Maybe this is a hot take, but backroom's level run for your life is actually good now. Yes, I said that. If you don't know what I'm talking about, turn your ears up and listen, because I'm going to be diving into what's happening. You see, the original backroom's level run for your life was like the backroom's version of Temple Run, but now the level has been rewritten to a more refined and mature level. You know, it's no longer. Scary entities running after me in a red hallway with loud music and obstacles. You know what I'm saying? So in this video, I'm going to be discussing the changes, why it's so much better, walking you through the level, and I'm going to be comparing it to the previous version of the level. And overall, just explaining why this is a good change to the lore. So without further ado, sit back and relax, and let's get into it, shall we? So the backroom's has had some problems in the recent past of being too kid-friendly. You know, take the entire partygoer entity craze or the snack rooms or something like that. You know, yes, those pieces of lore are very nostalgic and will always hold a place in the history of the fanbase and the backrooms, but in reality, it's not really good or intriguing lore if you really think about it. The same thing can be said for level exclamation mark, you know, the level of red halls and entities and loud music and sirens and everything. Yes, it's a classic level and yes, it's nostalgic, but from a lore and continuity standpoint, it's kind of weird and kind of out of place. I'm just being honest. It was, and like I said earlier, it was pretty much temple run in real life. Not good, you know. It's completely okay for backroom's levels to have a lot of entities or have a weird environment that's all crazy and defies the laws of physics. You know, that's what the backroom's is. It's supposed to be that way, but if it's going to happen, it needs to be in more of a subtle and not so on the nose way. And I, along with a ton of you, we love the first level run for your life. You know, we loved it for its nostalgia and how creepy it was when we first started, but I definitely thought it needed an update or a fix. And since it was kidified a little too much, we've gotten that fix right here. So right now, I'm going to be going over the level that has replaced level exclamation mark. It's known as the long forgotten exclamation. Let me know your thoughts below. I really enjoyed this one, and let me just get into it. So the way the level is written is it's a dialogue between two friends or wanderers in the backrooms. And I'll be reading the dialogue so you can get the full experience. After I've read it and discussed the level, I'll be going over some changes from the old and the new, and why I think the new one is better. Let's go. All right, explain to me again why we're in 14. Okay, okay. So remember that horror legend on the forums?  Yeah, we were laughing about it last week. Why? So, and this is going to sound crazy. Oh god, I think I found it here. What? Be serious, dude. I am, though. You think something probably put together by a nine-year-old is real? I mean, I thought it was fake. Just look, come find this door with me. Fine, but if this proves to be wrong, I'm leaving you here. It's just a door. Yeah, but can't you see that faded mark on it? Anyone could have put that there. Looks real scratched up and faded to me. Like someone's trying to remove it. Or it's a prank. It's not a prank, man. Bring up the page on it again. Ah, fine, hang on. One of the most common ways to enter this hallway can be found via walking through a door with the symbol of an exclamation painted on it. Well then, come on, we can make history here. A legend found to be true. Or we would end up being dead before work gets out. Please, we'll just take a look inside and be done, okay? Fine, one look, that's it. Well, what are we waiting for? Well, this seems dead quiet for no reason. Yeah, let me check something on the page. The first room one will walk into will be entirely encased in a reflective metal and lit by a dim red glow. That's what it says, but where are the lights? Where's everything for that matter? I hate to say it, but there's only one way to check it. Oh, so now you want to go inside the creepy hallway? I don't, but this is all just too odd for my liking. This place is really dusty, man. Like the kind of dust you find in really old buildings. Eesh, one step inside was all it took. Yeah, pass me my water, please. How did it get like this? What do you mean? I don't know, but it's like this place was just completely forgotten, I guess. That doesn't sound right though, isn't it a legend? Storytelling only keeps things alive for so long, eventually someone warps to the point where no one knows what the original tale is. All right, Socrates, I am being serious here. Jokes aside, that actually does hold some interesting merit. It does? Honestly, I thought I was kind of spewing out nonsense for a moment. No, I actually like it. It puts a more of a mind about it, you know? Well, don't hold back for my sake. Well, it's just, I just, you were just trying to make me feel better, huh? No, give me a second. I got something. I just need a moment to put it together to form a coherent sentence. Okay, so first thought in my mind is just, is this our fault? Well, it wouldn't be ours, but I know that. I mean, like people living in the back rooms were usually the ones to pass around tales of levels we see. How many times has the story of this place been told? Who's forgotten bits? Who's warped it? We've slowly just desecrated this place without even realizing. But yeah, that's exactly what I was thinking. I'm glad you put the theory into words, huh? Oh, this isn't the hallway. Oh, isn't this the room where entities would start gathering? Hold on a second. Let me check the wiki. In the starting room are two doors. One is locked upon entering, but entities can be heard gathering behind it, attempting to break free. Well, thank God there's nothing there now. I'll read them all been dead. Sure would have been. Geez, look at the state of it, though. Smells like something died in here. Don't even know what kind of entity has the bones I'm starting to spot. Think one of these is a smiler? There's no way any of these are. They're just floating faces, right? Don't know. Heard that they have a amorphous body or something. Okay, can we leave this door now?  Yeah, good idea. So this is it, the door to the hallway. Think it's really 10 kilometers like it says? Huh, no. I don't care how athletic someone is. No one can survive that. And I highly doubt that anyone even guesstimated something like that while running for their life. Fair. Well, you ready? I guess so. I mean, considering that all we've seen so far, that is gonna be anything specky, but nervous anyways. I do get it, though. Who knows what's there? Maybe that's the one bit that got preserved out of all this. I mean, it is the main feature of this place. Exactly. Hey, it's okay, though. You know, we're here together. I'm here with you. If we walk in there, take a few steps in, and we find hell is still there, then we're together in our end. Well, let's open the door, then. Whenever you're ready. Jesus Christ. I mean, this place looks completely ruined. Yeah, you could say that again. I had no words, honestly. There's even more bones than in the other room. Oh, God. Wait, what's wrong? Dude, look at the walls. Oh, yikes. Yeah, these have been, these are sure been scratched up. What's up? These look desperate, ravenous. The food source must have stopped at some point. Jesus, man, they turned to the walls for sustenance. The walls, the floors, anything laying around. They're fellow entities, maybe. You really think they would resort to that? Whether that was their first solution or last, they turned to it at some point for sure. Look, even some of the bones look torn into. Makes you feel sorry for them, huh? Yeah. Well, we got a ways to walk, shall we? We're seriously doing this trek. Like, seriously. Well, we're in here now. We might as well. All right, then, let's see what else we can find. Hey, I just thought of something. You know that one level that's apparently just a garbage dump of lost levels? Think that this place dropped out of that? I mean, I wouldn't be surprised, but I kind of feel like this place would be far more broken than it currently is if that was actually the case. Yeah, you get a fair point there. By the way, take a step to your left in a few seconds. Wait, why? Whoa, see? Yeah, you got to be careful. Yeah, thanks a lot. That looks like a far drop. All right, hold on. I'll help you move through the next bit of pitfall at some spot. Thanks. This is by far the most empty the hallways been so far. Yeah, I was noticing the debris was clearing up. It's an interesting marker. Four, how far the entities got in their destruction, I guess. Yeah, I guess you're right. Resources must have started to get scarce in the hallway starting point. Some must have fled further down to try to scavenge. Wouldn't have been the best idea, though, right? I mean, just how many people made it this far? I doubt the resources were plentiful about this point. But you're forgetting the potential of things clipping into this area, though. Again, how often would that have actually happened theoretically, though? Point taken. That does beg the question, though. And do you think any of the entities managed to make it out? Leave at the end of the hallway, right? Yeah, the exit doesn't just exist for wanderers. You know, surely an entity could walk through it as well. If they were smart enough to comprehend that it was an exit, I would assume those that could did leave. God, could you imagine the state of things if the entire horde got out, though? I would say we'd be done for. But would they all end up in random places? Or would them all barge in at once, leave them all on the same level? On top of that, check out this bit. If a group should enter this level, they will be separated into solo instances of the hallway with no two people ending up in the same area as another. Wait, dude, I think I can see a light. We actually got to the end? Guess so, man. I know it wasn't that long of a walk, but it really does feel like we spent hours in here. Well, while this wasn't the experience I was expecting to have, I'm glad I had it. I'm glad you convinced me to step inside, despite this place being what it's become. I still thought it was pretty interesting. Yeah, you're right. Hey, on that note, I got something to add to your theory. Once more, I'm all ears, man. You talked about things getting retold in different ways from its original intention when we first got here, right? You know, warping it into something new and disconnected it from the true thing, whatever it was. Yeah, I did. What about it? Do you think it could be sometimes for the best? Go on.  You want to tell a story, people ask you for a specific one, but you think it's boring. So you rework it. Weave it something anew. Give it a new sense of life. I think I see where you're going with this. It could be beneficial to the whole level.  Same could be said for this place, that foreign posts could very well be real out there, and we just haven't found it yet. So what do you think lies beyond the exit here? I think in its current state, it wouldn't be able to send someone to a random level, right? Who knows? I'm not thinking too hard on it. Besides, whatever happens, happens. We'll face it. Together? Yeah, together. All right, so current real brookly back after narrating that entire thing. As you can see, the level is somewhat different from what you might remember it as. You know, it's not an entity horror chasing you. In fact, the entire hallway is full of bones and flesh and decayed bodies of the entities and wanderers who were stuck here at one point. Meaning that, that old page of level exclamation mark that we used to have was so outdated that it's been abandoned in recent years. The level has crumbled and collapsed and just ran out of food and ran out of wanderers and entities and now it's just an empty, lonely hallway. But this goes back to what I said at the beginning of the video where I think a rewrite like this is so good because it still does a good job of calling back to the original article without completely, you know, wiping it to the side but also making it something new and more horrifying and more liminal like the original back rooms was.  You know, I actually love that stuff. I think it gives the back rooms its charm but I really enjoyed this levels dive into the horror of liminality and I'm really glad that this level and the snack rooms have done the same thing. It makes it just so much scarier. You know, the previous versions of this level they're still out there on the internet. They're not gone anywhere. They're also in our minds and in my own videos actually, they're still up. But as the fandom grows as it expands things like this are bound to change and for the better, like this level. It almost feels like a grown-up version of level exclamation mark. And if you really love the old version of any levels there's no need to be butthurt or angry about it or angry at the fandom because those levels, they still exist on my channel, on the websites, everything like that. And at the end of the day the back rooms is what you want it to be. It's never been a set group of lore. It's your own liminal hellscape. But yeah, that was a long forgotten exclamation. The real level run for your life. All right, rant's over. Thanks for watching. Love y'all so much.


Good afternoon and welcome to the Australian National Data Services webinar about data linkage and the Australian Health Thesaurus. I'm Kate LeMay and I work at the Australian National Data Service and I specifically work a lot with health and medical data. We work to make Australia's research data assets more valuable for researchers, research institutions and the nation. Today is our second in our current lot of health and medical webinars. We had three health and medical webinars earlier this year and then we've had two more this month. Last week's was on patient views on data sharing and today's is on data linkage and the Australian Health Thesaurus. Every single time I have done any event with Anne since I started nearly two years ago, when we get feedback, data linkage is always something that people ask to know more about. So we're very lucky to have Dr Trisha Johnston from Queensland Health to talk to us about data linkage and she's been the Director of the Statistical Analysis and Linkage Unit, Statistical Services Branch in Queensland Health since 2009. She's worked with health data both at the Queensland Ambulance Service and within Queensland Health since 2000 and has extensive knowledge and experience in statistical analysis, linkage and interpretation and reporting of health data to support the development of policy and systems to improve the quality and efficiency of health services. We also have James Humphrey here from the Australian Health Thesaurus and he's the Information Manager at HealthDirect Australia. James is responsible for managing content on the HealthDirect Australian websites. This includes the content production team, the information partnership team and for the purposes of this presentation the information management team which manages the terminologies and ontologies used by HealthDirect. So I'd like to pass over now to Trisha to speak to us about data linkage. Hi, thank you very much for having me today. So I'll be talking from the Queensland perspective and trying to fill in a little bit from the national perspective where I can. So apologies to people in other jurisdictions, this is mainly about Queensland. So my topic today is accessing and using linked health data. So I'm from the Statistical Services Branch within the Queensland Department of Health. So just a little bit first about that branch. So we have a broad sort of role in data collection and analysis and processing within the Queensland Health Department. So we collect, process, analyse and disseminate statistics about health of Queenslanders and use of health services. We also have a role in developing statistical standards and maintaining a data dictionary about a lot of the data items that are collected in Queensland data collection. We also play a central role in data linkage. So the data linkage unit is located within the statistical services branch and also a provision of data for health services, policy planning, management monitoring and evaluation and of course research. So there is a data custodian role within the statistical services branch relating to some of the data collections within Queensland Health. So those relating to hospitalisation, perinatal and also by proxy for death registration information as well. So today I'll just be talking about what data linkage is, how linked data are used and how to apply for access to linked data. So I guess the thing that people talk about when they talk about linked data is that data are collected and they sit in silos. So for example, within any given hospitalisation or hospital event, we might have ambulance data, emergency department, admitted patient data and it's for some people death registration data. So currently, particularly where you're looking at a cross hospital, there's no unique identifier to join that information together. And then within any given hospitalisation, you'll have some more data collections that sit in isolated silos.  Outside of that hospital event, there are other data collections that are isolated as well. So things relating to notifiable conditions, vaccinations, outpatient services, registry information. So there are sort of things like cancer registries, stroke registries and a number of other trauma. And then there's primary care information. So that sits outside of the state jurisdiction, so relating to DP visits, MBS and PBS. And then there are other things like aged care data. Then you can take it further and we can look at things like education, police and justice, child protection, surveys about issues that relate to health, census data, et cetera, et cetera. So there's a lot of information out there if joins together could be quite useful, but it's sitting in a lot of silos. So the reason that we do linkage is that across all of these data collections or most of the data collections, there's not a unique identifier that can say that that information relates to a single person across collections. So we use data linkage. It's a process that uses person-level identifying information, things like name, date of person, address to determine which records within a data source or between data sources relate to a particular individual. Okay, when we talk about linkage, we're usually referring to probabilistic matching. So we're using probability to work out which records within different data collections relate to an individual. So the strength of that is that not all of the information needs to be available and the quality of all of those identifiers doesn't need to be perfect to allow us to make a match between the data collection. So why do we link? Basically because if we combine all of this information, it provides much richer information than the individual collection by themselves. So within health we do, we can use that information to look at patients across facilities. We can look at following up cohorts. We can look to ensure that people haven't died when particular organisations like health or researchers are wanting to make contact with an individual so that they're not contacting an individual's family and causing more pain. We can also link data to reduce the need to collect additional data which can be quite expensive. So within Australia in the health context data linkage was identified as an important research tool by the National Collaborative Research Infrastructure Strategy back in 2005 and they allocated funds to progress the development of linkage infrastructure within Australia. So the Population Health Research Network or PHRN was formed and nodes were created representing each jurisdiction in Australia to set up linkage infrastructure. So within Queensland, in the Queensland Department of Health, we have data linkage Queensland. There's Cheryl within New South Wales and they also link ACT data. They were set up before the funding for PHRN was in place but they're also part of that network. Again Western Australia has been operating a linkage unit for a long time prior to that but they're also part of that PHRN network. There is an SA&T data linkage to conduct linkage for South Australian Northern Territory. In Victoria, there's the Centre for Victorian Data Linkages and Tasmania have the Tasmanian Data Linkage Unit. Nationally, the Australian Institute of Health and Welfare have a linkage unit that links health related data. The ABS also do some linkage for non-health related data collections and they also do some linkage to health. And within Queensland, the Queensland Government statistician's office also does some linkage of non-health related data collection. So as I said, AHW does some linkage of health related data collection. So the reason to go to the AHW rather than to a state-based linkage unit is for linkage of those national data collections, so MBS, PBS and Residential Age Care or if you need to know information about people within a jurisdiction who might have a service event or who might have died and been registered in a different jurisdiction so they can link to, for example, the National Death Index. Whereas within a jurisdiction, we would link to the death registration data within that jurisdiction for people who are registered there. Okay, within Queensland Health, we have two main forms of data linkage. So we have production linkage. So we're creating a master linkage file that has enduring linkage between core health data collections. And I'll tell you what, collections we're linking in a minute. Our linkage production linkage is done in near real time, so we're doing linkage every two weeks to try to be as up-to-date as we can for the collection where possible. And our master linkage file contains about 45 million records at this stage. The other part of linkage within Queensland is request linkage. So we are able to either provide data from our master linkage file or we do a customized linkage where that data collection isn't within our master linkage file and that's for both research and government requests. Within our master linkage file, the data collection that we have included and the time periods are on the screen here. So the big one that we get most request for is the Queensland Hospital Admitted Patients data. We have both public and private records, hospitals included there. The time period that we have names and addresses on our data for the two different types of hospitals is different. So we can link a lot further back with our public hospitals than we can with our private. We have names and addresses on our public system going back to 1995. So we'll be linking back to that period. Currently we're linked back to 2001. In private hospitals we only have names and addresses from July 2007. We also have emergency department data, our perinatal data relating to all births that occur in Queensland. We have death registration data. We're linking that back to 1995 as well and currently it's back to 2001. We have birth registration, elective surgery and outpatient waiting list that relates to public hospitals. We also have some internal programs, so surgery connect program which is about contracted care in private hospitals that's contracted by public hospitals. We have Queensland Ambulance Service data that's just recently been joined through our master linkage file and we'll be going back to 2008 with that. That was just at this stage linked to two months. In progress we have notifiable condition vaccination, non-admitted patients, data for public hospitals, sort of outpatient clinics. We're going to be linking air retrieving so that includes flying doctors and care flights information and we are in negotiation with the education department to link some of their collections so that people can look at things like NAP plan results and AEDC. We also can have conducted in the past linkage to other ad hoc data collections, so some of those I've listed on this slide, so registries, cancer, pap smear trauma, strokes, suicides, other governments, agencies, corrections, transport and main roads, mines and natural resources linked to other Queensland health data collections, so community mental health is a common request we receive. Pathology, pharmacy, operating room and ICU and then other cohorts that have been provided by clients. So how linked data are used? So within Queensland health we get a lot of requests probably about 60% of our requests come from within the department and they're around things like trying to understand prevalence of diagnoses and diseases and co-morbidities. Planning, so looking at the number of people who are using services, the number of episodes per person, looking at readmission rates, patient transfers and patterns of where patients are going between hospitals. We also have requests for monitoring and evaluation purposes, so looking at service use and patient outcomes and trying to just improve allocation and recruitment of funds across different services. Clinically there's a lot of use of linked data at the point of patient care comes from a different system that's just linking within hospitals. So that's looking at things like previous service use by a patient when they actually arrive at a hospital and looking at things like allergies and drug information has already been recorded in the system and that's part of the electronic medical record and also we have a system within Queensland called the viewer that is sort of the interfaced where clinicians are able to view that information. For research I've just included a few examples, I mean we have sort of over 100 requests per year that we receive for for projects. We hold a data linkage symposium every year and it is possible to video conference into that if people are interested in other jurisdictions or to come along. It's actually being held next Wednesday so if you just look on our website there are details of that. But these presentations are all available on our website and they have so there's more information about them. So there's things like looking at the relationship between mental illness and offending cardiovascular health in people who are hospitalised for burns. Looking at indigenous status on data collections where there's not good coverage of that particular data item. So the example here is cervical screening data. Looking at vaccination programs and looking at outcomes for patients who have been vaccinated and then one very interesting presentation from Alfonpo's in last year that looked at cost effectiveness of homelessness intervention so that links a lot of different data collections from across all different sectors including health. So how to access link data in Queensland? So access to confidential data in Queensland we have legislation called the Public Health App and you also need to fill in a form that relates to that. We also need ethics approvals so I'll give you a link in a minute to our website and that has linked then to the different areas and departments that contain more information about that process. So it's important to note I guess that Queensland Health remains the data custodian of all Queensland Health data and that data can't be shared or published except in an aggregate form. Data can only be used for the purposes outlined in an approved request so that all of that information goes into a Public Health application also on the ethics protocol. The information about what you're able to do with data that you obtained from Queensland Health is all detailed on the Public Health Act application and if you need to access the same data set or a different researcher would like to access the same data set for another project what you'd need to do is just an amendment to that Public Health Act application and ethics or if it's very very different then a new application might be required. So this is the Queensland Health website relating to data linkage and we've got lots of resources there for people to understand how they apply for linked data or linkage services within Queensland. We've also got some resources that people find quite useful so we've got a nice table there that lists all of the commonly requested data collections that people are accessing from us. It's got a column with contacts to sort of apply for that linked data and then some resources as well some manuals and forms that relate to that data collection to help you understand the scope and coverage in that data collection. So for example one of the forms for our Admitted Patient data collection we've done these up for several of our data collections relates to the commonly requested data items from those collections and what they look like a bit of information about them so those forms are all available on our website. Okay and that's all from me thank you very much and please if you have any questions let me know. Thank you very much Trisha so we're just going to pass over to James now and he's going to present to us about the Australian Health Thesaurus. Okay thanks Kate. Hi everyone I'm from Health Director Australia so I'll start by talking a bit about Health Director Australia about who we are. We're a government funded organisation we're a profit we're actually a co-ag company we've been running going since 2006 and we're actually owned by the federal health department and the state departments state health departments of every state except for Victoria and Queensland and we were set up to develop a range of digital health and telehealth services. We began as the National Health Call Centre Network for people to contact after hours if they're having trouble with any health issues. We became a digital organisation of maybe five or six years ago and we provide digital services and other health information and advice to the Australian population. Some of our websites and services are the main Health Direct website which is a general health website. We also have the pregnancy birth and baby website. We have a carer gateway for those people who identify themselves as carers of people who have a disability or who are chronically ill. We run the Health Direct After Hours GP helpline to another contact centre. The My Age Care website on behalf of the federal government. We have a national health services directory so you can find the GP's specialist emergency departments of in your local area. We run the quit line and get healthy services in New South Wales as well. I'm here to talk about the Australian Health Thesaurus which we manage and it's a thesaurus of medical health and human services related concepts. It's human services as well because we manage the age care and carer websites. It reflects the current Australian health and human services environments. You can see on the right hand side I've got some statistics there with some of the we have over 5,000 concepts within our thesaurus. It was originally developed by the Department of Health and Aging many years ago and we inherited that thesaurus about four or five years ago. The thesaurus is actually based on MESH, the Medical Subject Headings which is maintained by the US Library of Medicine. We regularly update the thesaurus. We look at all the user analytics to see what are people searching for on our website. We look at the current news developments such as the Zika virus when the outbreak occurred in Australia a couple of years ago. We had no concepts on Zika virus so we added that in and we also do environmental analysis of certain domain areas such as age care which we did when we set up the My Age Care website. So we looked at all the websites in Australia that focus on age care and looked at all the concepts that they're using. The main thing about our thesaurus though is that it's consumer focused. It's not aimed at the clinicians or health professionals. It's aimed at consumers so we try to keep that focus on the concepts. So this slide here you can see on the left hand side this is the the main concept schemes within our thesaurus. You can see we've got anatomy, chemicals and drugs, diseases and disorders, equipment and supplies, facilities. So there's quite a lot of different concepts there. If you click on one of those concept schemes you can go through the hierarchy to see and on the right hand side you can see I've gone down to the through diseases and disorders, digestive system diseases and I've now selected the liver cancer concept. Clicking on the concept provides the shows us the other information about that concept and here you can see what's called the SCOS view, the SKOS, the Simple Knowledge Organization System view which is basically showing you the broader narrower and related concepts. Also on the right hand side you can see we have the preferred label and alternative labels and the alternative labels are the synonyms. So the idea being for our websites that if people in this case if they search for hepatic cancer they can find content that has been classified with the concept liver cancer. So the main reasons we have our thesauruses as I just mentioned was the classification purposes. All that content is classified with a thesaurus. It also helps in the relevance in our search results in the ranking. We also use it for auto-suggestion as well so if you once you start typing in your search in the top field you'll get a list of suggestions to select. We can display other contextual content on the website as well such as a video on asthma will appear on content, an article about asthma because they're both classified with the same concepts and we also use it to manage our medicines data and this is what I really want to show you today because it shows you how we are linking our data. We've set up a medicines catalogue and we've looked at all the publicly available medicine data sets that we could find in Australia and we're starting off with our own health Australian health thesaurus which we are using as our control list. We've also looked at the Australian medicines terminology. This is the national standard for naming conventions for all medicines in Australia. This is managed by the Australian digital health agency authority. We also have data from the therapeutic goods administration through the Australian register of therapeutic goods. That's a register of all the drugs that are sold in Australia. They also have data from the pharmaceutical benefit scheme and also a guild link which is the commercial arm of the pharmacy guild of Australia and from then we get pill images and we're just going through a process with them at the moment to get their consumer medicine information leaflets. That's in a packet when you buy it over the counter and we want to get that HTML format so that we can present the data on our website in a much more consumer-friendly way. We're also getting data from Drug Bank which is a great Canadian government initiative. It's got great information about medicines and chemicals. You can see on this side now that this is what we do without the source. This is how we start the linking process with these other data sets. I've selected the concept amy-trypdeline which is an active ingredient and we've created a whole new concept custom schema which we call clinical relationships and you can see on the right hand side in that column you can see we have added the ID identification of the Australian Medicines terminology ID and a bit further down we've also got an ID for Drug Bank so it's just a mapping with those concepts in those data sets. You also see there's a reference here to a beer's criteria and that's not the fact that this can be used to to make beer. It's an internationally recognised list of medicines that are inappropriate to prescribe to older people. In this case this is one of those drugs and we've got the Boolean logic of true here. A bit further down we've also got a pregnancy category as well which we get from the TGA and this has got a pregnancy category of C. We're not actually using that at the moment but we do intend to use that on our website soon. So what we're doing every month we update what we call a terminology service. It's a database. We import all the data from all of those those data sets into our terminology service from the Australian Healthosaurus, the TGA, PBS, the AMT, Drug Bank and Guildlink and we've quite developed the relationships between all those data sets so that when a user searches on a for a medicine on our website they can dynamically pull that content all that data into a web page for them. On this page you can actually see how those relationships work. I showed you where the AHT had that reference to the Australian Medicine terminology and Drug Bank. We can see that those relationships are here with the Drug Bank and AMT. The AMT actually has seven different data sets within it. From medicinal product which is a list of the active ingredient used in a drug and the trade product which is actual brand name of that and you can see you can actually work your way through these relationships to come down to the container trade product pack which could be in that data set. It could be Panadol 20 milligrams 20 tablets in a blister pack and that data set has a reference to the Australian Register of Therapeutic Goods ID which the TGA manages and Guildlink also uses that that ID as well and you see on the other side left hand side there the PBS link which is there's a reference to that ID in the medicinal product unit of use data set. So we can link up all of these data sets and as I said before the use is that so that if somebody searched on any medicine we can pull the data from all of these data sets to show information to the people.  I can show you from our site here this is a page on the on the drug in-depth and as I scroll down the page you can see there's the information on the page. Remember when I said the beers criteria because I had that true flag in the data it's we've pulled up this warning here to say that if you're over 65 years of age there may be specific risks and recommendations for use for this medicine so please consult your health professional or pharmacist. As I scroll down here people can select the type of packet that they have in this case whether it's a 10 milligram or a 25 milligram or a 50 milligram pack that's coming from the AMT the strain medicines terminology. As one of the bits of data we have from the TGA is a PDF version of the consumer medicines information leaflet and so we have a link to that so if that exists then they can click on this read leaflet to be able to read the consumer medicine information leaflet which will tell them all about the side effects of the drug when they can use it when they can't use it that type of thing. Then we have other information here as well coming from the TGA and also images coming from Guildlink so we've got the dosage form the route of administration we've got information about the pack about how to store the drug and the lifetime of the drug and also if that drug was available on the PBS then there's a link here as well to go to the PBS site. Okay go back to the slide there the source can also be used we have a public version of it that can be accessed by individuals and organizations as well so it can be used for research purposes just remember it has its consumer language it's aligned to medical clinical and and government standards and systems and it forms a bridge between those three different domains and it could be tend to be used for the surveys for interviews and for transcripts and I've got the link for it coming up soon but this is what the public version about the source looks like here you can you can do a search for a concept you can select the A to Z list or you can click on any of the concepts and just drill your way down through the through the concepts to find the right concept you need and you can still find the right information this is only showing that that SCOS view that I showed you before with the the broader narrower and related concepts but you can also find some other information on that as well and there's also a visual version of it as well so that you can see in a visual format what are the the narrower and related and broader concepts of that that concept here are some some links which you might find useful the first one is of our website the main health threat website we also have a link there to the medicines pages where you can start searching and see the how all that data comes together I've got a link here which shows you general information about the thesaurus and for those actually want to get into the thesaurus and look at itself that's the link down the bottom that's thesaurus.healthdirect.org.au slash aht okay and that's it so thank you thank you very much James for your presentation so I'd just like to thank Trisha and James for coming along to our webinar today it's been really informative and we really appreciate you taking the time to do that thank you everyone for your time today and we'll see you next time we have some more health and medical things to talk about


All right, I'm starting at the, the 10th meeting of the financial finance committee. My name is Christine Deschler. I'm the chair. And the first thing I will do is confirm attendance of members of the committee and confirm that everyone can hear me. When I call out your name, please answer and then your affirmative and those who are here joining remotely please indicate that you're joining remotely. Jordan here. Here remote. Jennifer. Here, Sophie isn't here. Brian is here. Here. Here. Here. Here. Here remote. Darrell. Here remote. Here. Here. Here. Here. Here. Here. Here. Let me go through the script. March 29, 2023. March 30, 2025. This further extension allows public bodies to continue holding meetings remotely without a forum on the body physically present at a meeting location. Please note that this meeting is being recorded and then some attendees are participating by video conference. Please be aware that other folks may be able to see you. So take care not to screen share your computer. Anything that you broadcast may be captured by the recording. All supporting materials that have been provided members of this body are available on the town's website. Unless otherwise noted, the public is encouraged to follow along with the close agenda. Unless it's shared notes. Otherwise, I will introduce each speaker and will recognize members wishing to provide comment questions or motions. Please note that this meeting is being recorded and then some attendees are participating by video conference. Please be aware that other folks may be able to see you. So take care not to screen share your computer. Anything that you broadcast may be captured by the recording. I will introduce each speaker and will recognize members wishing to provide comment questions or motions. Please hold until your name is called for those attending remotely. Please remember to mute your phone or computer when you are not speaking. And everyone remember to speak clearly and in a way that helps generate accurate minutes. Each vote will be taken by world law. All right, the first order of business is to approve the minutes of May 8. I have a question. Oh, I didn't put that in. Oh, means they're joining online. I will add that I did not add that to this one. Yeah. Um, budgets, articles and items. Minuteman would be followed by article 12. Noting that Minuteman would be followed by. Oh, okay. Would be followed by. Yes. Any other corrections anyone has. All right, we'll take a vote on the minutes. Jordan. Yes. Shane. Yes. There's not here. So he's not here. Brian abstain. I'm staying. Rebecca. Yes. Josh. Yes. Grant. Yes. Charlie. Yes. Yes. Darrell abstain. Is not here. Jones. Yes. So far. Yes. He is not here. Yeah. He's not here. Yes. 11 in the affirmative. None in the negative and two abstain. I have three abstentions. Three abstentions. Sorry. And. She spoke earlier, but I was online last time. That really matters. Oh. I was. Oh. Okay. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. No. I have to be. Evidence. All right. So. Computer IP address. We did. On Monday night. Fairly uneventful. So there was some effort to discuss what's going on. With. The principal. Yeah. But past then we went to our goal 12. And I think that's where we have it right now. So. So they have article 12 article. Three development board articles after that. When I think it's no action. And then we set the finance committee. Finance articles. And so. So. I don't know. I don't know. I don't think I'm on Monday. I trust that's not going to be too long. No, no, no. They have their presentation down to under. Under the timeframe. They know that questions go to the moderator first and then to them. And as long as. People are polite.  Dragging it out. It won't be that long. If everyone was like them, I would be willing to be on town meeting. Learn from. Yep. Cheryl. I'm not positive, but I'll check. We can ask. I think it would be good for either. Right. My grandmother. To be there. To answer any questions. On. The. He has been. Oh, I'll look for him on like. Any update on the. We're still getting. I have now 16 responses. So there's a few people who have no idea. There's four people who have not done it. Okay. For those of you who have not done it. Which is pretty much right now. Just the food, right? Just. Yeah. It's about. If you're available. Thursday, the 15th or Wednesday, the 21st. It's about if you would eat. Inside. Or if you would attend, if it was inside. And if you have any allergies. And I thought we were focusing now on the 21st. Okay. Is there, if there's anyone who can't do the 21st. They should let. Tarnell. Oh, that's fluff and that is it. When I read back, right? That's right. That's right. That's right. It was water. Oh yeah. That's true. So. May 21. Okay. To 21. Provoting. The. Election of officers. I'm looking at the. Okay. I know I was thinking 15. It's a Thursday. I'm thinking the 14th. And I'm also thinking that will be the day. We will. Support. Or not. Support the override. That's based upon the 12. That's based on this. It's like forward going in the 12. But this, but they haven't finalized that either. We're all waiting for the school committee right now. To finalize the superintendent. Strategic plan. And when that's done, then the school can come to us and have a discussion. And then the select board. With goat. And then the school can come to us and have a discussion. And then the select board. With goat. And then we both. So that, that's the chronology. The timing is still. Those are the dates that. Current plan. Does anyone have anything else? Talk about. Motion to adjourn. Second. Second.


Hollywood, California, Monday, January 11th. The Lux Radio Theatre presents Claudette Colbert and Fred McMurray in The Gilded Lily with David Niven and George Chandler. Lux presents Hollywood. Our stars, Claudette Colbert, Fred McMurray, David Niven and George Chandler. Our guests, Linton Wells, famous newspaper correspondents and Janet Riesenfeld Dancer, recently returned from war-torn Spain. Our producer, Cecil V. DeMille, our conductor, Louis Silvers. To you who crowd our theatre on Hollywood Boulevard tonight and to Lux listeners the nation over, the makers of Lux toilet soap extend a hearty welcome. Perhaps more so than anyone else, does the lovely screen star have to guard a beautiful complexion. Constantly before the public, she knows the camera will catch the slightest blemish should her skin reveal one. How significant it is then that nine out of ten screen stars use Lux toilet soap. The same beauty care so inexpensive that every girl can use it every day. Begin your Lux toilet soap beauty care tomorrow. The Lux Radio Theatre presents its distinguished producer. Ladies and gentlemen, Mr. Cecil V. DeMille. Greetings from Hollywood, ladies and gentlemen. Claudette Colbert has starred twice for me on the radio and three times on the screen. Highlights of our association run through my mind like sequences of film through a projector. Once I made her pass by a pair of leopards, rushing dangerously close to their fangs, but I protected her in that instance by pouring perfume on the cushions where the leopards crouched. Leopards don't care for stars if they can get perfume. Then there's the story of the centipede in Hawaii. After I had told Claudette that there was nothing in the Hawaiian jungle that could possibly harm her, she sat down to find a six inch centipede roosting in her chair. Jumping up, she forgot the fierce looking insect in her fury at me. And going across the studio lot one day, I met her on the way to lunch. How would you like to play the role of the wickedest woman in the world? I asked her. I'd love it, said Claudette. So I cast her as Papier in the sign of the cross. Later, she starred for me as history's most glamorous woman, Cleopatra. And someday, I hope to star her as the bravest woman in the world, a part I have in mind for her that she knows nothing about. But Claudette is something of a star maker herself. Three young men who have risen to prominence in the past year scored first as leading men for Miss Colbert. They are Melvin Douglas, Charles Boyer, and a frequent visitor to my set while I was shooting the Plainsman, Fred McMurray. When Paramount cast him as Claudette leading man in the gilded lulley, the effect of his charm was instantaneous. Everywhere people were suddenly talking about him. A ten letter man in high school, Fred now gets ten thousand letters a month.  Pete, a ship news reporter. Claudette Colbert, born with the name of Lily, resumes that name for the evening. David Niven will be heard in the role of Charles Gray and George Chandler as Eddie, a photographer. And this is the moment when we introduce them to the Lux Radio Theatre audience. Ladies and gentlemen, Claudette Colbert and Fred McMurray in a story based on the Paramount picture of the gilded lulley. 42nd and 5th Avenue, New York City. From a park bench not far from the steps of the public library, two young people are idly contemplating the surge of traffic at the busy intersection. They are Pete Dawes, a newspaper reporter who leans back against the bench his long legs stretched out before him and Lily David, a stenographer. They haven't been talking very much just watching and eating popcorn from a paper bag. Big stuff, eh? Watching the world go by? Right, big stuff. Of course, there's different ways of watching. How do you take the guy who eats peanuts?  A guy like that can't concentrate. See what I mean? Oh, sure. But popcorn? Ha-ha, popcorn was made for watching the world go by.  I put popcorn in my craw, I chew, and I'm still looking. That's what I call class. Sure, peanut eaters don't know how to live. No. Tell me something, Lily. Do you love me? No. That's the way to talk. No worries, no jealousies, just meeting here every Thursday and eating our popcorn. Why don't you love me? Oh, I don't know. Maybe I don't know what love is, but I think I do. What do you think? About love? About love. Well, I think when it hits me, I'll start walking three feet off the ground and if the man has a mole on his nose, I won't be able to see it and I have a feeling that when I find him, he'll be flat broke. Right. When you're married, you won't be able to quit your job until you have to and there'll be plenty of reasons why you'll have to. Well, that's the fun of being married. Fun? You'll do your own cooking and washing, you'll lose your figure. Oh, you newspaper men know everything. Sure. What you're trying to be is a Lizzie Glutz. Lizzie Glutz? Yeah. The girl who runs her own little world to suit herself because she's too unimportant to have the world run her. Sounds great to me. Of course it does.   And that's not you. Oh, Pete, you're talking through your nose again. There's a dame for you.  She says let's go for a walk. Only as far as the subway, though, I got to work tonight. Hey, there are boat docking? Yeah. I got to get an interview with some visiting goof about what he thinks of our beautiful buildings and tall women.  People really knew there wouldn't be any celebrities. Well, let's go. I'll walk you to the subway. Wait a minute. Don't you think you'd better put your shoes on? Gosh, I forgot I took them off. You're just a grandpa at heart. Come on, hurry up. I don't want to miss the West Side Limited. Side train, West Side. Get them out, get them out. Same bench. Same car. Come on, Lily. West Side train. Keep moving in there. Don't block the doors. All right, lady, if you're going in, go on. What do you think you're shoving? I know me job, lady. There's no wrong in a car. Well, then we'll make it.  Oh, stop it. Look here, you can't do that. You're fatally flattening this young lady.  Let me out of here. Come on, get in. You let her alone, and I'll do a bit of pushing myself. Oh, yeah? I'd like to see you try it. I'm afraid I'll have to. Oh, my God! Oh, my God! You better get out of here, miss. Are you all right? You're not a wise guy, huh? Going around knocking people down. Well, I'm sorry you fell over, but this young lady's had difficulty, you know. Oh, so I fell over, huh? Maybe like you're going to fall over. Oh, let him alone. Before they arrest you. Arrest me, but I... Don't look back, but is anybody following us? I can't see without looking. Well, let's duck into a store. A store? A store here in this one. Oh, mister, whatever you do, never sock a subway guard. Not even for you? Well... What is it, please? No, what's what? Can I wait on you? Uh, well, no... Oh, no, we're just browsing around. Browsing? For an artificial leg? Artificial what? Well, that's all we sell in here, sir. Well... That's a lovely day, isn't it? I think so. Oh, quite well. Thanks very much. Come on, let's get out. Is this your house? Mine and about 20 other people. I've got the second floor front. Well... Well... Uh, did I thank you for the dinner? Three times. Am I going to see you again? Why not? Of course. Why not? Did anyone ever tell you that you talked like an Englishman? I was born in England. Oh, maybe that's why. Yes, maybe that's why. Well, I don't know what I'm talking about, do you? Well, I feel as though I just come out of ether. Well... May I see you tomorrow? For what? For fun. What's your name? Gray. Uh, Charles Gray. Shall I say about two? Tomorrow's Friday. Don't you work on Friday? No. Do you work on Thursday? No. Do you work any day? No. Oh...  But tomorrow I want to be with you. Well, not at two o'clock. I work until 5.30. Oh, I can wait. Better still, I'll meet you in the morning and take it to your office. Will you look for a job Monday? If you'll let me see you on Saturday and Sunday too. Well, why should I care if you find a job? Of course. Why should you care? Well, good night. Um, thanks for talking in the garden. No trouble. Oh, my name's Lily. Lily Davis. I forgot to tell you. Thank you. Good night. Good night. Well, that's all there is to tell about me. I make $20 a week. It was 35 a few years ago, but I don't mind. I haven't met any friends, and I don't mind that either. Now, do you want to dance? I'd rather just sit and talk if you don't mind. Sure. Isn't it funny? We've known each other almost a week now, and this is the first time we've let down our hair and talked seriously. What about you? Me? All I know about you is your name so far. Well, it's very little else. My life story's very dull, and I wouldn't bore you with it. Are you going to keep your promise about finding a job? Why are you so interested in a job for me? Well, it's the right way to live now, isn't it? Instead of going along from day to day, just trusting that something will come along to keep you going? That's true, I suppose. And we're going to see each other again, aren't we? So often that you'll become annoyed with me. Do you think so? No, not really. Do you want to hear a secret? About you? No, about both of us. If I were ever to become annoyed with you, it would have happened years ago. What? That's when I first started thinking about you. How you'd look. Oh. The way you'd have what you'd say when we were together. Do I live up to the picture? Perfectly. Even to being without a job. But that's the way I wanted you to be, so that when I met you, actually, I could help you. There's not much I can say after that. If I simply told you I loved you, it would sound rather flat, wouldn't it? I don't think so. Shall I try it just to see how it sounds? Will you mean it? How could I help but mean it? Then try it. I love you so much. Happy? Oh, gloriously. But we shouldn't have taken a cab. We had to celebrate. Isn't every night I tell a girl that I love her? I hope not. I'll pay half the bills. All right. And what about tomorrow? Will I see you? Oh, tomorrow and the day after and the day after that. Oh, no, wait a minute. No, tomorrow's Thursday, isn't it? Yes, why? Oh, I can't see you tomorrow. Night, I have a day. Oh. You don't mind, do you? It's been every Thursday for such a long time. More popcorn, Lily? No. What's the matter? Sick? No. You know something? There's no reason why we shouldn't force the city to put a water bottle beside this bench.  I said a man can eat popcorn all night without drinking something. Hmm? Oh, yes. Hey, look at me. What's the matter with you tonight? Pete, I want you to shake hands with Lizzie Glutz. Lizzie Glutz? Yeah, Lizzie Glutz. The girl we talked about, the girl you said I wasn't. Remember? The girl who was going to meet some man who'd sweep her right off the ground, and he'd be broke, and neither of them would care, and all at once they'd be living in their own little world. Oh, so what happened there? Yep. Just like I said it would. You see you were wrong. Yeah. Who is he? Just a nobody, but you'd like him. Would I? Oh, beat it to the smell of ceiling. All at once, you're face to face. You don't know how it happened, but there you are. And from then on, it's just one roller coaster ride after another. Wait till it happens to you. You think it will? It's bound to. What'll I do? Well? I know what I'll do.  And then all at once there won't be any more popcorn, and the man can't watch the world go by without popcorn, can he? Pete. Can he?  Yeah, he is a darn nice guy. I was nuts about this bench, weren't you? I still am. Well, I'll put a forehand sign on it tomorrow. But Pete, you're still the best friend I've got. What I do with him won't make any difference with us. No? No, you don't understand about him. I want you to meet him right away. There's no reason why. There's three of us. You don't know your guys. But I don't want to lose you. I won't. I know. Just all reliable. That's how I stack up with you. All right, forget about the forehand sign. If you're ever in a spot, or if you feel like you want to talk it over with somebody on a Thursday night, you'll know where to find me. I'll be here. But don't come unless you have to, because it can never be the same anymore, see? You understand that, don't you? I guess so. Well, I gotta beat it. Oh, no, no. Yeah, I got some stuff to finish up over at the office. I'll be working pretty late, I guess, so... Well, so long, Lily. So long. In just a moment, we will continue with the Lux Radio Theatre presentation of the Gilded Lily, starring Claudette Colbert and Fred McMurray. For the moment, we want to tell you a little inside story about Mr. DeMille's own studio, Paramount. Yesterday there was a story conference. Now as we tune in, some of the girls are still typing away at the script. Madge is particularly rushed. She and Virginia have a special date tonight with two special gentlemen, and Virginia's all ready to go. Are that mad? Come on. Oh, Virginia, is it that late? Oh, I'm tired. Honestly, I don't know how I can go out tonight. I've been digging in my files and typing like mad all day long. Couldn't we go tomorrow night? Oh, no. I'm tired, too, but I know what to do about it. I just pop into a nice, warm, Lux toilet soap bath. Haven't you tried that? It makes you feel swell round the go. Thousands of popular girls all over the country are in on the Lux toilet soap beauty bath secret. Famous screen stars like Betty Davis and Carol Lombard find it a wonderful pick-me-up after a hard studio day. And most important of all, you can depend on Lux toilet soaps active lather to protect daintiness, keep your skin sweet. You'll love the delicate, expensive fragrance of this fine white soap. Once again, Mr. DeMille. We continue with the Gilded Lily, starring Claudette Colbert and Fred McMurray with David Niven. A few days have passed since Lily said goodbye to the easygoing newshawk. We're in a richly furnished apartment of a Park Avenue hotel where two men stand facing each other across a table. The older man is the Duke of Loamshire, visiting America in Cognito. The younger is his son, down to us is Charles Gray, known in England as Lord Grandville. The Duke of Loamshire breaks a long silence. So, it's actually that serious, Charles? Yes, Father. Well, and now what? First I'll have to cable Helen and ask her to break the engagement. You're rather difficult. I know. And this, this Lily?  And that's that. Well, I... Gray, why did you lie about yourself to this girl? Tell her that you were a nobody, that you had no money. I didn't. She told me that about myself. Not that. I was afraid to tell her the truth because... Because you wanted to be what she thought you were. Yes. Oh, that's human, I suppose. But he'll forgive me, of course, if my mouth seems to hang open at times. Why, back home, you were so enthused about social things. Parties, clubs and all that. And here, all at once, you plunge yourself into a terrible serious romance with this shop girl. She's not a shop girl. She works in an office. Oh, forgive me. But I... I still can't understand it. But don't you see, I asked to make this trip to America secret, just to get away from all that social nonsense. Well, for how long? I'm sincere about this, Father. Of course you are. You're sincere about everything for the moment. But that's your way of objecting to Lily. I don't object to her, Gray. If you're set on marrying Lily, I'll accept her. And so will Mother. But there are various ways of handling a delicate situation, and you're diving into it headlong. Lies, cables. Oh, it's all so crude, my boy. But what should I do? Go back to England. See Helen.  And talk to your mother. As a son, you should talk to her.  You will have the right to ask her after that. I wonder what Lily would say if I told her the truth. Oh, my boy, it would be easy enough to find out. No, no, no, not yet. I'll just tell her I'm going away and that I've got a job. In heaven knows that's no lie. Hey, Pete. Yeah, what do you want, Eddie? The boss is looking for you. You better put your shoes on and get on him there. Okay, take it easy. Well, it sounds important. Sure, it's always important. Oh, Jack, you want to see me? Well, old Pete does. The demon reporter. Say, why don't you wake up and notice what's going on in front of those St. Bernard eyes? What? Well, would it interest you at all on this beautiful, sun-shiny day? To know that the Duke of Lomashier and his son have been playing around town here for six weeks without a line of print? Well, how'd they get here? Phony names. But where were you? They run pictures of the kid when he got engaged to some English dame. Can't you use your eyes? Well, what am I supposed to be? Secret service operator number 13? I don't know what you're supposed to be. And while you're walking around here in a trance, we have to pay a smart little hotel bellhop five bucks for the tip. Okay, where are they? They're selling today at noon. Noon? I'll get them at the boat. Hey, wait a minute. Take these pictures and clips along so you can at least tell them from Adam.  But the only sheet in town that's got anything. Ha-ha, you hope. What are we supposed to do? You ought to tell her, God. I'm getting a story. You're here to get some pictures, see? Yeah, but who? Well, what's the difference? I'll point them out and you snap them. Try to get them with their mouths open, Eddie. It's funny of that way. Put their mouths open? But gee, Pete, that's... Ah, don't be artistic. Hey, there they are, up there on the deck. Come on, Eddie. Hello, James. I beg your pardon? Hey, what's the idea of visiting our little city without letting the papers in on it? Papers? Yeah, don't you think New York would like to know that it's been visited by the Duke of Loamshire and his son? What? All right, Eddie, snap them. Perfect, Pete, just like you said. But my good man, you must be mistaken. Oh, not at all. How about a little statement as to why you were here, what you were doing? Look, couldn't you be a good sport and forget that you saw us? We'd appreciate it tremendously. Is it that important to you? We can assure you there's no significance to the visit. We simply came here to enjoy ourselves quietly. And a report of the trip in the papers might call personal embarrassment. To your fiancée, for instance, Miss Helen Pergus? Well, yes.  Yes, of course. We'd be glad to make it worth your while. Ah, don't bother. If it's that important, well, as far as I'm concerned, I've never seen you. You promise that? Sure. Come on, Eddie. Hey, what do you mean? I'm promising those guys you didn't see them. What of it? You saw them, didn't you? Sure. I got their... Oh. Pete Dawson speaking. Oh, hello, Mac. Yeah. I thought I was swallowing myself.  Was that a laugh? Hey. Well, for... Hey, I'll call you back, Mac. What are you doing here, Lily? I've got to see you alone now. Okay, we'll find an empty office. Pete, this picture in the paper. Did you do it? Sure. Why? Did you see these people talk to them? Of course. Why all the excitement? Why? Because Lord Granville, this man engaged to a girl in England. That's Charles Gray. Charles Gray? Yes, Charles Gray, the nobody I was telling you about. Charles Gray Granville. So that's it. That's why I got the run around. He said he was going out of town for a couple of weeks to get a job. Pete, what did he say? What did he talk about? He just... Well, go ahead. I'm asking for it. Well, he said he'd just been fooling around in America and the quiet, and said he was going back to marry that English name. His father tried to bribe me to keep the whole thing quiet. Oh, that swell, isn't it? Well, Lizzie got it all right by herself, didn't she? He was broke. A nobody. He said he loved me now. What did he think I was? Don't get all worked up about him. If he ever comes back here, I'll break his neck. He won't come back. All right, what are you going to do about it? What can you do? I'd like to do to him what he's done to me. Make him something to laugh at. Yeah, why not? Oh, no. When you're the sap, you're the sap. Anything you do makes you even more the sap. Well, there's a story for your paper. Lord Granville walks out on poor working girl. Can't you see the headlines? Yeah, I can see the headlines. Listen, I want to speak to Pete Dawes. It's Miss David calling Lily Day... What? He is so in. You tell that big gorilla if he doesn't speak to me. Hello? Hello? Oh. Poor little Arthur's girl, discarded the love of Lord Charles. He nuns Shakespeare. He's a great man. He's a great man. He's a great man. He's a great man. He's a great man. He's a great man. The love of Lord Charles in unshaken belief that romance would eventually be hers. Lord Charles' now-returning home is half heavy with grief at the thought... Oh, stop it, Father. Well, there you are. The latest radio bulletin. The captain has kept it out of the ship's paper, but it's all over England. I can't understand this. What's her idea? What's she after? A girl of herd type. You'll hear from her later. Ask for money to stop further publicity.  Randall it's the millionaire from the uncle hang up on him how are you mr. Randall oh just fine well oh mr. Randall hey what's he saying no I can't no I said I can't you can't watch no it's about the time Mr. Randall of course I do hey give me that phone Pete hello listen you hang up that phone and don't call back again miss David isn't in huh this is her father the pop is getting burned up now the way those mugs talk you think they owned you how do you think I feel about it do you think I asked for this no time for myself working most of the night reporters hounding me all the time people expecting me to do something crazy every time I step outside why haven't you thought of having me pushed over Niagara Falls in a kiddie car let's drop the whole thing it was my idea and I'm admitting it's wrong we could go away to the mountains maybe where you could get some rest and then maybe we could oh Lily I know I'm just a mug no class not even a crease in my pants but you know what I'm trying to say I think so oh how do you feel about it oh pee I'd marry you in a minute if it would make either of us any happier but something happened to me once and I'm not going to be satisfied until I find out why are you going to let that guy body her for the rest of your life Pete I can tell you this because I know you'll understand I feel like a kid must feel when someone he loves slaps him in the face he's hurt he's angry but he still loves same old Lily I have to see him sure you do I wonder what would happen if I took one of those London nightclub offices then if you really wanted to see me you do that and you'll be camping on the doorstep say how many times do I have to tell you you developed into a mighty swell dish Pete I'm going to London and what's going to happen you'll see Gray find out in 10 minutes he's still a lug and come tearing back home at least I'd know right I'm just blabbing sure you go ahead and I'll sort of stay here to keep things rolling well you're coming along me yes you what do you think you do while I'm barging around in a strange country stay here and write fan letters oh I say you're coming with me all right I will but but get this I don't like that guy and I never will and if he tries to pull any more of his fancy tricks I'll pop him right in the nose oh Pete you've got the soul of a poet for station identification this is the Columbia Broadcasting System K. N. X. Los Angeles the voice of Hollywood in a few minutes we resume the Gilded Lily starring Claudette Colbert and Fred McMurray with David Niven we left Miss Colbert rapidly gaining fame in our play as a dancer and it's a dancer whom we hear from now Miss Janet Riesenfeld daughter of the distinguished conductor Dr. Hugo Riesenfeld I met her first as a child when she came to my office with her father who scored many de mille pictures known professionally as Raquel Rojas Mr. Riesenfeld left this summer for Spain where she was to meet a new dancing partner she found him in the army and herself in the midst of the fierce siege of Madrid ladies and gentlemen Miss Janet Riesenfeld thank you Mr. de mill yes I went to Spain to dance and learned all sorts of new steps dodging bombs and bullets and we're fighting going on Janet how were you able to enter Madrid I met a newspaper correspondent who had a passport but no knowledge of Spanish so I got through posing as his assistant once there I stayed thinking that rebellion would be over in a few days when I changed my mind I couldn't leave after six terrifying weeks the American Embassy left Madrid for Valencia on Thanksgiving Day and I went along did you see much actual fighting you couldn't live in Madrid and not see it Mr. de mill Madrid is a city of death and ruin but the spirit of the people is incredibly magnificent I was only half a block away when the first rebel bomb struck from then on the gunfire and canada dating was ceaseless I spent my time in Madrid dancing at benefits for soldiers searching for food and avoiding shell we managed to get by on a scant supply of rice lentils and bread when one is in the midst of a siege without light warmth or sufficient food with the death raining down in bombs and shrapnel one doesn't exactly look for the luxuries of life but nonetheless I was able to secure a few of the minor comforts during my stay in Madrid one of these you will be especially interested in Mr. de mill it was lux toilet soap although I would have rather had a nice juicy steak at least I was able to keep a whole skin and keep it clean I bought lux soap in sections of the city where no other foreign product was displayed Madrid of course had no hot water but that didn't bother bother lux toilet soap very much I found it rather just as beautifully in cold water are the reports true that women are fighting with their men at the front yes they're just as heroic and brave as their soldiers but principally they have taken over the civilian work of the men being an American nothing moved me as much as when the word came that president Roosevelt had been reelected in the midst of all the suffering and bloodshed Madrid welcomed that news enthusiastically president Roosevelt's picture appeared everywhere and I soon realized that next to their own our flag is closest to the heart the marrillinos the hardship of my few months were nothing compared to the suffering of the Spanish people more than anything else the experience has made me grateful that I'm an American thanks and good night good night for three once again Claudette Colbert Fred McMurray and David Niven and the gilded Lily a figure of international reputation Lily went to London where she quickly became the toast of Mayfair she's been seeing Lord Granville regularly for almost a month and Pete is convinced that his own case is quite hopeless it's 11 o'clock in the morning as he knocks at the door of Lily's hotel suite Pete hello you almost missed me I was just going out with Granville I was going to leave word downstairs that I'd be back tonight you didn't mention it yesterday was just a little trip into the country for a rest this is Sunday you know and I don't work tonight yeah say Lily I I just dropped in to tell you I'm sailing today sailing why well I can't express it exactly but you've been going right along so swell and I seem to be in the way more and more that's not true oh it is true I'm just something you needed when everything was new to you can't you see that well that you've reached a point where I can't help you anymore well the best thing for both of us is for me to bow out in a hurry Pete I can't stay here without you what about gray don't you intend to keep on seeing him yes you know what's going to happen I know he seems to be a nice guy and he's crazy about you and all I want you to be married to him that's what's in your heart isn't it honestly yes it's all great with me I'm glad to see you get what you wanted and now that my job's finished I'm going home well if you decided on going back I can't stop you Pete have I hurt you no I'm the one that you'd be asking man you'll never be sore will you Lily about the crazy way I shoved you into this racket of course no you know now that it's made certain things possible things that couldn't have happened any other way yes it did oh Pete couldn't you please stay I'll get my old job back and everything will be J and every Thursday night I'll show up at the bench and eat a bag of popcorn for both of us yes we're a gag sort of but you're leaving so suddenly if things don't go so well with you oh but they will I know they will goodbye Lily Pete so long like it oh it's heavenly I'd almost forgotten what the country was like and now this place I can't understand what that old inkeeper meant now and what was that didn't you hear him oh yeah something about this being the very place where his wife said she's married never said wasn't it yes 30 years ago right here he's a queer old bird he must be very funny really oh I'd love to have seen them Hugo and losing blood glad who told you that was her name it had to be I'll bet she sat right here where I'm sitting and Hugo stood up of course because he had on his Sunday pants it's rather pathetic isn't it look there he is now with his broom and the drudgery that he hates and that little aging into a bitter old woman I don't feel that way about them you have everything that matters when you're just Hugo and losing blood too happy nobody's you wouldn't be able to stand that sort of existence along it's what I've wanted all my life great what possible pleasure is there in parading ourselves before crowd as though we're trying to let the whole world see that we're actually in love is it so terrible that I'm proud of you Lily do you realize what's happened to you you're known all over the world men everywhere talked about you wanted you now all those people who laughed at me when they thought I'd lost you now they're going to see that you belong to me that you always did belong to me great yes what is it oh nothing nothing hey buddy yeah this bench private no sit down thanks can you spare a cigarette buddy yeah here you are thanks oh what's the matter it ain't my brand it's too bad yeah but it'll do that's the worst of being broke you can never get your own brand no girl may say yes boy that gal come up from nowhere I wonder how much dough the Englishman's got she doesn't care no how do you figure oh it's just my guess maybe so but a couple of million bucks had come in handy for a cold winter two million bucks or two cents doesn't make any difference to that girl she's got an idea in the back of her head about what the perfect life should be she's not going to stop hunting until she finds it yeah I suppose you got all this straight from her you're done right you were sitting right here on this bench yeah yeah say um you you ain't Napoleon are you no are you me no I ain't I think I'll be going hey wait a minute how do you mail a bag of popcorn huh I don't know ask your keeper popcorn all the way from America look like mr pizza on another tail no he knows what he's doing he'll card with it honey listen I just remembered how tough it is to get popcorn in London have you and grave found a bench yeah now what do you mean by that miss lily oh funny face can't you see him nor draped all over that bench his shoes off that popcorn bag in his hand you know Pete never would touch peanuts no he says peanut you just don't know how to relax well excuse me miss lily but it wouldn't hurt you none to sort of well rest up don't I know it oh now honey couldn't you stay in this afternoon Lord grand or probably has something planned but why can't six nights a week at the club and never in a single day well if mr Pete was here he'd show put a stop to it he would never mind yes I'll answer yes hello hello gray right on the eye that's right well no kiss what's the matter Lily I'm tired that's all gray you haven't anything arranged for this afternoon have you oh nothing much just tea at the Clydes you'll have to know them sooner or later I have to know them how many more hundreds of people must I meet before before what nothing I had no idea my friends were annoying to you great listen we'll have to decide something right now I came to England because I loved you and because I thought that you still loved me but something's wrong something have you ever forgiven me for what happened in America I told you I was as much to blame as you then why can't we be satisfied with each other why do you insist that we spend day and night putting ourselves on display is that the only thrill you get out of being with me oh I've been selfish I know but why don't you take a week from the nightclub it could be arranged and you remember that little inn hugos we could spend the week there the week at the inn then what well back to London as though we had never been away is that it well Lily you make it sound so so shall I answer it Lily yes who photographers from the American syndicate photographer give me that phone Lily you don't want hello hello send them right up we don't want to see them here I'll handle this you just entertain them until I'm ready but this isn't exactly the place Lily Lily come out here Lily listen to me you wanted to show the world isn't you all right we will Lily come out all right come on how do you do it David how do you do sir set up the camera boys where's my place boy gentlemen we're the photographer Lord Grandville I'll get one here first the fireplace shot what's the meaning of this we have to be prepared you know in case of a surprise wedding our papers will already have honeymoon picture haven't I anything to say about that Lily you can make your statement after I make mine what are you doing with that grip get your cameras ready boys I haven't seen so you've been playing around with a celebrity okay I'll show you how the celebrity racket is really works the way Pete taught me no matter what you do surprises Lily don't I'll admit I was wrong you bet you were boys the whole thing's off I'm walking out yeah here's a swell picture for you grip in hand by the open door come on snap Lily wait tell your papers are going home to sit on a bench and eat popcorn maybe he'll show up maybe he won't but if he does I'm going to sit back and watch the world go by with the greatest mug on earth are you sure you didn't see a man here he'd be waiting right at this bench listen lady I've seen lots of men here right up there's the public library men go in and out all the day and half the night I can't remember all of them now go away and let me sleep listen he's tall see about that high with big feet and a bag of popcorn on I'll try to think you know there's something funny about this bench it's haunted by crackpots oh but I'll go away no I won't I've got as much right here as you what time is it you know I said what time is it hello Lily oh I try to catch it the boat but I missed it here looking swell oh I'm so glad to see you if you ever get away from me again say what goes on here oh I don't know all the way across the Atlantic and I find that on our bench oh I know him what hey you wake up you remember me oh yeah I want you to meet the girlfriend Lily David Lily say oh oh let me out of here let me out of here well I I got some popcorn so I see you want to sit down all right have something really thanks you know this is what I call living yes they're just sitting tight and watching the world go by is that all oh what else is it can't you guess yeah but I'm afraid to say oh you old mug take off your shoes and kiss me from Claudette Colbert and Fred McMurray we'll hear again a little later our hero tonight was a newspaper man so I thought I'd ask one of the most famous reporters in the world Mr. Linton Wells to be our guest his record reads like page of Richard Harding Davis fiction during 20 years in foreign fields he's been war correspondent in Mexico China Asia Minor Siberia Morocco Syria Nicaragua and more recently Ethiopia he was a lieutenant in the Chinese army and a major in the Mexican army a colonel in the Nicaraguan air forces and holds decorations from 12 foreign governments he's in Hollywood now completing his autobiography blood on the moon and recuperating from wounds and illness acquired in Ethiopia while correspondent for the New York Herald Tribune ladies and gentlemen Linton Wells thank you Mr. DeMille you know the last time I encountered you and Claudette Colbert was in Cairo Egypt indirectly of course there in the shadow of the pyramids I went to the movies and saw your production of Cleopatra tell me the worst what did the Egyptians think of the way I handled their history well I heard a couple of dark-skinned natives wishing Cleopatra were running Egypt again Colbert fashion you know Egypt certainly movie conscious in Cairo all society turns out one night each week and goes to the cinema it's a ceremonial occasion with a display of evening dress and jewelry rivaling an opening of the metropolitan opera well you've seen pictures in about every corner in the world Linton how do other countries like Hollywood well the stars Charlie Chaplin being human in any language is most universally beloved I've seen his antics roared out by the nose pierced savages of the Belgian Congo by Chinese and the Indians of the Peruvian Andes next in line there's Mickey Mouse just as popular in Brazil Manchukuo and Finland as he is here all the world loves American musical and believe me there's nothing so strange as hearing a native singing a hot shot tune in the depths of fever-ridden jungle but I've heard it in French east Africa you go to the movies in the open air and are bitten to death by mosquitoes or drenched by a sudden torn of rain a huge native who ran a projection machine there wore a charm given him by the local medicine man as a guarantee to prevent the film from breaking and in Japan where most kissing sequences are cut out the picture is explained by an interlocutor as the mood strikes I read your war dispatches from Ethiopia and noticed you occasionally had time to see a movie yes and at a salvo there were three ramshackle theaters infested with fleas and ancient pictures these natives were enthusiastic over American films though and I saw them roll in the aisles of the Laurel and hearty comedy while their friends were fighting only a few miles away by the way my wife was also a reporter for the Harold Tribune went with me to Ethiopia and insisted on taking her case of lux toilet soap along thought for a woman that's what we figured out until we got there you can believe this or not mr. de mille but after bringing that soap from New York to Egypt from Egypt to French Somaliland and then 500 miles inland by rail at 14 cents a pound after worrying about carriers and customs collectors I saw five different shops in Addis Ababa selling lux toilet soap and charging much less for it than I paid for transportation costs alone and I said then what I'm saying now good night good night since starring on the lux radio theater last summer Claudette Colbert has observed her first wedding anniversary with Dr. Joel Pressman established a lovely new home in Brentwood and made what will undoubtedly prove another hit film made of Salem Fred McMurray not to be outdone has completed champagne waltz his co-starring in made of Salem and has taken to himself a wife but from this point on they'll have to report for themselves ladies and gentlemen Claudette Colbert and Fred McMurray mr. de mille after nearly an hour on the air I'm afraid I'm all talked out however I do want to thank you again for the top productions you give us every Monday night and before I go just a word of praise for the product responsible for this program I could say many fine things about it but the best indication of what I think of lux toilet soap is the fact that I've used nothing else for years all right Fred your turn thanks for that and hopes of being neatly left out of this mr. de mille you and Claudette know me well enough to realize that I'm not wanting to get up in front of the microphone and make clever speeches don't say anything oh thanks that suits me fine just a minute just a minute don't go either I've heard a lot of music coming from the sets of your two pictures made of Salem and champagne waltz since you'd rather not talk suppose you sing I thought you were a friend of mine well since I'm on a spot I'll try a course of a tune from the picture champagne waltz the name of it is called the when is a kiss not a kiss whenever I'm not kissing you when my two arms are missing you nothing means a thing I do when is a hug not a hug whenever I'm not hugging you if you'd allow me egg about then I'd have something that I could brag about when is a kiss not a kiss when I can thank you miss colbert and mr. McMurray this is your announcer ladies and gentlemen melville roig the luxe radio theater program for next monday night will be told shortly by mr. de mille in our cast tonight where george chandler as eddie c martigue shaw as the duke of loncher chester clute as the editor john gibson as the bum georgia simons as dora lou merrill as nate frank nelson as the man william royal as subway guard mary arden as the woman and warren mccollum and ross forrester as newspaper reporters and newsboys miss colbert mr. McMurray and mr. de mille appeared through courtesy of paramount studios mr. niven through samuel golden mr. niven is now working in the universal picture we have our moments and louis silvers 20th century fox where he was in charge of music for the new film one in a million and now mr. de mille to the luxe radio theater next monday night comes one of the most accomplished actors the screen has won from the stage edward g robinson with him bevelly robits and paul guilfoyle recently returned to hollywood from abroad mr. robinson's stars for us as warden brady in martin flavin's tense melodrama criminal code our sponsors the makers of luxe toilet soap join me in inviting you to be with us again next monday night when the luxe radio theater presents edward g robinson paul guilfoyle and bevelly robits in criminal code this is sessel b de mille saying good night to you from hollywood this is the columbia broadcasting system


What's good with y'all, it's your boy Ross back here again with another video so we're about to check out this amazing promo by Cody Rhodes once again when it comes to Cody he knows how to build a feud he knows how to build for a match and this was just another demonstration of why promos that are just created by the wrestlers themselves always come off way better than scripted unscripted promos are the way to go that's the best way to get your talent over and they have that down pack when it comes to the promos not everybody on AEW was a good promo but it allows people to grow and Cody he is just a natural added this was one of the best parts of the show tonight so let's check it out man I appreciate all the love and support on this channel road to 6k man this has been an amazing year for me just personally and just on the YouTube scene man I mean y'all really rocking with me and y'all like my wrestling takes so we're gonna check this clip out man and then I'm gonna give my thoughts and opinions on the promo and the potential feud with MJF and where do I think it could possibly go so let's go into it look at that scar yo that scar is pretty uh pretty gnarly very visible that was a deep cut can't go for it ever again yeah that's kind of weird what she got going on yeah that scar is like hella visible but that shit's crazy how deep that cut was yeah his interest is definitely extravagant got the fireworks the fire coming through the floor yeah he's hella over breath hella over man and it's dope to see that it's good on the mic man very convincing bruh this is when it gets good my man my man's walking out there with a fake scar man yo can't be doing that bruh can't can't be doing that man you can't this is supposedly your best friend so your friend gonna know when you got the fake stuff going can't be can't be out here flexing with the fake scarf ah I got a sting I got that got a sting I like that though like that wow I like that like that nice nice shots man I like this Cody is Cody is nice with it man on the mic hmm a man giving out the vehicles I know that's definitely not cheap I know that's not cheap bruh Omega watches are not cheap definitely not cheap he said red bottoms that's some racks my man is really trying to get this match bro he's pulling out the stops bro I'll give you to watch the car the Louis Vuitton shoes and some cash we know it's in the briefcase some cold hard cash I ain't playing I want this match bro you ain't your fake scarf that's money that's dope I'm pretty sure they kind of planned it for that kid to get to get that uh get the money I'm sure they kind of planned it out his reaction was so like I'm sorry I'm not gonna be funny the kid bro but I'm sorry if I'm the kid I'm at a wrestling show and somebody in the ring I mean I even know who it is give me a crisp honey I don't y'all know he's a little bit too tame for me that's the dog though give him a Chris Thunder dollar bill in the front row sold I'm sold I was already sold but I'm sold even more hey man I'm sold simple as that Cody knows how to build a match he did this for the Chris Jericho match for the AWW championship and he's doing it here with MJF I was looking forward to this feud there's you know they were best friends at one point and I like that storyline I like storylines with a friend turns on another friend those turn out to be the better better storylines those who watch it next to you know Tommaso Champa versus Johnny Gargano was easily one of the best storyline feuds I believe that was last year yeah one of the best storyline feuds of last year bro it's just a blood feud damn their brothers turn on each other it's great and I see that here Cody killing it as always he delivers in the promo area when I see him come out there to the ring to talk I stop what I'm doing whenever I'm working on videos and it doesn't matter I stop what I'm doing and I watch it all the way through you know sometimes I may fast forward through parts on AEW because thank God for DVR so I may fast forward through matches I may not want to see but if I see Cody there I will rewind watch it all the way through bro same what thing with Jericho he's the same way same way with John Moxley there's a few on that show that when they talk you want to listen so shout out to Cody once again hyping his match up we will see in the upcoming weeks whether MJF accepts I'm sure he will but what will be his price and we will find out soon hopefully maybe next week but I'm looking forward to that match comment down below if you guys are looking forward to that match if you are honest I want to get your honest opinion also comment down below if y'all think Cody is one of the best in the business of all of wrestling when it comes to promos he's up there bro he has to be in your top 10 right now which are my active wrestlers I'm sure there's a lot of great wrestlers that give great promos but he has to be at least in your top 10 right now he's fantastic he knows how to hype you up he grabs your attention and you can tell it's all coming from here from the heart brothers not scripted that's what I love about AEW not scripted promos go out there say what you need to say just don't go too crazy with it just say what you need to say let it come from the heart man you feel me so I'm looking forward to this match let me know if you guys are let me know if you guys feel like he's one of the best guys to do it in the industry when it come to promos and I appreciate y'all kicking it with me and I'll see y'all on the next one