 24 hours. Anyways, back to what I was saying. So yes, I do think the H.O.S. That's the anime posters in the background. I don't like them. Oh. Oh no, woman. He's scared. He's scared of a real woman. Is this you? Is this you? Well, that is why I did not own a discord. Or else I wouldn't be like that, bro. All right, we got you as a sim cuphead DLC. Oh my gosh. Hey, what are you watching, bro? I will date whoever donates. Come on, cuphead. He's simping, bro. A few moments later. Is this sad part? That's the real life stuff right there, bro. I forgot, I'm a Wonder Tart cuphead DLC. Cuphead DLC? I gotta buy these. Well then get out of this file. Don't let you two have to shout at me. What do you mean there's more? There's just more. Go into the next aisle. Where are you right now? What is going on?  I mean, I'm a Tart. What star are you in? I'm at the star. Why are you buying clothes at this star?  I have no clue what was going on. I didn't get that one either. There was just a lot of screaming and cursing left and right. People were mad. That's why I picked that. But lock your skin now. Alright. Okay. Hey man, what's wrong? Lightning McQueen. My mom. Lightning McQueen isn't real. I got the Lightning McQueen drip. Julia was telling me those run like $400 right now. You like the wind trucks? You don't. Why don't you pull it off? Lock your skin. What? Okay. So he was haunted because Lightning McQueen. There's some horrible stuff.  That's hilarious. Alright. Kirby League GTA 6 gamer style. Oh, did you hear that guy? He was actually from the UK and he like. He leaked it? Yeah. He leaked like gameplay from GTA 6 and like some Uber stuff and I don't know what else. He got arrested forever. Yeah. Dude, he's like a teenager. Yeah. He was like 16 years old. Gotta be in the manga. Oh. Oh. He throwed it. Oh. Oh, Kirby is OP, bro. Yeah, he is. I think so. I like how that looks. It just drives away. It just drives off. I don't want his shirt like that. That would be pretty funny. Alright. And the last clip is Mario Pace For His Crimes. About time. Thanks a hell.  Name, please. It's me, Mario.  Since your only said was cheating on her science test in third grade. No way. I'm bringing more than that. Well, I guess it could be worse. That's the hardest level. It would shape like Donkey Kong. Do you know that? Donkey Kong game? Wait, what? You failed the first test? Oh. He farted. Come on, Mario. Hey, well, these were super random. I like them, though. I like them. Yeah, they were cool. They were entertaining. Alright, well, there we have it. Shadow 2, sequence A4's animations. Go make sure to check them out. I like good stuff. And thank you all for watching. Hope you guys enjoyed the video. And if you made it to the end of the video, make sure to smash the like button. Subscribe, drop a comment to help our video get pushed down.  And two months later, we're dead.  We're struggling, man.  This is me right now. That's how I feel, bro. That's how we feel everything. That's how we feel inside every time we do a video. So, smash like, comment so we can turn this frown upside down. And thank you all for watching. We'll see you on the next one.


Is going on guys welcome back to the channel critical overlord here, so back again with another Jeepers Creepers video Trying to get gonna try to upload more These past couple of weeks. I've just been uploading sporadically because of the new job and everything But I'll try to upload as much as I can Going forward but getting into today's topic of this video. This is in regards to Again with the the original script Jeepers Creepers Cathedral I'm going to kind of just Summarize how the creeper escaped from the Taggart barn and kind of just go over that whole sequence that was up or the whole scene That could have been if we actually got the film that we are still 15 something years later actually still waiting for despite us still getting Jeepers Creepers 3 We're still actually waiting for a certain type of Jeepers Creepers film We've been waiting for this film since 2003 and hopefully we get it one day But essentially how the creeper ends up escaping the Taggart barn There's a scene in towards the early beginnings of the film because the film Not exactly, but it picks up right where the second film left off after after the bar fight There's a few other scenes regarding Tricia and her and her son dairy named after her brother, but then we jump into the Taggart's We go into the Taggart's farm area we see Jack junior walking from the farmhouse to the barn he He opens the barn doors and Jack Taggart senior. He is still in that barn Apparently we find out that he actually sleeps in there at night. He sleeps in there at night in his wheelchair next to the Post-puncher or whatever. It's called the harpoon that he crafted to take out the creeper He sleeps in the barn next to that and the dog sleeps right next to him to keep him company But yeah, this is how obsessed he is with the creeper. He's still He he doesn't even sleep in the farmhouse He sleeps in the barn with the post-puncher still aimed at the creeper all while the the same sign is up in front of it Hanging over it bat out of hell The creepers lifeless corpse is just sitting there But Taggart is just sitting there ready to go in case it doesn't it does wake up He has the harpoon ready He sleeps in the barn, but Jack Taggart junior. He opens the door and what happens is He startles his father and of course the father and the son they kind of have like a back and forth over Receiving money from Trish Trish has been sending this this duo of money Trish is apparently a very wealthy woman woman now and she wants to There's something that's going on something with the Taggart and several other locals that Jack junior has gathered or been in been in discussion with They're all gonna gather at the farm to kind of see the demise of the creeper some type of sacred ritual that was supposed to be Some type of sacred gathering that was gonna involve a priest. It was gonna be there It was gonna be a gathering to put an end to the creeper once and for all Trish has been involved. She's been funding whatever it is that they were trying to actually do I believe that we would have saw it on screen. I would have had a better idea or better understanding of what it is They were actually funding But the issue comes because Jack senior is not wanting to accept this money from Trish He doesn't feel like they should be making any money off of the thing that Killed his killed his killed Jack juniors brother, which is kind of a odd response from him because he's that's exactly what he's doing If I'm recalling correctly, he's charging five dollars or so Someone's charging five dollars. Unless that was Jack juniors idea as well to charge five dollars So maybe Jack senior is is is right in what he's saying Maybe Jack junior has always been the one that's been wanting to make money off of this thing that hangs in the barn But anyway, what ends up happening is Jack junior leaves the barn after they have a little brief argument He goes into the house the next day. He knows the glass glass shatters in the kitchen There's a big thud. He falls back. He goes out to the barn because the dog is barking like crazy Jack senior is claiming that he saw the creeper move the harpoon was shot at it All we see is just the still the harpoon is shot at the creeper and the corpse is still lifeless So we don't know what Jack senior is talking about. He swears. He saw it move What ends up happening is they move closer towards the creeper Come to find out that there's nothing even inside of this corpse. It's it's lifeless. They cut a knife through it Nothing, but dust comes out There's no remnants of there's nothing there that would That would let you believe that something was ever residing in this corpse It's it's as if this thing escaped a very long time ago or if not just recently Unbeknownst to Jack Taggart he at some point had to have shed his skin and he escaped We're finding out that this is probably how the creeper always comes back ready to go every 23 years He just sheds his skin And he has his wings back. He's in some new return form now. Why exactly he did not take out taggart I do not know Maybe because taggart is not scared of him. There's nothing for him to really Nothing for him to really take for him at the same time the creeper is all about all about Defending himself and taggart is a threat. So I would have imagined the creeper would have still taken out taggart Maybe he wasn't at his strongest Or maybe he did actually just escape right when taggart shot the harpoon Somehow or some way he got out of that barn without taggart seeing him The corpse that was there with the bat out of hell sign hanging above it. There's nothing in it It's nothing but dust It's like the creeper has shed at his old body and he's he's now just out in the open And the taggart's question where he is or where it is rather That's how the creeper escaped the taggart's barn I personally think it's a pretty cool scene or it would have been a cool scene I'm not really a big fan of us not really seeing how it got out It just kind of shedded its skin and now we're back in the fold of things because they didn't I don't think victor could come up with anything really clever there Uh, but it kind of gives you breadcrumbs of what's to come because you then in the Later portion of the script you find out what the creeper is and it kind of just Makes it it makes a little bit sense But let me know what you guys think about the creepers escape from the taggart's barn If you haven't already make sure you subscribe to no post notifications So you never miss a video in the description I'll have links on my social media accounts on my facebook twitter and instagram You can message me there to let me know if there's any movies news or reviews You would like me to cover in the future rather than mine guys. I will see you in the next video


Hello, Osleigh to sync here. I think that the sequencer on the Korg mod wave is fantastic and crammed full of creative potential. However, it's also a little unexpected, crammed full of lots of different features. And on a polysynth like the mod wave, it's kind of a bit weird. And I think for that reason, it's sometimes overlooked as potentially the most interesting feature of this synth. So in the hope of trying to remedy that, over the next videos, I would like to really dig into the mod wave sequencer, understand how it operates, and what possibilities it has in store for us in terms of creating really quite interesting patches. Before we get started in the interests of transparency, Korg did send the mod wave over to me to make some videos on, but they didn't ask for and have had no editorial oversight in anything that I have done with the synth on my channel. So with that said, oddly, in terms of trying to understand the sequencer on the mod wave, we probably have to start by talking about what it is not. And what it is not is a polyphonic melodic sequencer, like you would find on say, the Minilog or the or any of the polyphonic valkers or say the sequencer that's built into the Arturia keystep. It's not the kind of sequencer where you will play in notes and it will play those notes back. You can kind of make it do that some of the times in some ways, but to treat it like that, and only like that would be, I think probably missing the point. If you need to do that kind of polyphonic sequencing with the mod wave, you probably just need to plug in a sequencer to do it. The fundamental thing that we need to understand about the sequencer on the mod wave is that it's not a sequencer for the synth. If you like, it's not a keyboard sequencer. It's a sequencer per note played. And that's kind of massive. But let me show you what I mean. So I've programmed in a eight step pitch sequence. And if I hold down a note here, it's going to play that sequence for me. So we have a monophonic sequence running on this held down note. If I play another note, you can hear that it's got its own sequence playing. And it's actually out of sync with that first note I played. If I play another note, another note, we now have four sequences running because I'm holding down four notes. Now, we can synchronize all of those notes together. And this is probably the first sort of feature of the synth that I'll show here. And if we hold down shift and enable, now if I play one note, whenever I bring in another note, you hear now that they're all at least synchronized together, which is useful. If you have sync notes on set on both layers, both layers will synchronize together. But if you have one turned on the other one, not then all the notes on one layer will sync synchronize together on the sequencer, but not on the other. The other really important thing to note here is that the sequencer is not triggering notes, it's just adjusting the pitch of the oscillators. So if I turn off sync notes here, you can hear there that the sequence is changing those notes. But if I say set my envelope to try me like plucky or whatever, it's not re-triggering the notes for each of those steps. Because I've set my sustain to zero, we've now got silence. So by default, the sequencer is not actually going to trigger notes. So we're not going to be triggering the envelopes. Now we can actually get it to do that. We can do it for each envelope separately if we want. So in our envelopes here and the filter one actually, in page two, I think, page three, sorry, of our envelopes, we have this trigger source parameter here, which is set to off by default. But basically we can set up our envelopes to be triggered by any modulation source actually. But if we want it to trigger in time with our sequencer, if we come in here and we want to come down to generators and down here somewhere, we should find a step pulse here. So if we set this to trigger on the step pulse, we turn down our filter and turn up the envelope mount. You can hear now that we've got our filter envelope being triggered by the sequencer. But not our amp-envelopes happens. This is just a gate being held open constantly here. And because we have an envelope per note, we can still have things being triggered independently out of sync if we need. Right, so that's what the sequencer isn't. And I've also demonstrated how you can kind of make it act a bit like a standard sequencer, but not really. And as I say, to treat it that way, I think is probably missing the point a little bit. So let's come back around to what we do have. We have a sequencer per note played, but actually that's simplifying things quite a lot. We actually have seven sequencers per note played. We have pitch, we have something called shape. We have a timing lane, and we'll get to shape and timing in a future video. And then we also have three lanes of general purpose modulation, a bit like motion sequencing, if you're familiar with the motion sequencing on most corgs since. Although each of these sequencer lanes, as they're called, will all run in sync with each other, we have these seven sequencers or sequencer lanes as they're referred to on the mod wave. And they all have a number of different parameters, which we will be diving into soon. To view those parameters, we can just hold shift and click on the particular lane that we're interested in. So I'm just in the pitch lane here. And we'll, as I say, we'll dive into each of these parameters soon enough. But as an example, on this particular lane, I have my loop set from step A1 to A8. So the sequencers can have up to 64 steps. In this case, I've got this one set to be eight steps. But if we come across to, let me think, A, which one was it? C? Okay, here we go. It seems the lane C here. This one has its loop point from A1 to A3. And if I just start this playing and I turn up this knob here, this sequencer lane is going to be affecting the panning. That's going to go sort of left center right. If you're hearing that in headphones, you'll be able to hear that, right? So immediately by decoupling the length of the two different sequences that we're hearing here, the panning coming from sequencer lane C and the pitch, we're getting this interesting rhythmic idea. But I also have two other sequencer lanes set up doing things. So if I turn up this one, that's a five step sequence, I think, so quickly. Yeah, five step sequence, which is affecting the position of the wavetable. So we're putting a pitch rhythm, a panning rhythm, and a wavetable position rhythm. They're all happening in sync, but they're happening at different lengths. So we get these really cool polymeter things happening. If I turn up this knob, this is going to be a seven step sequence, which is affecting the morph, I think. And because we have everything running in sync, but at different lengths, we can get these really, really interesting rhythmic ideas happening by holding a single note. And this is not something you could easily do with a standard polyphonic melodic sequencer that you would find on many other polysense. As I say, thinking about the mod waiver that way is slightly missing the point, I think. I think that's rather cool. Right, so let's take a look at the common features that all of the different sequencer lanes have. And I'll just go to these other bits of modulation. So we're just back down to pitch, and we'll just make sure that we're looking at the pitch like that. Okay. So the first thing I'll just reiterate is that if we come into the seek view here, what we can see for all of the different sequencer lanes, you can see the position that we're currently in and also how long the sequencers are and when they're going to restart. So although we're not hearing those other sequencers doing the panning and the wavering position and stuff, you can see here on signature A, B and C that they have different lengths compared to the pitch which is highlighted. It's quite a useful overview. What it doesn't show you is anything to do with like the amounts of modulation. It'd be nice if there was like an overview per sequence lane, but currently there isn't on this firmware. So diving back into the pitch here, let's take a look at the common settings that each of the sequences have. So the first thing is that we have this loop parameter here, which generally speaking is going to be the length of your sequence. So we can set our start and end point and this goes into the Bs, Cs and Ds to give us up to 64 steps of sequencing. One thing that's important to note is that although we can use this to adjust the length, we don't just have to adjust the end point, we can adjust the start point as well. So the start of the sequence doesn't have to be the start of the sequence, if that makes sense. So now we've got a seven step sequence, except we've got seven steps by taking a step off the start rather than off the end. Which again is officially you don't tend to find on sequences like this on a polyphonic synth. Now one thing I'll just introduce here as well, maybe we'll just make this much shorter so it's easier to hear maybe like a three step. So we've got a three step sequence there. One of the lanes, I guess it's a sort of pseudo lane that we have here is the master. And the master lane is off by default. What the master lane allows us to do is to set a overall loop duration for the sequence. What this will do is reset all of our sequences when that loop duration finishes. So although we've got a three step sequence here, what you'll hear when I play is that we're actually getting a straight sort of 16 step sequence now, because it's resetting our three at the end there. So without we just get those rolling threes and with it on it's stopping it at that 16th step essentially. So that's really useful if you want to make sure that your complex rhythmic sequence does actually reset at the start of say like every four bars or whatever it happens to be for the particular composition that you're working with. The other thing that we should bear in mind with our lengths here, so if I come back down to or rather up to eight, is that the start and end point of our loops in our sequences are actually modulatable parameters. So if I maybe grab, yeah, so let's add a modulation. We're gonna hit enter because we just want to do the thing that we were just modulating which is the loop end here for our source. Let's just use the amp LFO maybe. Yeah, that'll do. Hit enter to continue. We'll set the intensity to minus five and we'll just make sure this is running nice and slowly. And hopefully we're here. It's longer, shorter, shorter, shorter and then longer again. So we can actually modulate the length of our sequences as well. So not only can each sequence be different lengths anyway, that length doesn't have to stay the same. It can be modulated as well. And because these LFOs are free running unless you have sync notes turned on, if I play two notes together, but each of those is now a different length at a different time, which is pretty cool. And again, we could be modulating the start of the loop rather than the end if we wanted to work that way. Instead, if we wanted to trim off the root note, as it were in this case, we could work that way as well, which is, you know, immediately hopefully creative juices are flowing there. Coming back into the pitch lane here, let's have a look and we'll skip over these ones just for a second and we'll just go to this transition parameter here. So at the moment this is set to off, which means that by default, each pitch is going to jump in this case. If I turn this on to linear, we'll hear that it's going to be slowing all over the place and not necessarily in the most pleasant way. And let me just take that for a second. There we go. Easy to hear now. We also have an exponential slew, which will move slowly at the start and quickly at the end. And logarithmic, which goes the other way. So it's like slurring into each note. It's quite useful. I think generally for pitch, we maybe don't want that set on, but there is a fourth setting here, which is really useful and especially useful for pitch, I think, but really useful for all of them, which is the individual setting. And that's because each step can have its own transition set. So if we just jump into one of the steps here, maybe this step four here, and we can set its transition to be logarithmic, so we should have step, step, jump, step, step, etc. Here we've got our one sort of slowy one there. So this is a way that we could fake our sort of 303 vibes if we wanted to. So I'm just going to remove the modulation of the length just for a second so that we can hear some of this other stuff a little bit more straightforwardly. So I'll just turn transition back to off. So next up, let's talk about the directional mode. So at the moment we're going forwards, we can also go pendulum, we can go backwards, and we can go random. You know me, I love some random movement. And then sort of one thing we should note with the mode is that this is a way for us to take a sort of even length idea and make it sort of odd length. So like if we go for the pendulum mode here, for example, we've no longer got an eight step sequence. It's more like a 15 step sequence. So placing that sort of mode difference against something can be really, really interesting. Next up we have repeats, which by default are set to infinite, which basically means that we have a looping sequence the same as you would kind of expect as normal. But we can actually set this to be something else. So for example first, just take this down to like off, for example. So let's go to off. So this is going to not repeat the sequence at all. It's just going to play it once. Now we're still getting that filter being triggered because we're triggering on the steps and the other sequences are still looping. But we can make use of this repeats, for example, to create makes probably more sense with the mod tracks, but we can basically create complex envelopes. So if we wanted to create like a 64 stage envelope with the sequence of lanes, we could do that and just have it repeat and repeat turned off and we'll just go on a journey across all of the steps and then stop where it is at the end. We'll look at that a bit more when we get to the free sequencer lanes actually, because that's one technique that is really, really useful. It's not that we're short of envelopes on the mod wave. We've got four of them, but we can make use of the sequencer to create more envelopes with very, very complicated shapes. And remember that we have individual curves on the transitions as well. So we can create really, really complex envelope shapes. So note advance is a bit of a weird one. And I will show some more practical uses for it when we get to the episode when we're looking at the timing lane, because I think that's where it sort of comes into its eye a bit more. But what this essentially does is that it makes it so that each time you press the key, it's going to start at the next step. So if I turn this on... So we're starting at our root note that time. Now if I play again, we start at step two instead. And this time we'll start at step three. And then step four. And then step five. Step six. So seven. Step eight. And then back around on our repeat loop point. You might be wondering what that's for.  It certainly did for me anyway. And it makes a lot more sense when we pair it with some of the features that the timing track has. So we will revisit note advance and look at some more practical applications for that in a later video. So this last one here that is coming to almost all of the lanes, it's not on timing, but it's on most lanes is use shape. And this relates to the shape sequencer lane here. And the shape sequencer lane allows us to define per step, like a envelope shape, which allows us to create more complex transitions essentially on a per step basis. And this can be, as I say, per step. So the shape lane, which we'll get to in another video in a bit more depth probably when we look at the other sequencer lanes, can be used to modify how each step on a sequence gets modulated. Probably not that useful on the pitch lane. Well, maybe actually for like doing some drum stuff, maybe. But certainly we will take a look at that in a bit more depth on the other sequencer lanes when we do those. The final aspect that is common to all of the tracks doesn't belong to the configuration here, but rather to each step. So if we just select step here, we have this probability control here. And this is the probability that this step will occur. So at the moment, we've got our eight step sequence that if I drop this down just to zero just to demonstrate this, this is not the probability that the note will change. It's the probability that this step will happen at all. So we now functionally by turning the probability of this step to zero, we've got a seven step sequence. But of course, we don't have to have it set to zero. We can have it set somewhere in the middle like this. And then we've got a sequence which is going to potentially change each time around. And if we do this on a couple of different steps, we can create again quite complex ideas from quite simple ones like this. Bring in some other modulation back. Pretty cool. And probability is happening on a per note basis. So when we have multiple notes playing, they're going to desync and find new ideas. We should also note while we're here that pretty much all of the parameters on a step are able to be modulated by the mod matrix. So we could even have things like the probability being controlled by an LFO or probably more sensibly. In fact, let's do it perhaps. Let's set every other one here to zero. And then we can set probability zero and modulation to that one. And we'll assign it to the mod knob and to continue 100%. And just let the next one here. Make sure we selected the parameter. Add that one to the same mod knob. 100%. This one, make sure we selected it. Yep, same mod knob. And to continue. And this one here. Make sure we selected it. Add it to the mod knob there. And 100%. Cool, that should do it. So now if I turn this knob to 100, the probability of each of those steps should be 100%. I managed to not do it for this one for some reason. Just check that. There we go. And now if I turn down this knob, the probability of each of those steps is going to be reduced. And right down the bottom here, we've basically got a four-step sequence. We now have a sort of performance control for the probability of those intermediate steps. Which is pretty cool. And again, not something you tend to see on like the mid-log. For the rest of this video, I want to take a look at the unique features of the pitch sequence. So let's make sure we've got that selected. And we'll come back to configuration in just a second. Let's jump into the individual steps. So we've seen the transition and we've seen the probability. And that leaves us with these two parameters here, transpose and tune. So the thing that we need to recognize about our pitch sequence is that we are not sequencing absolute pitches. I'm not saying play a C, then an E, then a G. Instead, what I'm doing is defining offsets from the played note. So in our sequence here, it starts with the transposition of 0 semitones and then 5 semitones and 7 and 11 and so on. So I can play this notes and I get those offsets. And if I play another note, it's going to be the exact same contour of pitches just played for a different route. So again, very much not a standard sort of polyphonic melodic sequencer. So beneath the transpose here, we also have a tune. So this allows us to tune the pitch in a more granular fashion rather than in semitones. We can do it as part of semitones if we wanted to do 5 and a half semitones up on this second one. We can do that, which means that we can create microtonal sequences or indeed we don't have to use the transpose at all and we can create sequences which create very small offsets from the main pitch rather than sort of like an arpeggio as it is at the moment. The other thing that we should note on the pitch lane is that these semitone offsets will not respect a performance scale. So if you've played around with this at all in the performance menu just over on page on the last page here, we have the possibility of setting up performance scales which use different microtonal temperaments, so equal temperament being the default, but we can do like the, I think we've got the Gamalonguotons in here and Pythagoras and all that and the semitone offsets on the pitch sequence don't respect that because they are semitone offsets, they're not note offsets on the keyboard if that makes sense. So if you're dealing with the sort of microtonal scales in the performance, your pitch sequence won't necessarily adhere to that particular temperament that you've chosen which is a shame and I wish there was a way to get it to do that actually. So the maximum range of transposition that we can do here, so how wide can we make our sequence? So we can go down to minus 24 semitones, that's two octaves down for where we started, up to 24 semitones above. So that gives us a, if we just use the transpose control, it gives us a range of four octaves if we go from the very bottom to the very top, but we can actually take it further than that because we also have our tune control here which at the top end is plus 12 and at the bottom is minus 12 semitones, so we can push it a little bit further for a range of six semitones in total which is probably enough for most people. There's no way to push it any further than that, we can't modulate the transposition beyond 24 and we can't modulate the tuning above 12. So what I said there actually is a little bit of foreshadowing when I said that we can't modulate these values above or below plus or minus 24 semitones because indeed the tuning and transposition per step is a modulation destination. So that means that for example if we take this, maybe we'll take this third step here, we can add this transposition to the mod matrix, so pitch A3 transpose and we'll maybe use, just use oscillator one LFO as an example and we can set this to modulate it. And you can hear on that step things get moved around. At the moment this is probably going a bit too fast so that's going to go a bit slower. And now that particular note is being changed each time we go around and you can hear that it is actually being shifted around so when we hit this particular step the modulation takes over and if it happens to be moving when it gets there we will hear that movement. We can probably negate this a little bit by choosing a more sensible shape so if we go for one of the samplen hards and maybe set it to be tempo synced like that. Now that's maybe not being totally musical at the moment because we've kind of got an implied major scale going on here and because we're randomizing the pitch it's being shifted to you know wherever it might be. But there is actually something we can do and this is probably the most powerful feature of the pitch sequence track actually. Coming back into the configuration here we've got this final row here which is fit to scale which is currently turned off. If I turn this on now and go back to playing my sequence. Now that modulated step kind of always sounds right and we can change what scale we're dealing with here as well. And it's going to move all of our steps to be within that scale. Even one that's been modulated. So we're not getting any notes here that don't sound right and because our LFOs could be running per note we can now run two different sequences and that note there is going to be a different interval each time which is pretty cool. One hidden feature of this fit to scale instance is if we set our loop to be just one step long maybe I'll just turn off the trigger here perhaps actually just for a second. If we have a one step pitch sequence with fit to scale turned on it will actually fit the keyboard to the scale so now I can't play a wrong note so I can just mash the keyboard and it will always sound good which is great for me because as I've noted before not a very good keyboardist and we can change what that's been locked to by just changing this so if I wanted to play a bebop dominant riff and I can do that which is pretty cool as I say especially if you happen to be a bad keyboardist like me. Yeah so that's just that sort of a hidden feature in the fit to scale there. Let's come back to actually having a sequence though and maybe back to that and we'll turn our trigger back on so we can randomize which notes have been played we can randomize the probability and that allows us to create situations where we can play a couple of notes and we get sort of generative things happening maybe a little bit slower than that as long as we're careful about which notes we have chosen within our sequence and we've set a appropriate scale to lock to it's always going to sound pretty good which is nice to know. One other thing that we need to be aware of with the fit to scale is that it does also apply to any modulation that we have going on including the transition between the notes so if I set my transition to linear and if we just slow this down a bit more you'll hear that as we slide between the notes we are doing a glissando rather than a portamento which means we can hear the individual notes as we go which I mean your mileage may vary whether or not that works for you I mean some of them are pretty cool that last one so actually we should probably set this to individual instead so there we go so there are reasons to make use of that but as I say just be aware that that fit to scale does actually apply to the the transitions as well so there are some limitations to be aware of with the pitch sequence attract the first is that you can't decouple one of the oscillators from the sequence while having the other one still going so you can't have a kind of a droning note while the other one is still being sequenced by the pitch track there are ways that you can sequence pitch using other methods which we'll get to in order to achieve that where one oscillator is droning the other one is playing like an arpeggio or a sequence but essentially if you want to create that with the pitch track you kind of have to use both layers so you'll have a drone layer and a sequence layer because sequences are per layer so that's a bit of a shame the next thing which is a bit of a bummer is that you can't send the pitch sequence somewhere else so you can't use the pitch sequence to also modulate say the filter cutoff this is I think a shame because the pitch sequence also doesn't count as a played note let me show you what I mean so if I set my resonance nice and high and make sure that we can hear it okay you can hear my resonance self oscillating there if I come into my page two here we've got the key track in and in theory if I set this to 60 but I'll prove it first if I turn off the sequencer just for a second you can hear that my key tracking with the filter is doing a proper pitched key tracking across the keyboard if I put my sequencer back on you can hear that the filter resonance is just staying still so it's not following the pitch sequence because these don't count as keys being pressed and there's no other way for me to send this sequence to the filter so you can't do sort of filter tracking tricks this way conversely you could also argue this is a way of us getting a drone so I mean I guess there's a practical application for that but certainly it's a shame that there's not an option to actually send the pitch somewhere else at the very least to a volts a volts per octave input on the filter if you like if we're in modular world so that's yeah that that's a shame the final limitation I've already touched on but just to restate we have a a fixed range that we can achieve with the sequencer and that is that we can go down 24 semitones so two octaves plus an extra one by using the tune control so three octaves down and similarly three octaves up and that is the maximum range do we need more than that I mean I would rather have the ability to go six up rather than having to tune everything down and then tune my oscillators up to match it potentially um but you know I guess you have to set a limit somewhere but maybe two octaves or three octaves up and down is a bit stingy I think probably anyway I think we'll leave it there for today if you did enjoy the video I found it interesting and or useful then please do leave a like on the video it does help me out and if you're interested in learning more about the signals on the mod wave make sure that you're subscribed to the channel because there will be at least two more videos coming out pretty soon on the rest of the sequencer and the next video we will tackle this sort of the freeform sequencer lanes and also the shape lane believe or not these sort of standard motion sequencing lanes a b c and d have quite a few little tricks up their sleeves and quite a few interesting ways that you can make use of them to do other things so make sure you are um keeping an eye out for that other than that as always thank you so much for joining me and until next time take care bye bye


Hello and welcome to the session. In this session we will discuss Euclid's postulates. Now first let's see what are postulates. Postulates basically are the assumptions which are obvious universal truths. They are not proved. Say the postulates and axioms are the same but there is a difference between them as axioms are used throughout mathematics. The postulates are linked only to geometry. Now let's define theorems. Theorems are basically the statements which are proved using definitions, previously proved statements and deductive reasoning. Now we have five Euclid's postulates. The first postulate is the straight line may be drawn from any one point to any other point. We can state this result in the form of an axiom also according to which we have that given two distinct points there is a unique line that passes through them. Now postulate two at a terminated line and be produced indefinitely. Postulate three says a circle can be drawn with any center, any radius. The next postulate that is postulate four says all right angles are equal to one another. Next we have postulate five according to which we have that if a straight line falling on two straight lines makes the interior angles on the same side of it taken together less than two right angles then the two straight lines if produced indefinitely meet on that side on which the sum of angles is less than two right angles. Postulate the line PQ falls on the lines AB and CD such that the sum of the interior angles that is angle one plus angle two is less than 180 degrees on the left side of PQ then the lines AB and CD will intersect on the left side of PQ. This is Euclid's fifth postulate. Now we have an important theorem which says that two distinct lines cannot have more than one point in common. This theorem would be used frequently in different results. Now we discuss equivalent versions of Euclid's fifth postulate. Euclid's fifth postulate is very significant in the history of mathematics. There are several equivalent versions of this postulate. One of them is play fairs axiom according to which we have that for every line L for every point P not lying on L there exists a unique line passing through P and parallel to L. Consider this line L and a point P which is not lying on this line L. Then as you can see there exists a unique line this M which is passing through this point P and this line M is parallel to L and the other form or the other version of Euclid's fifth postulate can also be written as two distinct intersecting lines cannot be parallel to the same line. All the attempts to prove Euclid's fifth postulate using the first four postulates failed but they led to the discovery of several other geometries called non-Euclidean geometries. Consider spherical geometry which is non-Euclidean geometry and it is basically geometry of the universe we live in. Then in spherical geometry we have that the lines are not straight they are basically parts of great circles and thus we say that Euclidean geometry is valid only for the figures in the plane on the curved surfaces it fails. So this completes the session hope you have understood Euclid's fifth postulates.


Eggs are not only a super approachable food that plays a role in pretty much every standard American diet, they are an amazing source of nutrients. Unfortunately, that nutrient content depends directly on what the animal was fed, and as with grass-fed beef, we see a 3-10 times variance in certain vitamins and fatty acids. So although eggs, high-fat dairy, high-quality animal products, well, I guess just animal products in general, in American diets, might be their only source of fat-soluble vitamins, when you go to the farmer's market and you pay six or seven dollars a dozen for truly pastured eggs, you really are getting six to seven times the amount of vitamins in some cases. So I guess I have to touch on the anti-nutrient avidin in egg whites, which binds to biotin and inhibits the absorption, and people are concerned about this, but if you cook the egg, it only really inhibits about 10% to 20% of that avidin. Thankfully, there's plenty of biotin in the egg itself to have a net gain of biotin in the body, so that anti-nutrient isn't a concern, I mean, if you want to reduce it up to 60%, you have to boil the egg for like two minutes, and no one really does that. I personally have only consumed egg yolks in the past, and I just find I react better to those. And in regards to nutrient profile, 90% of the vitamins are in the egg yolk. A fair portion of the potassium and selenium and protein is in the egg white, but all the actual fats of the vitamins and a lot of the minerals are just in the egg yolk, so that's why I'm comfortable with not consuming the white. Here today I bought five different types of eggs from the local Whole Foods, and at the end here is just a regular commercial white supermarket egg, so we're going to look at the color variants, and what we can safely say here is non-GMO pastured eggs, darkest yolk. Other pastured eggs from, this is Vital Farms, slightly lighter yolk. The organic pastured eggs are slightly lighter again. The other brand of pastured eggs, again, we're getting lighter and lighter as we go, and the organic Omega 3 eggs, again, lighter, but not as light as the regular supermarket commercial egg. One interesting thing, if you add salt to egg yolks, they get much darker. These are these egg yolks, and after I added salt to them, they turn many, many shades darker. Just a little interesting culinary thing that I've noticed, and we don't really have to look at these eggs. I mean, they're all brown eggs, for the most part, different sizes, and we can safely say, yeah, the darker egg yolk has more carotenoids, likely more other vitamins, but it doesn't have a high Omega 3 content, because Omega 3 content, even though it's probably way higher in these eggs, you know, it's not indicated by a darker egg yolk. So I was going to taste these eggs, but I've had some, I am allergic to eggs. I've had some very bad reactions lately, so I can say, though, that I've tasted all of these in the past, and I can give you comparison just from recollection. The higher quality egg will taste more chickeny, almost. It sounds weird, but high quality animal foods tend to remind you more of the animal which they came from. They tend to have more complex, nutty notes, and things like that. There's definitely a significant taste difference between these eggs. And as with grass-fed butter, it tends to be for the better, whereas people will argue back and forth about grain-fed and grass-fed steaks all day. In regards to what I personally used to do, as I said, I would eat only egg yolks. I would buy pastured eggs from my local farmer. I wouldn't really eat any of these eggs. These range from like $5 to $7 a dozen. If I had to choose supermarket eggs, I'd probably eat the Omega 3 eggs, as well as the darkest-colored pastured eggs. Again, even balance of Omega 3s and Vitamins, because we don't really know if these pasture chickens are getting a high Omega 3 content, but there might be more Omega 3 in this egg yolk, as well as more Vitamins than the Omega 3 eggs. And hypothetically speaking, if you're following a diet that has very high-quality egg yolks in it, you wouldn't really need any other Vitamins besides Vitamin C, because Vitamin A and Omega 3 fatty acid concerns are obtained in high-quality eggs. And eggs are the best source of Vitamin K2 that most people have access to. And Vitamin K2 is one of those Vitamins we struggle to get. So as much as I talk about eating certain organs, various animal tissues, you can simply achieve most of your nutrient density with just egg yolks. And that's nice because it's, again, a very easily accessible food for a lot of people.  But it is definitely a good way to get a high amount of nutrient-dense Vitamins in your diet. I mean, if you were eating conventional store-bought eggs, I couldn't really speculate on the Vitamins content. I would say that you probably don't need any more K2, but you might want to eat some liver and then maybe get some wild white fish for your Omega 3s. The big three Vitamins we are concerned about are Vitamin A, Vitamin K2, and Omega 3 fatty acids. And egg yolks kind of knock all of those out fairly easily. I didn't touch on the raw versus cooked or kind of cooking temperatures and stuff. I have noticed that raw egg yolks digest way better than cooked eggs, but I have a feeling it has to do with the egg white. I'm sure if you lightly cooked an egg yolk, there would be very little variance in digestion. But if you're cooking your eggs well done, like really hard boiled and stuff, you will notice digestive differences. I mean, I can't really speculate on the nutrients lost, but I'm sure there is some degradation of fat-soluble vitamins, as well as water-soluble vitamin B vitamins. If you guys would like to support me, please just share the video. I have some stuff in the description down below if you'd like to check it out from social media to like my Amazon shop with stuff that I regularly buy. If you guys would like to reach out to me for one-on-one stuff, shoot me an email frankatufano at gmail.com.


Remember a Hallmark card when you carry enough to send the very best. The makers of Hallmark greeting cards bring you Deborah Carr in James Hilton's Goodbye, Mr. Chips on the Hallmark Playhouse. Tweet Hallmark will bring you Hollywood's greatest stars in outstanding stories chosen by one of the world's best known authors, the distinguished novelist, Mr. James Hilton. Good evening, ladies and gentlemen. This is James Hilton. Tonight on our Hallmark Playhouse we present a dramatization of my own story, Goodbye, Mr. Chips. Now the story of Mr. Chips is that of a schoolmaster who grew old and beloved. And for this reason we've tried to tell it from the point of view of his wife, who never grew old at all. In her husband she saw not only the man whom she loved and who loved her, but the man who, by being his true self, could become in his own way great, and so indeed she helped him to it, and so indeed it happened. To play the part of Mrs. Chips we have invited that enchanting actress, Miss Deborah Carr. And now a word about Hallmark cards from Frank Goss before we begin the first act of Goodbye, Mr. Chips. May we remind you once again that for every occasion important to your friends and loved ones, there are Hallmark cards to carry your thoughts across the miles, across the years, or merely across the way. A Hallmark card says what you want to say, just the way you want to say it. And that identifying Hallmark on the back says that you cared enough to send the very best. Our star Deborah Carr is appearing tonight by arrangement with Metro-Goldwyn-Mayer, producers of the Technicolor picture Kim starring Errol Flynn, Dean Stockwell, Paul Lucas, and Robert Douglas. And now Hallmark Playhouse presenting James Hilton's Goodbye, Mr. Chips, starring Deborah Carr. Thirty-four years gentlemen, thirty-four years this month he's been bonding with me. And in all that time I can't think of him being a bedmore in two or three days. Mrs. Wicked, please don't talk right into his ear. He's trying to sleep, you know. Oh, I was forgetting, wasn't I? Dr. Marybale, would it be premature for you to chance an opinion? On Chips? No. There's nothing really wrong with him except Erno Domini. I should have liked knowing him better. Chips is a legend around Brookfield, you know. But when I came here as headmaster he'd been retired quite some years. Poor old chap. He must have lived a lonely sort of life all by himself. No, not always by himself. He married, you know. Oh, really? Why, I can't remember ever hearing Chips married. It was a long time ago. She was a very lovely woman, quite beautiful. It all began as so many important things begin by being thoroughly unimportant and a little ridiculous. I was on holiday in the Lake District. The hills and dales and lakes were a delight. Especially when seen from the summit of Great Gable. It required a good deal of climbing to reach that spot and I always celebrated my effort with shouts and waving of my arms to the countryside below. My shouts were answered. He was coming indeed, whoever he was, scrambling and stumbling from boulder to boulder. And then suddenly he sank to the ground. Quite all right perfectly sound. He returned by ankle. Oh, I'm sorry, but you shouldn't go leaping up a mountainside, you know. I heard you calling. You were in distress. I was in... Oh, good heavens! I was only shouting for joy. My dear young lady. Oh, now I am sorry. Here, let me help you up. Oh, fine business. Now you're rescuing me. I never expected to find a woman on a mountain top. No place to be. Nor for you with that ankle. You'd better lean on my arm as we go down. My dear young lady. You said that before. My name is Catherine Bridges. Now, take my arm. Miss Bridges, it is not the custom for men to lean on the arms of the weaker sex. By the way, the name is Chipping. How do you do, Mr. Chipping? Awkwardly. It is steep going down, isn't it? He discovered that we were both staying at Wasdale Head. So I told him I should look in the next day to see how his ankle was coming along. He was shocked at the idea. My dear Miss Bridges, young ladies do not call on lone men, especially men twice their ages. He even repeated it word for word the next afternoon. Not that I don't appreciate your solicitude, Miss Bridges. And since I was the cause of your accident, Mr. Chipping, you'll have to put up with my solicitude. Now, here are some books to keep your mind off that ankle. I peddled into the village for them. You peddled? You rode a bicycle? It's fun, isn't it? It's unnatural. Women on wheels. And why not? Our sex has a lot of ground to cover. We want to be admitted into the universities to have our say in politics. Yes, even to vote. Now, what do you say to that? Tell me, does your family approve of these issues? I have no family or job for that matter. My last employment was as a governess. I see. And you? Teacher, Brookfield School. Don't suppose you've heard of it? No, but I have. The son of one of my employers was there. His name was Purvis. Ah, Purvis, yes. Red-headed chap with freckles. Came in, uh, 86, I believe. Never spoke of old chips, did he? Oh, I like that. Like what? Your nickname. From now on, that's what I shall call you. Chips. Men such hopeless bores. And yet, here was chips. So old-fashioned. So shy. And yes, so much more interesting than any of the younger men I knew. His ankle slowly improved, but not as rapidly as our friendship. Then, one evening, I brought along my cello. Remarkable. Absolutely remarkable. A young radical who pedals a bicycle reads George Bernard Shaw and yet plays Chopin. It's remarkable. Not at all. Catherine. Yes? Tomorrow... Tomorrow is my last day here. I know. I, uh... I'll be going back to Brookfield. Teaching must be a splendid sort of life. Well... It must be. To know that all those boys of yours will grow up one day to use the knowledge you've given them. To have a part in the making of the future. Must make you very proud, Chips. Sometimes, yes. But, oh, I'm in a rut. A comfortable rut, to be sure. When I first went to Brookfield, I was on fire with ambition. Twenty years have shown me that's not enough to get on in the world. It takes brilliance, which I haven't got. Oh, Chips. You're apologizing for being you. Chips, if you were anything more than you are, I could never have dared to know you. And... And I should have hated that. But don't you see, I have nothing to offer, and I... Oh, confounded, I shouldn't even be talking to you like this. I'm old enough to be your father. Chips! Age separates people only when they aren't in love. I'm not ashamed to admit it. And you mustn't be. My dear... My dearest Catherine. We stopped off at London to be married. An aunt of mine lived there, and Chips took me in a handsome to her house the night before the wedding. On the doorstep, he pressed my hand. I have to say farewell, you know. I'm glad. Not frightened. No. Just solemn. I feel rather like a new boy beginning his first term with you. A little odd.  Mr. Chips, I think. By all means. Goodbye. Goodbye, Mr. Chips. In love with Brookfield, just as headlong as I had with Chips himself. Both were so right together. The century-old buildings, the yard, the school bell marking dinner, and call-over, and prep, and lights out. Call-over. That was my favorite. I would stand at our window and watch Chips there in the doorway of Big Hall. His gown flapping about his legs as he read off the names. James Webb? Yes, sir. Antwood? Yes, sir. Zabcock? With our new life together would be rather quiet, even retiring. But there, Chips surprised me. He looked forward to teas and evenings together with the other masters and their wives. That's a wonderful story, Chips. I must remember that one. And I must be off. Why, it's only 10 o'clock, Webb. Oh, will you listen to him, Mrs. Chipping? I must say, you've made a new man out of him. Really, Webb? Have you noticed a change? Oh, I should think so. Why, nowadays, when the boys come from your form to mine, like there's not there still tittering over something you've told them, you never used to do that, Chips. You see, Gavin. I refuse to be flattered. Well, I'm off. And it's been a fine evening. I'll see you to the door. Oh, Mrs. Chipping. Yes? Thanks so much for playing with cello for us. I enjoyed it immensely. Oh, that's very kind of you. We must do this again, Webb. Perhaps next week. Yes, I hope so. As often. Good night, Chips. Good night, Webb. I shall never forget it. It's selfish of me, but I don't like to think of anyone else enjoying it. It's ours. You're happy here at Brookfield, aren't you? I should be anywhere with you, Chips. With you and Brookfield, what more is there? Catherine, I... I'm not very good with words, you know. They seem such poor servants of the heart. I know, darling. Our love is like you yourself. From the first moment I met you, I felt your fineness. Every passing day has brought a new discovery. Turn to the second act of goodbye, Mr. Chips, starring Deborah Coughlin. A week or so, our calendars will show February 14th, the day that takes its name from a saint noted for his kindness. While it's interesting to have special days, we all enjoy the color and the pageantry associated with them. Actually, the underlying principle of Valentine's Day knows no season. Kindness is never out of date. We human beings are so made that kindness is necessary to our very existence. Without it, we'd soon lose courage and hope and the will to survive.  Now, of course, I don't mean the greeting cards are the only key to kindness, indeed, no. But the sentiment that prompts the sending of cards is based on kindness. And the makers of Hallmark cards are proud that their product increases kindness in the world by making it easier for you and me to express our thoughtfulness and appreciation of other people on special days and every day. Now, back to James Hilton and the second act of goodbye, Mr. Chips, is the crown of happiness that can come to a man that he find the woman he loves and that she and he work to the same end, loving that work as well as each other for as long as life lasts and even afterwards. So it was with Chips at Brookfield. In 1997, Chips and I withdrew a bit from the social life at Brookfield. I was going to have a child.  Now, one of them will be my own. Chips, dear. Well, I'll show no favoritism, mind you. I'll be more strict with him than any of the others. Chips, it might be a girl, you know. Cazen couldn't. Someday I may quote that to her. Well, of course, uh, if she were a girl like you, Kathy, uh, yes, that would be acceptable. And she'll go to Brookfield. A boy's school? There is no time to be technical. The rules can be changed. I see. It's high time women were admitted to our schools and universities. Why, Chips? Besides, it's going to be a boy. One spring evening, about sundown, it began to rain.  He was standing with his back to the fire, laughing at one of his own stories. Sir, sir, there was young Dunster hiding up in the auger loft, you see. Chips, dear. And, and when Ogilvy had just signaled the choir to begin. Chips! Don't you think it's funny? I think you'd better get Dr. Mary Vail. What happens, I didn't realize. Please, right away. Either of them. I don't like it at all. But it's got to be all right. It's got to be. I'm not frightened. That last night before we were married, it's the same feeling. A new boy beginning his first term. A little old. It said goodbye, but there was no goodbye in his heart or hers. Throughout the years that followed, she was with him. The long years lonely at first. The years of work, of life work. And each of them marked by the day's routine, day after day. I heard, aren't you, Chips? I remember the way you used to stamp up the stairs muttering to yourself. That meant somebody had hurt you. What's wrong, Chips? What was it? Sit down, Mr. Chipping. Sit down. Ibs told me it was something important. It is. Mr. Chipping. Have you ever thought you'd like to retire? It's occurred to me. Then I suggest that you consider it. I don't see why I should. Then I'll have to explain words, sir. Well, I've only been headmaster's at lunch. I think I can say that you're not pulling your weight here.  Your personal habit, to be quite frank, I slovenly. Oh, I think... Look at that gown you're wearing. It's almost in shreds. Creates a bad impression on visiting parents. I see. I thought I was here to make an impression on their children. Mr. Chipping. It's one of the signs that you're growing old.  Dead languages, sir? Why don't you see, after Alson, you and I are wanting different things for Brookfield, you're out to make it the fashionable school. I don't care whether it's fashionable or not. Mr. Chipping. And why do I teach the dead languages, as you call them? To give my boys a sense of proportion. That's all. But that's everything. Mr. Chipping. So I don't intend to resign, and you can do what you like about it.  The whole sky without you chips, Brookfield wouldn't be Brookfield. Great idea, sir. I couldn't hear how your speech went on what they all said. Well, Ralston wanted me to resign four years ago. I wasn't ready then. And for a moment tonight, when I did say goodbye, I wonder if I'd ever be ready. But I'm 65, Mrs. Wicked. It's 1913, 43 years. And now, it's time to rest. Master says to me, be good enough to ask Mr. Chips to call it my room at his earliest convenience. Well, whatever for, I wonder. Go Chips, go at once. Deep in your heart, you've been hoping someone would remember. And now with the war, the younger teachers joining the colors, your Brookfield boys need you more than ever. It was good of you to think of me, Mr. Chetris. Yes, of course I'll come back. Bottoms of things by the noise they make. Bottoms of years are not going to be snuffed out because some barbarian in the laboratory invents a new kind of mischief. I mean, at age 91, please. Yes, sir. In which the Germans busied themselves. A story, don't they, Chips? Even after peace came, and you resigned once more and went back across the road to Mrs. Wicked's. Those we could have seen together, Chips. So much has happened that only the living can understand. The peace conference which you argued over with Mr. Baxter. The general strike which distressed you. The Locano pact which encouraged you. All you've known and felt in these 35 years are but shadows to me. Ruffian, feeling all right? Hey, that was a fine shock you gave us. Dr. Maril. Good, right. What's happened? It seems you threw a faint. Mrs. Wicked came in and found you. Now you just take it easy.  Sleep? Yes. Yes, Chips was married. Not long though. She died old before the turn of the century. Oh, that's a pity. A pity he never had any children. What was that you were saying? Nothing, Chips, nothing at all. I heard you say it was a pity. That's all right, Chips. It's all right. That's the day for the young in heart. The time when you can have a heart-to-heart talk with all those close to you. Sentimental? Of course. But is there one among us who doesn't respond to kindness and sentiment? Especially when it's done with the good taste you'll find on every Hallmark Valentine and sent in the true spirit of the day. At the store where you buy Hallmark cards you'll find Hallmark Valentine suitable for everyone close to you and everyone you want to remember, in addition to those in your immediate family, mother, dad, brother, sister, your favorite aunt and grandmother. There are Valentine's for those nice next door neighbors, for the sitter you can always depend on, for the friends you work with, for all your favorite children. And of course for that very special someone you want to say something special to, there are those delicate old-fashioned Hallmark Valentine's that carry us back to the days of crinoline and lace, the kind Grandmother received and treasured and showed you years later, remember? When you're buying Valentine's, don't forget the back of the car tells the story, too. If it's that familiar Hallmark, send it with pride, for then you know your friends know. You cared enough to send the very best. Here again is James Hilton. Thank you, Deborah Carr, for her most beautiful and memorable Mrs. Chips. Thank you, Mr. Hilton, and I'd like to thank Whitfield Connor for his fine performance with Mr. Chips. I've always loved the book. It's one of those warm and sincere stories that seem to get better each time we hear it. So it seems very appropriate for the Hallmark Playhouse, because I've noticed Hallmark cards have those same qualities. And now, what have you planned for next Thursday? Well, next Thursday is February 8th, and that's close to the 12th. And that's Lincoln's birthday. So I'd guess you're planning one of those wonderful stories about Abram Lincoln that have become a tradition on Hallmark Playhouse, right? Right, sure, certainly are, Deborah. We're doing Irving Bachelors story about Abraham Lincoln's youth, a man for the ages, and we've invited Joseph Cotton to be our star. Our Hallmark Playhouse is every Thursday. Our director-producer is Bill Gay. Our music is composed and conducted by Lynn Murray, and our script tonight was adapted by Leonard Sinclair. Until next Thursday then, this is James Hilton saying, Good night. There are so lonely in stores that have been carefully selected to give you expert and friendly service. Remember a Hallmark card when you'll care enough to send the very best. This is Frank Goss saying, Good night to you all until next week at the same time when Hallmark Playhouse returns to present Joseph Cotton in Irving Bachelors, A Man for the Ages, and the week following the story of Cinderella starring Judy Garland. And the week after that, Maxwell Anderson's Valley Forge on the Hallmark Playhouse. This is CBS, the Clumsy Abroad Casting. This is the Kansas City, Missouri.


My name is Kathleen Mpoulibusi. I'm a postal worker and I do deliveries outside. The heat was sort of almost like a wall around you that you could really push through. We were expected and we tried to continue working through all the hot weather and it was very challenging. And I really in particular felt sorry for me maybe some of the newer workers because I'm a 20 year carrier, I'm a senior union activist. I have no trouble telling management off and being able to sort of stick to my guns and say, no, I'm done, that's it. But for a lot of younger workers who are maybe scared of losing their jobs or want to make a good impression. So, they may feel more pressure on themselves to really try and do the work. I'd certainly much rather see now like more stringent limits, like some stronger limits on what is considered too hot or too cold to say like we can't work. That's it, like no work will happen that day.


In tonight's epic Western spotlight, we share a story of a Titans offensive coach who was working in a different field roughly 20 years ago. He was actually in charge of an NFL stadium. It was a super job and he was successful. But Charles London's heart told him that he wanted to be on the field, on the sidelines to be exact. So he gave up this great job and started at the bottom of the coaching ranks. The move has totally paid off. Charles London is wrapping up his first season as the Titans quarterback coach and passing game coordinator. He came to Tennessee from the Atlanta Falcons where he was an important part of Arthur Smith's staff. London chose a move to the Titans for a multitude of reasons, including familiarity. This is kind of my second stint here. I was here in 2011 as well, so very fond memories. But you know the chance to work for Coach Rable and to work with Tim Kelly again and a lot of guys on the offensive staff and defense staff who I was familiar with had worked with whether I was at Penn State or at Houston with the Texans. Tim and I were together for you know two years at Penn State and four years together at Houston and obviously we've remained in touch since then. But I understand what he's trying to do, understand how he thinks. To understand how Charles London thinks, you have to understand how he came into coaching when he finished playing football at Duke. He didn't think becoming a football coach was in the cards. He thought instead about going into the Secret Service or the CIA, but he loved sports so he accepted an internship under future NFL announcer Charles Davis at Disney's Wide World of Sports in Orlando. And then I got into stadium and event management. So I was 1999 and with the Cleveland Brown Stadium to help them open their new stadium as the assistant manager and then eventually got hired by the New England Patriots as their director of stadium operations for Gillette Stadium. And then one day you say, I want to coach. Yeah, I was probably 29, 30 years old. I mean, did you did you think to yourself at that point? Look, this is what I want to do, but I can't give this up. You know, I did. There were some some tough decisions to make, but I told myself, look, I don't want to regret this for the rest of my life. I think I want to coach and if I'm going to pull the trigger, I got to do it now. So I left my job in New England, went back to Duke where I played and started as a graduate assistant. Attack it, attack it, attack it, attack it, attack it. Charles London went from Duke to a quality control job with the Bears. He scouted for the Philadelphia Eagles. We mentioned that he spent 2011 on the offensive staff with the Titans. Then it was on to Happy Valley. Another great experience for London, his time on the staff at Penn State. When I went to Penn State, I was a recruiting coordinator and running back coach. So the evaluation of talent really carried over to recruiting coordinator aspect. For the last 10 seasons, he's been back in the NFL with the Houston Texans, with the Chicago Bears, with the Atlanta Falcons and now back with the Tennessee Titans. Real life experiences, chasing his passion, 20 plus years learning every aspect of the game, being willing to do any job. That's why Charles London is the perfect coach to develop Will Leavis and why he enjoys working with head coach Mike Framon. You know, he's demanding but he's fair and I think that's all you can ask for. I think he's got a great relationship with the players. Obviously he's been a player so he can relate to him in that way and I think the players really appreciate that but he's direct and he's honest and he's fair and that's all you can ever ask for for a coach and I think he's a great motivator and I haven't been with him for a season in a while since we were together in Houston but the way he prepares the team is very unique. Wanted to give you a chance to meet Charles London who took a big chance. I mean that's a pretty good job you've got running Gillette Stadium and then you say one day that's not my passion. And to start over it wasn't like it was come to Duke to be the receivers coach or the offensive coordinator. It was to come to be a GA and you know that that's just following what you love and what you believe about yourself. You try to have a lot of people like that around you. People who love the game and have that sort of passion. Well and that shows and I really was excited about being able to add Charles this offseason and you know it worked out and giving him the opportunity to work here with the quarterbacks is something that he wanted an opportunity at and I have interviewed him for the offensive coordinator realized that I would have won him a part of our staff and that worked out.