Hello, my name is Andrea Alexander and this teaser is about state moisture application under changing network conditions, which is joint work with Erica Bloom, Jonathan Katz and Julian Boss. So what is state moisture application and why do we care about it? State moisture application protocols have recently received a considerable attention in the context of blockchain protocols as they specify how a set of parties can jointly agree on a continuous growing order of transactions. This agreement should hold at all honest parties despite Byzantine parties being involved in the protocol. And state moisture application is related to the problem of Byzantine agreement but not subsumed by it as Byzantine agreement enables the one-shot agreement on a single bank. The network model has a significant impact on the security and efficiency of state moisture application protocols and several models have been studied. In the case where the network is synchronous state moisture application protocols have been proposed for a security threshold of n over two corruptions. When the network is asynchronous the targeted corruption threshold is n over three. In this work we focus on what is called the network agnostic model where the network might be either synchronous or asynchronous without knowing the case in advance. Therefore we would like to design a state moisture application protocol which is secure regardless of the network state and targets potentially more corruptions than the asynchronous case if the network is synchronous. Look at all proves that the optimal threshold for network agnostic security between the tolerated corruptions in the synchronous case and the tolerated corruptions in the asynchronous case is two times ds plus da less than n the total number of parties. The feasibility question has been answered positively before and we now ask whether we can achieve the same communication complexity as in the asynchronous case. Also, what if the network is moody and keeps changing from synchronous to asynchronous and vice versa, but we don't know whether it stabilizes in a synchronous or an asynchronous state. If the network transitions from synchronous to asynchronous and the adversary still holds control over TS parties, then we lose security because of well known impossibility results through it to the asynchronous model. So we need to assume that the corruption capability of the adversary also decreases when the network becomes asynchronous and that parties have the capability of rebooting and keeping out the adversary. Nevertheless, the adversary will still know the states of the parties it has previously corrupted, including whatever keys they have. So the question is, can we still get security under key exposures. The literature for a single and a state machine replication, both for static and adaptive adversaries achieve a QB communication complexity when outputting and transactions. This means a quadratic amortized communication complexity per transaction. On the other hand, the 30 grades network agnostic protocol by blown at all for an adaptive adversary has a higher total and amortized communication complexity. If we relax the security assumption, the static protocol upgrade can achieve a linear amortized communication cost per transaction, but only when outputting a quadratic number of transactions which is very large. So in this work, we present two protocols that improve the state of the art results. Update is adaptive is secure for optimal corruption thresholds and has QB communication complexity for committing a block of and transactions. This is an order of an improvement of our target grade. Update is statically secure for near optimal corruption thresholds and has quadratic communication complexity to commit a block of and transactions, obtaining a linear amortized communication for only and transactions. We show that our protocols are also secure when the network and transition between asynchronous and asynchronous behavior, and that the adversary can do mobile between epochs but is limited to corrupting at most TS unique parts. And also please note the main points we thought very hard about them. Here is the roadmap of the paper and of the longer presentation Asia crypto tentative. We first describe update which uses error correcting codes through this communication complexity, and is based on two protocols work agreement and asynchronous common subset, which complement each other regardless of the network state. We then briefly describe upstate, which is the statically secure version of update which with almost optimal corruption threshold, which affects two types of smaller committees. Going forward, we look at what happens when there can be arbitrary changes of the network state, and the adversary can be mobile. Since our protocols use threshold crypto systems, we look at the security of asynchronous proactive secret sharing with refresh and prove that without future further restrictions, it is impossible to achieve. What if I did this negative result we constrain the adversary's capability to be mobile only inside the fixed set of parties and show that our protocols can achieve security despite key exposures. Finally, we will outline some open problems. Thanks and hope to see you there.


How the alphabet was made, from the just-so stories. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Recording by Philippa. How the alphabet was made, by Rudyard Kipling. Reader's Note This is a story about drawing, and the book shows lots of pictures of the drawings that are made. I will describe each picture as we come to it. End of note. The week after Taffy Mai Metallumai, we will still call her Taffy, best beloved, made that little mistake about her daddy's spear, and the stranger man, and the picture-letter and all, she went carp-fishing again with her daddy. Her mummy wanted her to stay at home and help hang up hides to dry on the big drying-polls outside their neolithic cave, but Taffy slipped away down to her daddy quite early, and they fished.  But wasn't it inciting, said Taffy?  Well, do I, said Tegumai. I had to pay two deerskins, soft ones, with fringes, to the stranger man for the things we did to him. We didn't do anything, said Taffy. It was mummy and the other neolithic ladies, and the mud. We won't talk about that, said her daddy. Let's have lunch. Taffy took a marrow-bone and sat mouse-sea-quiet for ten whole minutes, while her daddy scratched on pieces of birch bark with a shark's tooth. Then she said, Daddy, I've never thought of a secret surprise. You make a noise, any sort of noise. Ah! said Tegumai. Will that do to begin with? Yes, said Taffy.  Say it again, please. Ah! ah! ah! said her daddy.  I'm not meaning rude really and truly, said Taffy. It's part of my secret surprise think.   What for? said her daddy. Don't you see? said Taffy, scratching away on the bark. That will be our little secret surprise. When I draw a carp-fish with his mouth open in the smoke at the back of our cave, if Mummy doesn't mind, it will remind you of that ah! noise. Then we can play that it was me jumped out of the dark and surprised you with that noise, same as I did in the beaver-swamp last winter. Really? said her daddy, in the voice that grown-ups use when they are truly attending. Go on, Taffy. Oh, bother, she said. I can't draw all of a carp-fish, but I can draw something that means a carp-fish's mouth. Don't you know how they stand on their heads, rooting in the mud? Well, here's a pretence carp-fish. We can play that the rest of him is drawn. Here's just his mouth, and that means ah. And she drew this. One. The side view of a fish's head, open-mouthed, facing downwards, like a softly curved W. Its eye is on the right of the drawing. That's not bad, said Tegumai, and scratched on his own piece of bark for himself.  But I can't draw, daddy.  Then we'll know he's a carp-fish, because the perches and droughts haven't got feelers. Look here, Taffy. And he drew this. Two. This time there is a horizontal line across the fish's mouth's opening. The eye is simpler, just a slightly curved line. Now I'll copy it, said Taffy. Will you understand this when you see it? And she drew this. Three. The lines showing the top and bottom of the fish's head are much smaller, little upturns at the ends of the arch representing its mouth. The horizontal line is about half way up the arch. The drawing looks a lot like a capital A. Perfectly, said her daddy, and I'll be quite as surprised when I see it anywhere as if you had jumped out from behind a tree and said ah. Now make another noise, said Taffy, very proud. Ya, said her daddy, very loud. Said Taffy, that's a mixy noise. The end part is ah carp-fish mouth. But what can we do about the front part? Ya, ya, ya, and ah, ya. It's very like the carp-fish mouth noise. Let's draw another bit of the carp-fish and join them, said her daddy. He was quite incited too. No, if they're joined I'll forget. Draw it separate. Draw his tail. If he's standing on his head the tail will come first. Besides I think I can draw tails easiest, said Taffy. A good notion, said Tegumai. Here's a carp-fish tail for the yur noise. She drew this. Four. The outline of a fish's tail pointing upwards. I'll try now, said Taffy.  Will it do if I just draw the split part of the tail and the sticky down line for where it joins? And she drew this. Five. The shape of the fish's tail simplified. A vertical line branching into two lines curving up and out at the top. The drawing looks a lot like a capital Y. Her daddy nodded and his eyes were shiny bright with excitement. That's beautiful, she said. Now make an Illinois, daddy. Oh, said her daddy, very loud. That's quite easy, said Taffy.  You can't always find eggs or stones. We'll have to scratch a round something like one. And he drew this. Six. An oval ring, a bit taller than it is wide. The drawing looks like an O. My gracious, said Taffy, was a lot of noise pictures we've made. Carp mouth, carp tail, and egg. Now make another noise, daddy, said her daddy, and frowned to himself. But Taffy was too incited to notice. That's quite easy, she said, scratching on the bark. A what? said her daddy. I meant I was thinking and didn't want to be disturbed. It's a noise just the same. It's the noise a snake makes, daddy, when it is thinking and doesn't want to be disturbed. Let's make the shh noise a snake. Will this do? And she drew this. Seven. A thin snake, curving from right to left to right to left again, with a forked tongue. The drawing looks a lot like an S shape. There, she said, that's another surprise secret. When you draw a hissy snake by the door of your little back cave where you mend the spears, I'll know you're thinking hard, and I'll come in most mousy quiet. And if you draw it on a tree by the river when you're fishing, I'll know you want me to walk most, most mousy quiet, so as not to shake the banks. Perfectly true, said Tegumai, and there's more in this game than you think. Taffy, dear, I have a notion that your daddy's daughter has hit upon the finest thing that there ever was since the tribe of Tegumai took to using sharks' teeth instead of flints for their spearheads. I believe we've found out the big secret of the world. Why, said Taffy, and our eyes shone too with incitement. I'll show, said her daddy, what's water in the Tegumai language? Ya, of course, and it means river too, like Wagaiya, the Wagai River.  Yo, of course. Now, look, said our daddy. Suppose you saw this scratched by the side of a pool in the beaver's swamp, and he drew this. Eight, the Y-like fishtail shape, followed by the O-like egg shape. Carp tail and round egg. Two noises mixed. Yo, bad water, said Taffy. Of course I wouldn't drink that water because I'd know you said it was bad. But I needn't be near the water at all. I might be miles away hunting and still, and still it would be just the same as if you stood there and said, Go away, Taffy, or you'll get fever. All that in a carp-fish tail and a round egg. Oh, daddy, we must tell Mummy quick. And Taffy danced all around him. Not yet, said Tegumai. Not till we've gone a little further, let's see. Yo is bad water, but so is food cooked on the fire, isn't it? And he drew this. Nine, the S-like snake shape, followed by the O-like egg shape. Yes, snake and egg, said Taffy. So that means dinner's ready. If you saw that scratched on a tree, you'd know it was time to come to the cave. So'd I. My winky, said Tegumai. That's true, too. But wait a minute. I see a difficulty. So means come and have dinner, but show means the drying poles where we hang our hides. Horrid old drying poles, said Taffy. I hate helping to hang heavy, hot, hairy hides on them. If you drew the snake and egg, and I thought it meant dinner, and I came in from the wood and found that it meant I was to help Mummy hang the two hides on the drying poles, what would I do? You'd be cross. So'd Mummy. We must make a new picture for sure. We must draw a spotty snake, that hisses shh, and we'll play that the plain snake only hisses shh. I couldn't be sure how to put in the spots, said Taffy. And perhaps if you were in a hurry you might leave them out, and I think it was so when it was show, and then Mummy would catch me just the same. No. I think we'd better draw a picture of the horrid hide drying poles there very selves and make quite sure. I'll put them in just after the hissy snake, look. And she drew this. Ten. Again the S-like snake shape, and the O-like egg shape, but between them this time is another shape made from two vertical lines crossed by a horizontal line half way up. This figure looks a lot like a capital H. Perhaps that's safest. It's very like our drying poles anyhow, said her daddy laughing. Now I'll make a new noise with a snake and drying pole sound in it. I'll say she. That's Tegumai for spear, Taffy. And he laughed. Don't make fun of me, said Taffy, as she thought of her picture letter and the mud in the stranger man's hair. You draw it, daddy. We won't have beavers or hills this time, eh? So there, daddy, I'll just draw a straight line for my spear. And he drew this. Eleven. The S-like snake shape, then the H-like poles, then a vertical line with two small points near the top, like a spear with its sharp end up. Even Mummy couldn't mistake that for me being killed. Please don't, daddy. It makes me uncomfy. Do some more noises. We're getting on beautifully. Ahem. Said Tegumai, looking up. We'll say shoo. That means sky. Taffy drew the snake and the drying pole. Then she stopped. We must make a new picture for that end sound, mustn't we? Shoo, shoo. Ooh. Said her daddy. Why? It's just like the round egg sound made thin. Then suppose we draw a thin round egg and pretend it's a frog that hasn't eaten anything for years. No, said her daddy. If we drew that in a hurry, we might mistake it for the round egg itself. Shoo, shoo, shoo. I'll tell you what we'll do. We'll open a little hole at the end of the round egg to show how the awe noise runs out all thin. Ooh, ooh, ooh, like this. And he drew this. Twelve. Like the egg figure, but there is a gap at the top. So the drawing looks more like a horseshoe shape. Oh, that's lovely. Much better than a thin frog.  Her daddy went on drawing and his hands shook with excitement. He went on till he had drawn this. Thirteen. Five of the drawings in a row. An S-like snake. The H-like drying poles. The horseshoe shaped ooh. The Y-like fishtail. And the A-like carp mouth. Don't look up, Taffy, he said. Try if you can make out what that means in the Tegumai language. If you can, we've found the secret. Snake, pole, broken egg, carp tail, and carp mouth, said Taffy. Shoe-ya. Sky-water. Rain. Just then a drop fell on her hand for the day had clouded over. Why, daddy, it's raining. Was that what you meant to tell me? Of course, said her daddy. And I told it to you without saying a word, didn't I? Well, I think I would have known it in a minute, but that raindrop made me quite sure. I'll always remember now. Shoe-ya means rain, or it is going to rain. Why, daddy, she got up and danced around him. Suppose you went out before I was awake and drawed Shoe-ya in the smoke on the wall. I'd know it was going to rain and I'd take my beaver skin hood. Wouldn't mommy be surprised? Tegumai got up and danced. Daddies didn't mind doing those things in those days. More than that, more than that, he said. Suppose I wanted to tell you it wasn't going to rain much and you must come down to the river. What would we draw? Say the words in Tegumai talk first. Shoe-ya-las. Yamaru. Sky-water ending. River come to. What a lot of new sounds. I don't see how we can draw them. But I do, but I do, say Tegumai. Just attend a minute, Tafi, and we won't do any more today. We've got Shoe-ya, all right, haven't we? But this las is a teaser. La-la-la. And he waved his shark-tooth. There's the hissy snake at the end and the carp-mouth before the snake. As, as, as. We only want la-la, said Tafi. I know it, but we have to make la-la. And we're the first people in all the world who ever tried to do it, Tafimai. Said Tafi, yawning, for she was rather tired. Las means breaking or finishing, as well as ending, doesn't it? So it does, said Tegumai. Your las means that there's no water in the tank for a mommy to cook with, just when I'm going hunting too. And she las means that your spear is broken. If only I thought of that instead of drawing silly beaver pictures for the stranger. La-la-la. Said Tegumai, waving his stick and frowning. Oh, bother. I could have drawn she quite easily. Tafi went on. Then I'd have drawn your spear all broken, this way. And she drew. Fourteen. A downward-pointing spear has been broken about two-thirds of the way down, so its double-point sticks out towards the right. It looks a lot like a capital L. The very thing, said Tegumai. That's la all over. It isn't like any of the other marks either. And he drew this. Fifteen. Three symbols. An L-like broken spear drawn less carefully this time with only one point. An A-like carp-mouth and an S-like snake. Now for ya. Oh, we've done that before. Now for maru. Mum, mum, mum. Mum shuts one's mouth up, doesn't it?  And he drew. Sixteen.  The drawing looks a bit like a flattened M-shape. Then the carp mouth open that makes ma, ma, ma. But what about this r-thing taffy? It sounds all rough and edgy like your shark-toothed saw when you're cutting out a plank for the canoe, said taffy. You mean all sharp at the edges like this, said Tegumai. And he drew. Seventeen. A drawing like part of a saw-blade showing three teeth pointing up and to the right or like a row of three cursive R-shapes. Exactly, said taffy. But we don't want all those teeth. Only put two. I'll only put in one, said Tegumai. If this game of ours is going to be what I think it will, the easier we make our sound pictures the better for everybody. And he drew. Eighteen. Just one of the saw-toothed shapes. Now we've got it, said Tegumai standing on one leg. I'll draw them all in a string like fish. And we better put a little bit of stick or something between each word so they won't rub up against each other and jostle same as if they were carp's. Oh, I'll leave a space for that, said her daddy. And very incitedly, he drew them all without stopping on a big new bit of birch bark. Nineteen. A long string of the new figures.  Shuyalas yamaru, said Taffy, reading it out sound by sound. That's enough for today, said Tegumai. Besides, you're getting tired, Taffy. Never mind, dear. We'll finish it all tomorrow.  So they went home. And all that evening Tegumai sat on one side of the fire and Taffy on the other, drawing yas and yos and shus and sheaths in the smoke on the wall and giggling together till her mummy said, Really, Tegumai, you're worse than my Taffy. Please don't mind, said Taffy. It's only our secret surprise, mummy dear. And we'll tell you all about it the very minute it's done, please don't ask me what it is now or else I'll have to tell. So her mummy most carefully didn't. And bright and early next morning Tegumai went down to the river to think about new sound pictures. And when Taffy got up she saw yalas, water is ending or running out, chalked on the side of the big stone water tank outside the cave. Hmm, said Taffy, these pictures sound rather a bother. Daddy's just as good as come here himself and told me to get more water for mummy to cook with. Then she went to the spring at the back of the house and filled the tank from a bark bucket. And then she ran down to the river and pulled her daddy's left ear, the one that belonged to her to pull when she was good. Now come along and we'll draw all the leftover sound pictures, said her daddy. And they had a most inciting day of it and a beautiful lunch in the middle and two games of romps. When they came to tea Taffy said that as her name and her daddy's and her mummies all began with that sound they should draw a sort of family group of themselves holding hands. That was all very well to draw once or twice. But when it came to drawing it six or seven times Taffy and Tegumai drew it scratchier and scratchier till at last the tea sound was only a thin, long Tegumai with his arms out to hold Taffy and Tegumai. You can see from these three pictures partly how it happened. 20 to 22 In 20 a strong central stickman holds out his arms horizontally to two smaller figures. In 21 the outside figures have been reduced to two little marks.  The drawing now looks a lot like a capital T. Many of the other pictures were much too beautiful to begin with especially before lunch. But as they were drawn over and over again on Birchbark they became planer and easier till at last even Tegumai said he could find no fault with them. They turned the hissy snake the other way round for the zzz sound to show it was hissing backwards in a soft and gentle way. 23 this snake goes left to right to left to right looking like a number two or a capital Z. And they just made a twiddle for E because it came into the pictures so often. 24 the twiddle is just like a curved lower case E shape. And they drew pictures of the sacred beaver of the Tegumais for the B sound. 25 to 28 four stages of a beaver picture each one simpler and quicker to draw than the last. To start with there are bulges to the right for the face with an eye and body. The tail goes left and is shaded in. The tail shrinks the eye disappears and by the last picture all detail has gone. Just a single line making a straightish left hand vertical side curving over into two bulges on the right and almost joining up again at the bottom left. The last drawing looks a lot like a capital B. And because it was a nasty nosey noise they just drew noses for the N sound till they were tired. 29 a series of five drawings. The first is a fairly accurate profile of the lower part of a face a straight nose, the lips and chin. The drawing gets gradually simpler forming three straight lines as the nose goes out in again and then straight down to the lips. The last drawing looks like a slightly backwards slanting capital N.  And they drew the pike's mouth again with a spear behind it for the scratchy hurty kah sound. 31 like the previous drawing but with a vertical down pointing spear at its left hand side. And they drew pictures of a little bit of the winding wag-eye river for the nice windy, windy wah sound. 32 a meandering river with both banks drawn as if seen from overhead. Starting from the left it goes down up a little, down again and up to the level it started from at the right. 33 is the same shape like a wobbly W but drawn more simply as a single line. And so on and so forth and so following till they had done and drawn all the sound pictures that they wanted and there was the alphabet. All complete. And after thousands and thousands and thousands of years and after hieroglyphics and demotics and nylotics and cryptics and cusics and runics and dorics and ionics and all sorts of other ricks and tricks because the wounds and the neguses and the akoons and the repositories of tradition would never leave a good thing alone when they saw it. The fine old easy understandable alphabet A, B, C, D, E and all the rest of them got back into its proper shape again for all best beloveds to learn when they're old enough. But I remember Tegumai bopsurai and Tafimai metalumai and Teshumai tewindro her dear mummy and all the days gone by and it was so, just so a little time ago on the banks of the big wagai end of how the alphabet was made. Chapter 10 of Just So Stories This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer please visit LibriVox.org Recording by Graham Redman Just So Stories by Rudyard Kipling Chapter 10 The Crab that Played with the Sea Before the high and far-off times O my best beloved came the time of the very beginnings and that was in the days when the oldest magician was getting things ready. First he got the earth ready then he got the sea ready and then he told all the animals that they could come out and play and the animals said oh, eldest magician what shall we play at? and he said I will show you. He took the elephant all the elephant there was and said play at being an elephant and all the elephant there was played. He took the beaver all the beaver there was and said play at being a beaver and all the beaver there was played. He took the cow all the cow there was and said play at being a cow and all the cow there was played. He took the turtle all the turtle there was and said play at being a turtle And all the turtle there was played. One by one he took all the beasts and birds and fishes, and told them what to play at.  And he said, What is this play, Eldest Magician? And the Eldest Magician said, Oh, son of Adam, this is the play of the very beginning. But you are too wise for this play. And the man saluted and said, Yes, I am too wise for this play, but see that you make all the animals obedient to me. Now while the two were talking together, Pal Amma, the crab who was next in the game, scuttled off sideways and stepped into the sea, saying to himself, I will play my play alone in the deep waters, and I will never be obedient to this son of Adam. She saw him go away, except the little girl-daughter, where she leaned on the man's shoulder. And the play went on till there were no more animals left without orders. And the Eldest Magician wiped the fine dust off his hands, and walked about the world to see how the animals were playing. He went north, best-beloved, and he found all the elephant there was digging with his tusks and stamping with his feet in the nice new clean earth that had been made ready for him. Kun, said all the elephant there was, meaning is this right? Paya Kun, said the Eldest Magician, meaning that is quite right. And he breathed upon the great rocks and lumps of earth that all the elephant there was had thrown up, and they became the great Himalayan mountains, and you can look them out on the map. He went east and he found all the cow there was feeding in the field that had been made ready for her, and she licked her tongue round a whole forest at a time, and swallowed it and sat down to chew her cud. Kun, said all the cow there was, Paya Kun, said the Eldest Magician, and he breathed upon the bear patch where she had eaten, and upon the place where she had sat down, and one became the great Indian desert, and the other became the desert of Sahara, and you can look them out on the map. He went west and he found all the beaver there was, making a beaver dam across the mouths of broad rivers that had been got ready for him. Kun, said all the beaver there was, Paya Kun, said the Eldest Magician, and he breathed upon the fallen trees and the still water, and they became the Everglades in Florida, and you may look them out on the map. Then he went south and found all the turtle there was, scratching with his flippers in the sand that had been got ready for him, and the sand and the rocks whirled through the air and fell far off into the sea. Kun, said all the turtle there was, Paya Kun, said the Eldest Magician, and he breathed upon the sand and the rocks where they had fallen in the sea, and they became the most beautiful islands of Borneo, Celebes, Sumatra, Java, and the rest of the Malay Archipelago, and you can look them out on the map. By and by the Eldest Magician met the man on the banks of the Perak River, and said, Ho, son of Adam, are all the animals obedient to you? Yes, said the man. Is all the earth obedient to you? Yes, said the man. Is all the sea obedient to you? No, said the man. Once a day and once a night the sea runs up the Perak River and drives the sweet water back into the forest so that my house is made wet. Once a day and once a night it runs down the river and draws all the water after it so that there is nothing left but mud, and my canoe is upset. Is that the play you told it to play? No, said the Eldest Magician. That is a new and a bad play. Look, said the man, and as he spoke the great sea came up the mouth of the Perak River, driving the river backwards till it overflowed all the dark forests for miles and miles, and flooded the man's house. This is wrong. Launch your canoe, and we will find out who is playing with the sea, said the Eldest Magician. They stepped into the canoe. The little girl daughter came with them, and the man took his crease, a curving, wavy dagger with a blade like a flame, and they pushed out on the Perak River. Then the sea began to run back and back, and the canoe was sucked out of the mouth of the Perak River, past Selangor, past Malacca, past Singapore, out and out to the island of Bintang as though it had been pulled by a string. Then the Eldest Magician stood up and shouted, Ho beasts, birds and fishes, that I took between my hands at the very beginning, and taught the play that you should play.  Then all the beasts, birds and fishes said together, Eldest Magician, we play the plays that you taught us to play. We and our children's children. But not one of us plays with the sea. Then the moon rose big and full over the water, and the Eldest Magician said to the hunchbacked old man who sits in the moon spinning a fishing line, with which he hopes one day to catch the world. Ho Fisher of the moon, are you playing with the sea? No, said the fisherman, I am spinning a line with which I shall some day catch the world, but I do not play with the sea. And he went on spinning his line. Now there is also a rat up in the moon who always bites the old fisherman's line as fast as it is made, and the Eldest Magician said to him, Ho rat of the moon, are you playing with the sea? And the rat said, I am too busy biting through the line that this old fisherman is spinning. I do not play with the sea. And he went on biting the line. Then the little girl daughter put up her little soft brown arms with the beautiful white-shell bracelets, and said, Oh Eldest Magician, when my father here talked to you at the very beginning, and I leaned upon his shoulder while the beasts were being taught their plays, one beast went away nortily into the sea before you had taught him his play. And the Eldest Magician said, How wise are little children who see and are silent. What was the beast like? And the little girl daughter said, He was round, and he was flat, and his eyes grew upon stalks, and he walked sideways, like this, and he was covered with strong armour upon his back. And the Eldest Magician said, How wise are little children who speak truth. Now I know where Pal Amma went. Give me the paddle. So he took the paddle, but there was no need to paddle, for the water flowed steadily past all the islands till they came to the place called Pusat-Tasic, the heart of the sea, where the great hollow is that leads down to the heart of the world, and in that hollow grows the wonderful tree, Pao Yangi, that bears the magic twin nuts. Then the Eldest Magician slid his arm up to the shoulder through the deep warm water, and under the roots of the wonderful tree he touched the broad back of Pal Amma the crab. And Pal Amma settled down at the touch, and all the sea rose up as water rises in a basin when you put your hand into it. Ah, said the Eldest Magician, Now I know who has been playing with the sea. And he called out, What are you doing, Pal Amma? And Pal Amma, deep down below, answered, Once a day and once a night I go out to look for my food. Once a day and once a night I return, Leave me alone. Then the Eldest Magician said, Listen, Pal Amma, when you go out from your cave the waters of the sea pour down into Pusat-Tasic, and all the beaches of all the islands are left bare and the little fish die, and Raja Mayankaban, the king of the elephants, his legs are made muddy.  Then Pal Amma, deep down below, laughed, and said, I did not know I was so important.  And the Eldest Magician said, I cannot make you play the play you were meant to play, Pal Amma, because you escaped me at the very beginning. But if you are not afraid, come up, and we will talk about it. I am not afraid, said Pal Amma, and he rose to the top of the sea in the moonlight. There was nobody in the world so big as Pal Amma, for he was the king-crab of all crabs, not a common crab, but a king-crab. One side of his great shell touched the beach at Sarawak, the other touched the beach at Pahang, and he was taller than the smoke of three volcanoes. As he rose up through the branches of the wonderful tree, he tore off one of the great twin fruits, the magic double-kerneled nuts that make people young, and the little girl daughter saw it bobbing alongside the canoe, and pulled it in, and began to pick out the soft eyes of it with her little golden scissors. Now, said the Magician, make a magic, Pal Amma, to show that you are really important. Pal Amma rolled his eyes and waved his legs, but he could only stir up the sea, because though he was a king-crab, he was nothing more than a crab, and the eldest Magician laughed. You are not so important after all, Pal Amma, he said. Now let me try, and he made a magic with his left hand, with just the little finger of his left hand. And lo and behold, best beloved, Pal Amma's hard blue-green-black shell fell off him as a husk falls off a coconut, and Pal Amma was left all soft, soft as the little crabs that you sometimes find on the beach, best beloved. Indeed you are very important, said the eldest Magician. Shall I ask the man here to cut you with crease? Shall I send for Raja Moyankaban, the king of the elephants, to pierce you with his tusks? Or shall I call Raja Abdullah, the king of the crocodiles, to bite you? And Pal Amma said, I am ashamed. Give me back my hard shell, and let me go back to Pusat Tasek, and I will only stir out once a day and once a night to get my food.  Then Pal Amma said, What shall I do? I am so big that I can only hide in Pusat Tasek, and if I go anywhere else all soft as I am now, the sharks and the dog-fish will eat me, and if I go to Pusat Tasek all soft as I am now, though I may be safe, I can never stir out to get my food, and so I shall die. Then he waved his legs and lamented, Listen, Pal Amma, said the eldest Magician, I cannot make you play the play you were meant to play, because you escaped me at the very beginning.  Then Pal Amma said, That is good, but I do not choose yet. Look, there is that man who talked to you at the very beginning. If he had not taken up your attention I should not have grown tired of waiting and run away, and all this would never have happened. What will he do for me? And the man said, If you choose, I will make a magic, so that both the deep water and the dry ground will be a home for you and your children, so that you shall be able to hide both on the land and in the sea. And Pal Amma said, I do not choose yet. Look, there is that girl who saw me running away at the very beginning. If she had spoken then the eldest Magician would have called me back, and all this would never have happened. What will she do for me? And the little girl daughter said, This is a good nut that I am eating.  Or you can dig a pusat tasek for yourself with the scissors that belong to you when there is no stone or hole nearby, and when the earth is too hard, buy the help of these same scissors you can run up a tree. And Pal Amma said, I do not choose yet, for all soft as I am these gifts would not help me.  And the oldest Magician said, I will give it back, Pal Amma, for eleven months of the year. But on the twelfth month of every year it shall grow soft again to remind you and all your children that I can make magics, and to keep you humble, Pal Amma, for I see that if you can run both under the water and on land, you will grow too bold. And if you can climb trees and crack nuts and dig holes with your scissors, you will grow too greedy, Pal Amma. Then Pal Amma thought a little, and said, I have made my choice. I will take all the gifts. Then the eldest Magician made a magic with the right hand, with all five fingers of his right hand, and lo and behold, best beloved, Pal Amma grew smaller and smaller and smaller, till at last there was only a little green crab swimming in the water alongside the canoe, crying in a very small voice, give me the scissors. And the girl-daughter picked him up on the palm of her little brown hand, and sent him in the bottom of the canoe, and gave him her scissors. And he waved them in his little arms, and opened them, and shut them, and snapped them, and said, I can eat nuts, I can crack shells, I can dig holes, I can climb trees, I can breathe in the dry air, and I can find a safe pus at Tasek under every stone. I did not know I was so important. Kun? Is this right? Paya Kun, said the eldest Magician, and he laughed, and gave him his blessing. And little Pal Amma scuttled over the side of the canoe into the water, and he was so tiny that he could have hidden under the shadow of a dry leaf on land, or of a dead shell at the bottom of the sea. Was that well done? said the eldest Magician. Yes, said the man. But now we must go back to Perak, and that is a weary way to paddle. If we had waited till Pal Amma had gone out of Pusat Tasek, and come home, the water would have carried us there by itself.  They shall be the laziest people in the world. They shall be called the Malaise, the lazy people.  Pull his canoe home with your line, fisherman. No, said the man, if I am to be lazy all my days, let the sea work for me twice a day for ever. That will save paddling. And the eldest Magician laughed, and said, Payakun, that is right. And the rat of the moon stopped biting the line, and the fisherman let his line down till it touched the sea. And he pulled the whole deep sea along, past the island of Bintang, past Singapore, past Malacca, past Selangor, till the canoe flowed into the mouth of the Perak River again. Kun, said the fisherman of the moon, Payakun, said the eldest Magician, see now that you pull the sea twice a day and twice a night for ever, so that the Malaise fishermen may be saved paddling. But be careful not to do it too hard, or I shall make a magic on you as I did to Pao Amma. Then they all went up the Perak River, and went to bed, best beloved. Now listen and attend. From that day to this, the moon has always pulled the sea up and down, and made what we call the tides.  But nearly always he is careful, because of the eldest Magician. And Pao Amma? You can see when you go to the beach how all Pao Amma's babies make little pusat tassics for themselves under every stone and bunch of weed on the sands.  But once a year all Pao Amma's must shake off their hard armour and be soft, to remind them of what the eldest Magician could do. And so it isn't fair to kill or hunt Pao Amma's babies just because old Pao Amma was stupidly rude a very long time ago.  That is why they nip you with their scissors. And it serves you right. China-going peas and o's pass Pao Amma's playground close, and his pusat tassic lies near the track of most bee-eyes. U, Y, K, and N, D, L, know Pao Amma's home as well as the Fisher of the Sinos, Benz, M, M's, and Rubatino's. But, and this is rather queer, ATLs cannot come here. O, and O, and DOA must go round another way. Orient, anchor, bibby, hall, never go that way at all. UCS would have a fit if it found itself on it.  You'll know what my riddle means when you've eaten mangosteens. Or if you can't wait till then, ask them to let you have the outside page of the times, turn over to page two where it is marked Shipping on the top left hand, then take the ATLAS, and that is the finest picture book in the world, and see how the names of the places that the steamers go to fit into the names of the places on the map. Any steamer kiddie ought to be able to do that, but if you can't read, ask someone to show it to you. End of Chapter 10, Recording by Graham Redmond Chapter 11 of Just So Stories This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Just So Stories by Rudyard Kipling Chapter 11, The Cat That Walked By Itself Here I attend and listen, for this befell and behappened and became and was, O my best beloved, when the tame animals were wild. The dog was wild, and the horse was wild, and the cow was wild, and the sheep was wild, and the pig was wild, as wild as wild could be. And they walked in the wet wild woods by their wild lones. But the wildest of all the wild animals was the cat. He walked by himself, and all places were a light to him. Of course the man was wild too. He was dreadfully wild. He didn't even begin to be home until he met the woman. And she told him that she did not like living in his wild ways. She picked out a nice dry cave instead of a heap of wet leaves to lie down in, and she strewed clean sand on the floor. And she lit a nice fire of wood at the back of the cave, and she hung a dried wild horse skin tail down across the opening of the cave. And she said, wipe your feet dear when you come in, and now we'll keep house. That night, best beloved, they ate wild sheep roasted on the hot stones, and flavoured with wild garlic and wild pepper, and wild ducks stuffed with wild rice and wild fenugreek, and wild coriander and marrow bones of wild oxen, and wild cherries and wild grenadillas.  But the woman sat up combing her hair. She took the big bone of the shoulder of mutton, the big flat blade bone, and she looked at the wonderful marks on it, and she threw more wood on the fire, and she made a magic. She made the first singing magic in the world. Out in the wet wild woods, all the wild animals gathered together where they could see the light of the fire a long way off, and they wondered what it meant. One wild horse stand with his wild foot, and said, O my friends and O my enemies, why have the man and woman made that great light in that great cave, and what harm will it do us? Wild dog lifted up his wild nose, and smelled the smell of roast mutton, and said, I will go up and see and look and say, for I think it is good. Cat come with me. When he said the cat, I am the cat who walks by himself, and all places are alike to me, I will not come. Then we can never be friends again, said wild dog, and he trotted off to the cave.  So he slipped after wild dog softly, very softly, and hid himself where he could hear everything.  And the woman, looking at the blade burn, heard him and laughed and said, here comes the first wild thing out of the wild woods, what do you want? Wild dog said, oh my enemy and wife of my enemy, what is this that smells so good in the wild woods? Then the woman picked up a roasted mutton bone and threw it to wild dog, and said, wild thing out of the wild woods, taste and try. Wild dog gnawed the bone, and it was more delicious than anything he had ever tasted, and he said, oh my enemy and wife of my enemy, give me another. The woman said, wild thing out of the wild woods, help my man to hunt through the day and guard this cave at night, and I will give you as many roast bones as you need. Ah, said the cat, listening, this is a very wise woman, but she is not so wise as I am. Wild dog crawled into the cave and hid his head on the woman's lap and said, oh my friend and wife of my friend, I will help your man to hunt through the day, and at night I will guard your cave. Ah, said the cat, listening, that is a very foolish dog, and he went back through the wet wild woods, waving his wild tail and walking by his wild lone, but he never told anybody. When the man waked up he said, what is wild dog doing in here? And the woman said, his name is not wild dog anymore, but the first friend, because he will be our friend for always and always and always.  Next night the woman cut great green armfuls of fresh grass from the water meadows and dried it before the fire, so that it smelt like new moan hay, and she sat at the mouth of the cave and plaited a halter out of horse hide, and she looked at the shoulder of mutton bone, at the big broad blade bone, and she made a magic. She made the second singing magic in the world. Out in the wild woods all the wild animals wondered what had happened to wild dog, and at last wild horse stamped with his foot and said, I will go and see, and say why wild dog has not returned. Cat, come with me. Ninny, said the cat, I am the cat who walks by himself, and all places are alike to me. I will not come. But all the same he followed wild horse softly, very softly, and hid himself where he could hear everything. When the woman heard wild horse tripping and stumbling on his long mane, she laughed and said, here comes the second. Wild thing out of the wild woods, what do you want? Wild horse said, oh my enemy and wife of my enemy, where is wild dog? The woman laughed and picked up the blade bone and looked at it and said, wild thing out of the wild woods, you did not come here for wild dog, but for the sake of this good grass. And wild horse tripping and stumbling on his long mane said, that is true, give it to me to eat.  Ah, said the cat listening, this is a clever woman, but you're not so clever as I am. Wild horse bent his wild head and the woman slipped the platypide halter over it, and wild horse breathed on the woman's feet and said, oh my mistress and wife of my master, I will be your servant for the sake of the wonderful grass. Ah, said the cat listening, that is a very foolish horse. And he went back through the wet wild woods, waving his wild tail and walking by his wild lone, but he never told anybody. When the man and the dog came back from hunting, the man said, what is wild horse doing here? And the woman said, his name is not wild horse anymore, but the first servant because he will carry us from place to place for always and always and always, right on his back when you go hunting. Next day, holding her wild head high, that her wild horns should not catch in the wild trees, wild cow came up to the cave and the cat followed and hit himself just the same as before. And everything happened just the same as before. And the cat said the same things as before. And when wild cow had promised to give her milk to the woman every day in exchange for the wonderful grass, the cat went back through the wet wild woods, waving his wild tail and walking by his wild lone, just the same as before, but he never told anybody. And when the man and the horse and the dog came home from hunting and asked the same questions, same as before, the woman said, her name is not wild cow anymore, but the giver of good food. He will give us warm white milk for always and always and always, and I will take care of her while you and the first friend and the first servant go hunting. Next day, the cat waited to see if any other wild thing would go up to the cave, but no one moved in the wet wild woods. So the cat walked there by himself and he saw the woman milking the cow and he saw the life of the fire in the cave and he smelt the smell of warm white milk. Cat said, oh my enemy and wife of my enemy, where did wild cow go? The woman laughed and said, wild thing out of the wild woods, go back to the woods again, for I have braided up my hair and I have put away the magic blade bone and we have no more need of either friends or servants in the cave. Cat said, I am not a friend and I am not a servant. I am the cat who walks by himself and I wish to come into your cave. Woman said, then why did you not come with first friend on the first night? Cat grew very angry and said, has wild dog told tales of me? Then the woman laughed and said, you are the cat who walks by himself and all places are alike to you. You are neither a friend nor a servant. You have said it yourself.  Then the cat pretended to be sorry and said, must I never come into the cave? Must I never sit by the warm fire? Must I never drink the warm white milk? You are very wise and very beautiful. You should not be cruel even to a cat. Woman said, I knew I was wise, but I did not know I was beautiful, so I will make a bargain with you. If ever I say one word in your praise, you may come into the cave. And if you say two words in my praise, said the cat. I never shall, said the woman. But if I say two words in your praise, you may sit by the fire in the cave. And if you say three words, said the cat. I never shall, said the woman. But if I say three words in your praise, you may drink the warm white milk three times a day for always and always and always. Then the cat arched his back and said, now let the curtain at the mouth of the cave and the fire at the back of the cave and the milk pots that stand beside the fire. Remember what my enemy and the wife of my enemy has said. And he went away through the wet wild woods, waving his wild tail and walking by his wild lone. That night when the man and the horse and the dog came home from hunting, the woman did not tell them of the bargain that she had made with the cat because she was afraid that they might not like it. Cat went far and far away and hid himself in the wet wild woods by his wild lone for a long time, till the woman forgot all about him. Only the bat, the little upside down bat that hung in the cave, knew where the cat hid. And every evening, bat would fly to cat with news of what was happening. One evening, bat said, there is a baby in the cave. He is new and pink and fat and small. And the woman is very fond of him. Ah, said the cat, listening. But what is the baby fond of? Here's fond of things that are soft and tickle, said the bat. Here's fond of warm things to hold in his arms when he goes to sleep. Here's fond of being played with. Here's fond of all those things. Ah, said the cat, listening. Then my time has come. Next night, cat walked through the wet wild woods and hid very near the cave till morning time. And man and dog and horse went hunting. The woman was busy cooking that morning and the baby cried and interrupted. So she carried him outside the cave and gave him a handful of pebbles to play with. But still the baby cried. Then the cat put out his paddy-paw and patted the baby on the cheek and it cooed.  And the baby laughed and the woman heard him and smiled.  A blessing on that wild thing, whoever he may be, said the woman, straightening her back, for I was a busy woman this morning and he has done me a service. That very minute and second best beloved, the dried horse-skin curtain that was stretched down at the mouth of the cave fell down. Whoosh, because it remembered the bargain she had made with the cat. And when the woman went to pick it up, low and behold, the cat was sitting quite comfy inside the cave.  It is I, for you have spoken a word in my praise, and now I can sit within the cave for always and always and always. But still I am the cat who walks by himself and all places are alike to me.  But the baby cried because the cat had gone away and the woman could not hush it for it struggled and kicked and grew black in the face.  Take a strand of the thread that you are spinning and tie it to your spindle-wool and drag it along the floor and I will show you a magic that will make your baby laugh as loudly as he is now crying. I will do so said the woman because I am at my wit's end, but I will not thank you for it. She tied the thread to the little clay spindle-wool and drew it across the floor and the cat ran after it and patted it with his paws and rolled head over heels and tossed it backward over his shoulder and chased it between his hind legs and pretended to lose it and pounced down upon it again till the baby laughed as loudly as it had been crying and scrambled after the cat and flicked all over the cave till it grew tired and settled down to sleep with the cat in its arms. Now said the cat I will sing the baby a song that shall keep him asleep for an hour and he began to purr loud and low low and loud till the baby fell fast asleep. The woman smiled as she looked down upon the two of them and said it was wonderfully done no question but you are very clever oh cat. That very minute and second best beloved the smoke of the fire at the back of the cave came down in clouds from the roof puffed because it remembered the bargains she had made with the cat and when it had cleared away low and behold the cat was sitting quite comfy close to the fire.  Then the woman was very very angry and leapt down her hair and put more wood on the fire and bought out the broad blade bone of the shoulder of mutton and began to make a magic that should prevent her from saying a third word in praise of the cat. It was not a singing magic best beloved it was a still magic and by and by the cave grew so still that a little wee wee mouse crept out of a corner and ran across the floor.   Ah said the cat watching then the mouse will do me no harm if I eat it. No said the woman braiding up her hair eat it quickly and I will ever be grateful to you. Cat made one jump and caught the little mouse and woman said a thousand thanks even the first friend is not quick enough to catch little mice as you have done you must be very wise. That very minute and second oh best beloved the milk pot that stood by the fire cracked in two pieces because it remembered the bargain she had made with the cat and when the woman jumped down from the footstool low and behold the cat was lapping up the warm white milk that lay in one of the broken pieces. Oh my enemy and wife of my enemy and mother of my enemy said the cat it is I for you have spoken three words in my praise and now I can drink the warm white milk three times a day for always and always and always but still I am the cat who walks by himself and all places are alike to me then the woman laughed and said the cat a bowl of the warm white milk and said oh cat you're as clear as a man but remember that your bargain was not made with the man or the dog and I do not know what they will do when they come home what is that to me said the cat if I have my place in the cave by the fire and my warm white milk three times a day I do not care what the man or the dog can do that evening when the man and the dog came in the cave the woman told them all the story of the bargain while the cat sat by the fire and smiled then the man said yes but he has not made a bargain with me or with all proper men after me then he took off his two leather boots and he took up his little stone axe that makes three and he fetched a piece of wood and a hatchet that is five all together and he set them out in a row and he said now we will make our bargain if you do not catch mice always when you're in the cave always and always and always I will throw these five things at you whenever I see you and so shall all proper men do after me I said the woman listening that is a very clever cat but he is not so clever as my man the cat counted the five things and they look very knobby and he said I will catch mice when I'm in the cave for always and always and always but still I am the cat who walks by himself and all places are alike to me not when I am near said the man if you had not said that last I would have put all these things away for always and always and always but now I am going to throw my two boot and my little stone axe that makes three at you whenever I meet you and so shall all proper men do after me then the dog said wait a minute he has not made a bargain with me all with all proper dogs after me and he showed his teeth and said if you are not kind to the baby while I am in the cave for always and always and always I will hunt you till I catch you and when I catch you I will bite you and so shall all proper dogs do after me ah said the woman listening this is a very clever cat but he is not so clever as the dog cat counted the dog's teeth and they looked very pointed and he said I will be kind to the baby when I am in the cave as long as he does not pull my tails too hard for always and always and always but still I am the cat that walks by himself and all places are alike to me not when I am near said the dog if you had not said the last I would have shut my mouth always and always and always but now I am going to touch you up a tree whenever I meet you and so shall all proper dogs do after me then the man through his two boots and his little stone axe that makes three at the cat and the cat ran out of the cave and the dog chased him up a tree and from that day to this best beloved three proper men out of five will always throw things at a cat whenever they meet him and all proper dogs will chase him up a tree but the cat keeps his side of the bargain too he will kill mice and he will be kind to babies when he is in the house just so long as they do not pull his tail too hard but when he has done that and between times and when the moon gets up and night comes he is the cat that walks by himself and all places are alike to him then he goes out to the wet wild woods or up the wet wild trees or on the wet wild roofs waving his wild tail and walking by his wild load pussy can sit by the fire and sing pussy can climb a tree or play with a silly old cork and string to amuse herself not me but I like binky my dog because he knows how to behave so binky is the same as the first friend was and I am the man in the cave pussy will play man friday till it's time to wet her paw and make her walk on the windowsill for the footprint cruiser saw then she fluffed her tail and muse and scratches and won't attend but binky will play whatever I choose and he is my true first friend pussy will rub my knees with her head pretending she loves me hard but the very minute I go to my bed pussy runs out in the yard and there she stays till the morning light so I know it is only pretend but binky he snores at my feet all night and he is my firstest friend end of chapter 11 chapter 12 of just so stories the butterfly that's damped this is a libra vox recording all libra vox recordings are in the public domain for more information or to volunteer please visit libravox.org just so stories by rigid keeping this oh my best beloved is a story a new and a wonderful story a story quite different from the other stories a story about the most wise sovereign sulamin bindaud sulamin the son of david there are 355 stories about sulamin bindaud but this is not one of them it is not the story of the lapwing who found the water or the hoopoe who shaded sulamin bindaud from the heat it is not the story of the glass pavement or the ruby with the crooked hole or the gold bars of balki it is the story of the butterfly that stamped now attend all over again and listen sulamin bindaud was wise he understood what the beast said what the bird said what the fishes said and what the insect said he understood what the rock said deep under the earth when they bowed in toward each other and groaned and he understood what the trees said when they wrestled in the middle of the morning he understood everything from the bishop on the bench to the hissop on the wall and balki his head queen the most beautiful queen balki was nearly as wise as he was sulamin bindaud was strong upon the third finger of his right hand he wore a ring when he turned it once aphrids and jeans came out of the earth to do whatever he told them when he turned it twice fairies came down from the sky to do whatever he told them and when he turned it three times the very great angel azrael of the sword came dressed as a water carrier and told him the news of the three worlds above below and here and yet sulamin bindaud was not proud he very seldom showed off and when he did he was sorry for it once he tried to feed all the animals in all the world in one day but when the food was ready an animal came out of the deep sea and ate it up in three mouthfuls sulamin bindaud was very surprised and said oh animal who are you and the animals said oh king live forever i am the smallest of 30 000 brothers and our home is at the bottom of the sea we heard that you were going to feed all the animals in all the world and our brother sent me to ask when dinner would be ready sulamin bindaud was more surprised than ever and said oh animal you have eaten all the dinner that i made ready for all the animals in the world and the animal said oh king live forever but do you really call that a dinner where i come from we each eat twice as much as that between meals then sulamin bindaud fell flat on his face and said oh animal i gave that dinner to show what a great and rich king i was and not because i really wanted to be kind to the animals now i am ashamed and it serves me right sulamin bindaud was a really truly wise man best beloved after that he never forgot that it was silly to show off and now the real story part of my story begins he married ever so many wives he married 999 wives besides the most beautiful balki and they all lived in a great golden palace in the middle of a lovely garden with fountains he didn't really want 999 wives but in those days everybody married ever so many wives and of course the king had to marry ever so many more just to show that he was the king some of the wives were nice but some were simply horrid and the horrid ones quarreled with the nice ones and made them horrid too and then they would all quarrel with sulamin bindaud and that was horrid for him but balki the most beautiful never quarrelled with sulamin bindaud she loved him too much she sat in her rooms in the golden palace or walked in the palace garden and was truly sorry for him of course if he had chosen to turn his ring on his finger and call up the jins and the aphrets they would have magicked all those 999 quarrel some wives into white mules of the desert or greyhounds or pomegranate seeds but sulamin bindaud thought that that would be showing off so when they quarrelled too much he only walked by himself in one part of the beautiful palace gardens and wished he had never been born one day when they had quarrelled for three weeks all 999 wives together sulamin bindaud went out for peace and quiet as usual and among the orange trees he met balki the most beautiful very sorrowful because sulamin bindaud was so worried and she said to him oh my lord and light of my eyes turn the ring upon your finger and show these queens of egypt and mesopotamia and persia and china that you are the great and terrible king but sulamin bindaud shook his head and said oh my lady and the light of my life remember the animal that came out of the sea and made me ashamed before all the animals in all the world because i showed off now if i showed off before these queens of persia and egypt and abyssinian china merely because they worry me i might be made even more ashamed than i have been and balki the most beautiful said oh my lord and treasure of my soul what will you do and sulamin bindaud said oh my lady and content of my heart i shall continue to endure my fate at the hands of these 999 queens who vex me with their continual quarrelling so he went on between the lilies and the loquats and the roses and the canas and the heavy scented ginger plants that grew in the garden till he came to the great camphor tree that was called the camphor tree of sulamin bindaud but balki hid among the tall irises and the spotted bamboos and the red lilies behind the camphor tree so as to be near to her own true love sulamin bindaud presently two butterflies flew under the tree quarreling sulamin bindaud heard one say to the other i wonder at your presumption in talking like this to me don't you know that if i stamped with my foot all sulamin bindaud's palace and this garden here would immediately vanish in a clap of thunder then sulamin bindaud forgot his 999 bothersome wives and laughed till the camphor tree shook at the butterfly's boast and he held out his finger and said little man come here the butterfly was dreadfully frightened but he managed to fly up to the hand of sulamin bindaud and clung there fanning himself sulamin bindaud bent his head and whispered very softly little man you know that all your stamping wouldn't bend one blade of grass what made you tell that awful fib to your wife for doubtless she is your wife the butterfly looked at sulamin bindaud and saw the most wise king's eyes twinkle like stars on a frosty night and he picked up his courage with both wings and he put his head on one side and said oh king live forever she is my wife and you know what wives are like sulamin bindaud smiled in his beard and said yes i know little brother one must keep them in order somehow said the butterfly and she has been quarreling with me all the morning i said that to quiet her and sulamin bindaud said may it quiet her go back to your wife little brother and let me hear what you say back flew the butterfly to his wife who was all of a twitter behind a leaf and she said he heard you sulamin bindaud himself heard you heard me said the butterfly of course he did i meant him to hear me and what did he say oh what did he say well said the butterfly fanning himself most importantly between you and me my dear of course i don't blame him because his palace must have cost a great deal and the oranges are just ripening he asked me not to stamp and i promised i wouldn't gracious said his wife and sat quite quiet but sulamin bindaud laughed till the tears ran down his face at the impudence of the bad little butterfly balki the most beautiful stood up behind the tree among the red lilies and smiled to herself for she had heard all this talk she thought if i am wise i can yet save my lord from the persecutions of these quarrelsome queens and she held out her finger and whispered softly to the butterfly's wife little woman come here up flew the butterfly's wife very frightened and clung to balki's white hand balki bent her beautiful head down and whispered little woman do you believe what your husband had just said the butterfly's wife looked at balki and saw the most beautiful queen's eyes shining like deep pools with starlight on them and she picked up her courage with both wings and said oh queen be lovely forever you know what men folk are like and the queen balki the wise balki of sheba put her hands to her lips to hide a smile and said little sister i know they get angry said the butterfly's wife fanning herself quickly over nothing at all but we must humor the mow queen they never mean half they say if it pleases my husband to believe that i believe he can make sulamin bindaud's palace disappear by stamping his foot i'm sure i don't care he'll forget all about it tomorrow little sister said balki you are quite right but next time he begins to boast take him at his word ask him to stamp and see what will happen we know what men folk are like don't we he'll be very much ashamed away flew the butterfly's wife to her husband and in five minutes they were quarreling worse than ever remember said the butterfly remember what i can do if i stamp my foot i don't believe you one little bit said the butterfly's wife i should very much like to see it done suppose you stamp now i promised sulamin bindaud that i wouldn't say the butterfly and i don't want to break my promise it wouldn't matter if you did said his wife you couldn't bend a blade of grass with your stamping i dare you to do it she said stamp stamp stamp sulamin bindaud sitting under the camphor tree heard every word of this and he laughed as he had never laughed in his life before he forgot all about his queens he forgot about the animal that had come out of the sea he forgot about showing off he just laughed with joy and balki on the other side of the tree smiled because her own true love was so joyful presently the butterfly very hot and puffy came whirling back under the shadow of the camphor tree and said to sulamin she wants me to stamp she wants to see what will happen oh sulamin bindaud you know i can't do it and now she'll never believe a word i say she'll laugh at me to the end of my days no little brother said sulamin bindaud she will never laugh at you again and he turned the ring on his finger just for the little butterfly's sake not for the sake of showing off and lo and behold four huge jins came out of the earth slaves said sulamin bindaud when this gentleman on my finger that was where the impudent butterfly was sitting stamps his left front forefoot you will make my palace and these gardens disappear in a clap of thunder when he stamps again you will bring them back carefully now little brother he said go back to your wife and stamp all you've in mind too away flew the butterfly to his wife who was crying i dare you to do it i dare you to do it stamp stamp now stamp balki saw the four vast jins stooped down to the four corners of the gardens with the palace in the middle and she clapped her hands softly and said at last sulamin bindaud will do for the sake of a butterfly what he ought to have done long ago for his own sake and the quarrelsome queens will be frightened then the butterfly stamped the jins jerked the palace in the gardens a thousand miles into the air there was a most awful thunder clap and everything grew inky black the butterfly's wife flattered about in the dark crying oh i'll be good i'm so sorry i spoke only bring the gardens back my dear darling husband and i'll never contradict again the butterfly was nearly as frightened as his wife and sulamin bindaud laughed so much that it was several minutes before he found breath enough to whisper to the butterfly stamp again little brother give me back my palace most great magician yes give him back his palace said the butterfly's wife still flying about in the dark like a moth give him back his palace and don't let's have any more horrid magic well my dear said the butterfly as bravely as he could you see what your nagging has led to of course it doesn't make any difference to me i'm used to this kind of thing but as a favor to you and to sulamin bindaud i don't mind putting things right so he stamped once more and that instant the jins let down the palace in the gardens without even a bump the sun shone on the dark green orange leaves the fountains played among the pink egyptian lilies the birds went on singing and the butterfly's wife lay on her side under the camphor tree waggling her wings and panting oh i'll be good i'll be good sulamin bindaud could hardly speak for laughing he leaned back all week and hiccoughy and shook his finger at the butterfly and said oh great wizard what is the sense of returning to me my palace if at the same time you slay me with mirth then came a terrible noise for all the 999 queens ran out of the palace shrieking and shouting and calling for their babies they hurried down the great marble steps below the fountain 100 abreast and the most wise balky went stately forward to meet them and said what is your trouble oh queens they stood on the marble steps 100 abreast and shouted what is our trouble we were living peacefully in our golden palace as is our custom when upon a sudden the palace disappeared and we were left sitting in a thick and noise some darkness and it thundered and jins in a fritz moved about in the darkness that is our trouble oh head queen and we are most extremely troubled on account of that trouble for it was a troublesome trouble unlike any trouble we have known then balky the most beautiful queen sulamin bindaud's very best beloved queen that was of sheba and sabi and the rivers of the gold of the south from the desert of zinn to the towers of zimbabwe balky almost as wise as the most wise sulamin bindaud himself said it is nothing oh queens a butterfly has made complaint against his wife because she quarreled with him and it has pleased our lord sulamin bindaud to teach her a lesson in low speaking and humbleness for that is counted a virtue among the wives of the butterflies then up and spoke an egyptian queen the daughter of a pharaoh and she said our palace cannot be plucked up by the roots like a leak for the sake of a little insect no sulamin bindaud must be dead and what we heard and saw was the earth thundering and darkening at the news then balky beckon that bold queen without looking at her and said to her and to the others come and see they came down the marble steps one hundred abreast and beneath his camp for tree still weak with laughing they saw the most wise king sulamin bindaud rocking back and forth with the butterfly on either hand and they heard him say oh wife of my brother in the air remember after this to please your husband in all things lest he be provoked to stamp his foot yet again for he has said that he is used to this magic and he is most eminently a great magician one who steals away the very palace of sulamin bindaud himself go in peace little folk and he kissed them on the wings and they flew away then all the queens except balky the most beautiful and splendid balky who stood apart smiling fell flat on their faces for they said if these things are done when a butterfly is displeased with his wife what shall be done to us who have vexed our king with our loud speaking and open quarreling through many days then they put their veils over their heads and they put their hands over their mouths and they tiptoed back to the palace most mostly quiet then balky the most beautiful and excellent balky went forward through the red lilies into the shade of the camp for tree and laid her hand upon sulamin bindaud shoulder and said oh my lord and treasure of my soul rejoice for we have taught the queens of egypt and ethiopia and abyssinia and persia and india and china with a great and a memorable teaching and sulamin bindaud still looking after the butterflies where they played in the sunlight said oh my lady and jewel of my felicity when did this happen for i have been jesting with a butterfly ever since i came into the garden and he told balky what he had done balky the tender and most lovely balky said oh my lord and regent of my existence i hid behind the camp for tree and saw it all it was i who told the butterflies wife to ask the butterfly to stamp because i hope that for the sake of the jest my lord would make some great magic and that the queens would see it and be frightened and she told him what the queens had said and seen and thought then sulamin bindaud rose up from his seat under the camp for tree and stretched his arms and rejoiced and said oh my lady and sweetener of my days know that if i had made a magic against my queens for the sake of pride or anger as i made that feast for all the animals i should certainly have been put to shame but by means of your wisdom i made the magic for the sake of a jest and for the sake of a little butterfly and behold it has also delivered me from the vexations of my vexatious wives tell me therefore oh my lady and heart of my heart how did you come to be so wise and balky the queen beautiful and tall looked up into sulamin bindaud's eyes and put her head a little on one side just like the butterfly and said first oh my lord because i loved you and secondly oh my lord because i know what women folk are then they went up to the palace and lived happily ever afterward but wasn't it clever of balky there was never a queen like balky from here to the wide world's end but balky talked to a butterfly as you would talk to a friend there was never a king like sulamin not since the world began but sulamin talked to a butterfly as a man would talk to a man she was a queen of sabay and he was asia's lord but they both of them talked to butterflies when they took their walks abroad end of chapter 12 the butterfly that stout end of just those stories by roger kippling


So next up we got Giacomo here, all-timer from the room as well, and he's going to tell us about modern VoIP infrastructures. Take it away. Yes, thanks. So this is a sort of backchart that we've been having for a couple of years with Federico, and we've been working on this concept for some time now. And Federico did a presentation a little bit more extended than this in September at Januskon. And today we'll see something like a light version which is more focused on signaling. And the other parts that we typically cover are more related to media, handling, QoS, debugging tools, and security. So I've been in the VoIP area for some time now, and I've been in various companies that use open source components and involved with the Kamaila project and other projects in the area, like Janus, Astris, Fritzwitz, and RTP engine, and so on. So let's see the overview. As I mentioned, we'll cover mainly signaling today, and we'll see a little bit about the evolution of the infrastructures where VoIP is actually deployed nowadays and which bits of VoIP are impacted, and some work around what you typically see today and possibly some thoughts for the future. So why the cloud and why we are developing, deploying VoIP platforms in cloud infrastructure is easy to sell. There are many advantages. Sometimes even the customers or the partners somehow expect it. HA is definitely more easy to achieve, and scalability comes in an easier way. And if you are starting small, it's easier to then grow whenever small upfront investment. Geographic distribution, which is very valuable, it's easier to achieve even with small implementations. And sometimes you get, for the easiest things, you get tools that are just there off the shelf like HTTP load balancers or caching systems like Redis and DNS already there and so on. So there are some challenges though, because when you choose a cloud provider, then if you already have a system, you most probably need to redesign either the entire infrastructure, the entire architecture or parts of it. And instead, if you are starting from a specific cloud provider, you probably need to take some decisions that you will need to cover in the future. And you may pay if you decide just to move to another provider. Sometimes you don't have shared dedicated resources, and it's difficult to assess the impact in the real-time context.  You may have part of the infrastructure in a cloud provider, and there is no standard, simple solution that works every time. Typically you need to either do something specific like VPNs or discuss with the providers for a specific solution, but there isn't anything that you can just use. And sometimes you have tools that are just specific from those cloud providers. So just in general, we moved, so starting from 2001 and so on. I think we moved from the server side where max-up time was a reasonable goal and was considered the positive achievement. But now what we focus on is the maximum possible resilience to restart of the applications. And we moved from configuration updates just maybe more recently to infrastructure that can be called immutable, where when you want to change something, you don't change the configuration. You change the components that are involved, like for example deploying new container images. And so we grew up in our VoIP experience with a very simple infrastructure where everything was under our control. Provision wasn't that simple. Things didn't move fast, but we could know everything. IP addresses, we could have public IP addresses directly on the machines and we have full control on firewall and what now are called typically security groups. But then if you look back, so we stumbled upon this tweet from Rosenberg last year and he said, well, you know, this is how much time has passed since this work on this protocol started. So if you see just RTP and CIP talking more than 20 years. But if you compare it with the evolution of the infrastructure inside, you see that most of the protocols were actually designed when the infrastructure was different than today. And I think this is probably also visible in some aspects and we're going to take a look. So this is more similar to what we would like to see, not care that much about the orbit. Being able to have our systems provided by containers, so any orchestration system, generically, even Kubernetes possibly. But then, in particular for the inbound part, having a component like this blue load balancer thing that we draw, a component that is VoIP aware and is able to manage the incoming and possibly also the outgoing traffic. But with minimum configuration and with minimum work, as you can do for example with HTTP. The problem is what we typically end up working now is more likely something like this. So you have elastic IPs or static IPs depending on the cloud infrastructure, so floating IPs in general. You need to take care of their location and associate them to your virtual machines or to your containers and manage the relationship with the service that's behind those floating IP addresses. Sometimes if you want to maximize reliability, you typically have a virtual machine or a container in active mode and another one in standby mode. But then you have constraints on how the standby can do the health checks for the active one. For example, in AWS you can do level three checks only inside the same availability zone. And you need to take care of all these details by yourself. So in general, something that impacts the architecture is that the IP addresses when you are in particular with containers that can be brought up and down. The IP addresses change not only the relationship with the public interface but also if you redeploy a container you may have a different IP address. This doesn't work well in general with signaling. And typically you only get one to one nothing between your machines and a public interface and you don't have a direct visibility of your public IP addresses. So slightly related but not for this session is also the difference between the bandwidth that the cloud providers tell you that you have and instead the packet rate that you actually have. And also typically you don't even know what your maximum packet rate is because the bandwidth is computed to jumbo packets and not with the small packets that come with codec optimization. And also containers are ephemeral so they can be brought up and die and then you need to do something for the calls that do have a state. And other things that are less important but still critical for operations which is related to logs and other information like traces for example. So the main difference between an HTTP based or web based world and VoIP is that you may say VoIP sessions are sticky. They are not part of the request and response paradigm and this doesn't cope well with an architecture that adds components but at the same time can remove components which may be even more tricky. So you need to find a balance between the immutability of the state of the calls but also the volatility of the components that are serving, that are providing the service. And as we mentioned the IP addresses are ephemeral so one time ago you could decide this is your box. It will have a long time, it will have a public IP address, possibly one or more private IP addresses and it signaling for ongoing calls could rely on those IP addresses for correct routing. This is difficult to achieve now with the volatility of IP addresses and so you need to shift the design of the architecture more towards DNS in general. So having for example to work with console and be sure that routing is done with DNS and not with IP addresses which is an additional complexity and it doesn't really provide a solution for RTP and we'll see later a little bit what Rosenberg has been proposing recently in relation to this. So in general we have a lack of native components for VoIP in cloud infrastructure and in particular we don't have what we would like to have which is basically just a zip load balancer.  This is just doesn't work. So first of all AWS elastic load balancer work only for HTTP. So the network load balancer are very nice and powerful but at the same time first of all for TCP and TLS which is the best scenario they are based on the stream. So they don't do load balancing, they do stream balancing between a source of the stream and target group and for UDP it just doesn't work and we will see quickly an example and the same can be exactly say at this level of abstraction with Google Cloud Platform. So just to give an example so as long as you have UDP traffic coming in if you use just an AWS NLB it will choose one target and will route the requests to that target but also it will route back the responses which is very useful. But if the call is long enough that is there are requests from the server like a re-invite or a buy from the server after some time you may end up in the scenario on the right where there's no more trapped connection in the load balancer and basically the requests go directly from the target to the client and it's more likely that the client will not even accept those packages. So of course we've been reading during these months and we were looking at suggestions and recommendations and then I don't know you can pick up for example this AWS white paper about all the solutions for real-time communication then you start getting more and more excited as you read but then you find this eventually when you need to find a real solution for SIP networks you find something like this. That says if you really want to do level 4 load balancing and UDP is involved and you SIP then you need to search for an application in the marketplace basically and use it which is not what we want because more or less it's what we are all redesigning each one in our own case. This is media I'm going to cover it not this one and not debug so this is part of a bigger conversation so as we said there's no standard interconnection with clouds so and these are the workarounds that we see today everybody is rebuilding their old load balancer so we are not doing a common work from this point of view. Of course we can use Camellia we can use open SIPs or Dracty or other solutions then we are more or less duplicating the work and there are still around drain scripts there's nothing automatic in the infrastructure themselves and so quickly to conclude. If you take a look at this proposal this is a proposal for changing the way trunking is made in between VoIP providers it doesn't cover this client to server communication but in our opinion it can be extended to cover that and basically it's a way of setting up trunks using HTTP3. And also having the media flowing through parallel quick connections rather than using RTP so this could be something that at community level we can discuss so just very quickly. SIP and RTP just as an example are old but at the same time even WebRTC is dragging more and more usage of these protocols because they made the bridging between all the new WebRTC applications that are being designed and the good old PSTN world. So for the long term what we would like to have is a VoIP load balancer a concept that can scale up internally that is aware of the target servers that can distribute calls and proper managing the dialogues and the VoIP sessions. Avoiding vendor lock-in so we can move more easily from a cloud provided to another and have some best practices and possibly refine the other protocols and that's all. Yeah thank you, thank you Giacomo. Maybe we have time for one question until Sol set up. One question, no question. Okay and now thank you. Thanks.


President Ronald Reagan, and Senator Jack Schmidt. Through the political shoals of the United States Senate, our man in the White House, President Ronald Reagan. Mr. President. Thank you very much. Thank you. Thank you very much for a most heartwarming welcome. You know, in Washington, you wake up to the local news there, and you're not always as enthused as you are right now. But Mr. Chairman, Mayor Kenney, Republican State Chairman Morris, Mrs. Schmidt, Senator Jack Schmidt. I came to Albuquerque today to tell you something that I now realize is absolutely unnecessary to tell you, and that was how lucky you are to have a senator like Jack Schmidt. You already know that. And you're lucky that, among other things, he's a geologist, because let me tell you, Washington has more than a few people with heads that only a rock hound can handle. For six years now, Jack has been shipping away at the petrified attitudes that have characterized Washington for decades. And now, this year, with a Republican administration and a new Republican majority in the Senate, he's had some help. As chairman of the Appropriations Subcommittee on Labor, Health, and Human Services and Education, he played an instrumental role in enacting last year's budget cuts. They were, incidentally, the biggest cuts that have ever been made in the history of this country. And let me say he handled those budget cuts with as much skill and precision as he flew the spacecraft that took him to the moon. He was careful, and he did no harm to the programs that genuinely served the needy or provided sound education value to our children. You know, right now, because of some changes that we're making with regard to the Department of Education, there seems to be spreading in a kind of a wave among some people that what we're trying to do away with or lower educational quality. Not so. There are those in Washington who, ever since they turned to federal aid to education, intended federal control of education, and that interference by the federal government has hurt the quality of education from coast to coast in this country. The Congress is now beginning to study the administration's 1983 budget proposal. And this proposal provides a solid framework for congressional consideration. You've been hearing a lot about so-called alternatives to the budget that we've presented. Well, many of these are not genuine budget alternatives at all, but political documents designed for saving certain legislators' political hides rather than saving the economy. This administration is willing to consider any comprehensive program as long as it does not compromise the fundamentals of our tax cut program. The American people have been promised tax relief. Last year, the Congress passed tax relief. And as long as I have any say in the matter, no one's going to take it away from us. It is true that we've only had the first installment and the small one that hardly made a dent in the built-in tax increases which we had inherited. But the next installment will come on July 1st, and then there will be a further one in the following year. Incentive must be returned to those who work and save and invest. And if I may echo and add to something that Senator Schmidt said up here a moment ago, there's another bottom line requirement. We cannot afford to compromise our national defense needs. Senator Schmidt has worked for a stronger defense. He has read the studies. He knows that our relative military imbalance with the Soviets will be at its worst in spite of our buildup. It will be at its lowest point by the mid-80s. He's familiar with the horror stories of recent years. Fighter planes that couldn't fly because they didn't have the spare parts. Navy ships that couldn't leave port. A rapid deployment force that was neither rapid nor deployable and not much of a force. He knows that a major conflict involving the United States could occur without adequate time to upgrade United States force readiness. For years, he has advocated substantial increases in the defense budget. And this administration agrees wholeheartedly. And increase is essential. Defense has been starved for years. And yet it is not true, as some charge, that we're splurging extravagantly on unnecessary defense spending while we are neglecting our other federal responsibilities. In 1962, President Kennedy's budget to give you something to judge this by called for defense spending that amounted to 44%, almost half of the national budget. Even with our increases, defense spending this year will only be 29% of the overall budget. That's right halfway between 1 fourth and 1 third of the budget. Now to those who say there must be an alternative to our increased military budget, I agree. What they say is absolutely true. There is an alternative to a larger defense budget. It is a larger and increased possibility of war. These young people who are here today, there isn't any one of us who is anticipating the day or thinking in terms that they should someday be called upon to bleed their lives into some battlefield somewhere in the world, as other young people have before them. No, if we have the proper defensive strength, no young Americans will have to bleed their lives into a battlefield. A cutback in defense would be a cutback in our chance of peace and security. As much as I detest the idea of deficits, as president, I must accept a large deficit if that is what it takes to buy peace for the rest of this century and beyond. With every improvement in our military readiness that we make today, we're saving the life of some young American who will be serving our country tomorrow. As you well know, Senator Schmidt is one of the very few men on this earth who has walked on the moon. It must be quite a sight up there looking back on this beautiful blue planet hanging in the void. I would think that seeing the earth from a quarter of a million miles away must change a man forever. He must look at everything ever after from a different perspective, a larger perspective. And I think Jack Schmidt has brought that perspective to the Senate. Being a scientist, Jack has that analytical, independent mind. When the facts support our case, he'll support the administration. When the facts don't support us to Jack's satisfaction, well, he can be as stubborn as those burls the prospectors used to lead around New Mexico's mountains. And I mean that in the friendliest of spirits. You know, when I was much younger, I heard about a prospector that came down out of those mountains. And when he arrived in civilization, announced that he had been up there for 40 years hunting gold. And someone said he'd been there. That's what he was, a prospector. He'd been up there for 40 years. And the fellow he was saying this to said, you mean you've been up there in the mountains for 40 years looking for gold? And he says, no. I was only looking for gold one year. The other 39, I was looking for my burl. But it illustrates a certain independence there. But whether Jack agrees with us or not, he always listened or we always listened to what he has to say. Because we know that he speaks for New Mexico and their citizens and for this country. I came here to deliver a message. The message is the Congress needs Jack Schmidt in the Senate. The administration, my administration needs Jack Schmidt in the Senate. And if I may be presumptuous enough to speak for you here today, New Mexico needs Jack Schmidt in the Senate. Let me just say one or two more words. Jack told you about some of the figures and some of the changes that have occurred in this last year with regard to interest rates, with regard to the rate of inflation. You know, it's sometimes easy for us to forget in Washington as we look at inflation coming down that out here, people are perhaps not so prone to notice that because it is still inflation. So they go to the store. They're not particularly interested in the rate of inflation. They only know that the price this year is higher than the price was a year ago. And all we can try to say is yes, but it's not as much higher as it was getting to be a year ago. But the aim and the goal that we're all dedicated to in this administration and in that majority in the Senate that we have, we're dedicated to the day when you're going to go into the store and say, the price is lower than it was when I was in here last. We're faced with, yes, a large deficit, larger than we had anticipated because of the recession that has hit this country. How does such a figure change? Well, when you add 1% to the unemployment rate in this country, you add $25 to $27 billion to the deficit. And we're in a recession. We think that we're going to turn the corner in that recession in the coming months. And things are going to be different. But today, with this being an election year, there are people on the opposite side of a jaxchmet who are going to make a great issue about this deficit. I would ask you to remember only one thing. Remember, they are the same people who for over the last 40 years have told us the national debt isn't important. We owe it to ourselves. They're the same ones that have piled up deficits except once in the last 25 years. They've had deficits every year, but that one. And they never mentioned them. They didn't seem to be bothered too much by them. Suddenly now, the deficit is the all-important issue of the coming election.   And we're going to whittle at these deficits until we're down to government spending within its means. And I just finished saying to some people over in Cheyenne, we don't have deficits because of our tax cuts. We have deficits because the government is spending too much and we're going to change that. So all I ask of you, you've applauded all these things that I've said we're going to do. We'll do them a lot easier and a lot better if you send him back to Washington for another six years. We'd like to have him back. Thank you very much.